Malaysian art now - National Art Gallery

ART Expo Malaysia 2010
>SULAIMAN ESA: “MANUSIA DAN ALAMNYA”
>The Counsel of Strangers @
Vermont Art Residency
>“BACK THEN, THESE DAYS” –
International Prints Exhibition, Penang
>Rom SuperFlat to SuperSplat!
Malaysian art now
#08

Editorinc.
Greetings and Salam 1 Malaysia!
In the last few months, the National Art Gallery saw some overwhelming reception to
the launches of its exhibitions. The launching of ‘Kepada Mu Kekasih (Yang Maha Esa)’
was made more memorable when renowned composer and singer songwriter M.Nasir
agreed to perform the song that inspired the exhibition. The event included the breaking
of fast, prayers and terawih as well and saw one of the biggest turn out at a launch with a
different set of crowd including orphans from an orphanage.
The launch of veteran installation artist Zulkifl i Yusoff’s solo exhibition entitled
‘Negaraku’, offi ciated by our minister Dato Seri Utama Rais Yatim, was also well
attended. Earlier on I hosted a casual dinner gathering with artists and was pleased with
the rousing response. I am also pleased that the Malaysian-Japan Video Art Exchange
(MJVAX) with the support of the Japan Foundation was well received.
The International Art Expo Malaysia 2010, now in its 4th year, is off to a good start with
its soft launch at the National Art Gallery. The solo exhibition entitled ‘Art World of
Cheng Haw Chien’ was recently offi ciated by Senator Heng Seai Kee, Deputy Minister
from the Ministry of Women, Family and Development. The launching of its catalogue
is planned for the 9th of October. An appreciation night is planned for the exhibition
of informally trained artists entitled ‘In Our Own Way’ on the 20th of October. I am
personally very impressed by the art works by the group of artists selected for this
exhibition.
On another note, I had the opportunity to visit the Shanghai World Expo recently and
took the opportunity of visiting the Shanghai Art Museum, the Museum of Contemporary
Art (MOCA) Shanghai and Tangram Art Center. I was warmly received and had some
interesting and inspiring discussions with representatives from each of them. Shanghai’s
art scene is advancing at a pace that is impressive and breathtaking.
There is much we can learn from them in terms of how they temper modernity with
tradition, resulting in a complementary state that is both uniquely local in content but
contemporary in outlook. The Shanghai Art Museum will be organizing the 8th Shanghai
Art Biennale this 23rd October 2010.
Finally, in the latest issue of #08, we bring you more views, reviews and news
on the happenings in the local art scene and beyond. Our curators Faizal Sidik and Erry
Arham offer their take on ‘ABC’, the exhibition of selected mixed media works from
the national collection and the international prints festival that took place in Penang
respectively.
Our regular contributors Rachel Jena shares with us her interview with contemporary
artist Yee I-Lann on her latest exhibition ‘BoogeyMan’ at MAPS, the latest venue catering
to the creative arts. Veteran arts writer Ooi Kok Chuen highlights the extraordinary
journey across South-East Asia that artist Chang Fee Ming took on a sketching spree
resulting in an exhibition at Valentine Willie Fine Art (VWFA). Last but not least,
contemporary painter Marvin Chan who won a prestigious Freeman Foundation Asian
Artists’ fellowship awarded by Vermont Studio Centre shares with us his excitement and
anxieties of the two month long residency.
The next exciting exhibition to look out for at the National Art Gallery is the Young
Contemporaries Awards or ‘Anugerah Bakat Muda Sezaman’. This competition and
exhibition is of the milestones of the gallery when it was fi rst introduced in 1974.
Many of our prominent artists today were hopeful participants and past winners.
The importance and the impact it has had on the subsequent generations cannot be
underestimated. We look forward to discovering new talents and the next masters in this
exhibition which is scheduled for the month of November.
Till the next issue of , happy reading!
Ambassador Dato’ Mohd Yusof Ahmad
Editor-In-Chief
C O N T E N T S
FEATURES
04 ABC- “Manusia dan Alamnya” (1972-73):
Sulaiman Esa
06 “Back Then, These Days” :
2nd Penang International Prints Exhibition
12 Art Expo Malaysia 2010
EXHIBITION HIGHLIGHTS
07 Me n Mao: Stephen Menon
10 Ashore: Yong Lok Lam
10 HOM 6th Art Residency : Tiong Chai Heing
ART REVIEW
09 Sketching through the
South-east Asia : Chang Fee Ming
14 Wajah-wajah: Amin Asaat
INTERVIEW
08 Boogeyman : Yee I-Lan
CREATIVE INDUSTRY
15 Selangor Young Talent
ARTIST IN RESIDENCE
16 The Counsel of Strangers : Marvin Chan
CURAT.O.R
19 Rom SuperFlat to SuperSplat!
OPPORTUNITIES
11 Pipit Wonderful Market
18 Expressions of the Malayan Tiger Art Competition
22 Creative Design Competition
23 Rado Young Design Prize 2010
20 BSLN Sana Sini
21 BSLN 2010 Calendar
22 BSLN Publication
23 What’s On
PUBLISHER
Balai Seni Lukis Negara
National Art Gallery Malaysia
Ministry of Information,
Communication and Culture Malaysia
No 2. Jalan Temerloh
Off Jalan Tun Razak
53200 Kuala Lumpur
MALAYSIA
P : 603 4026 7000
F : 603 4025 4987
www.artgallery.gov.my
lEDITOR-IN-CHIEF Ambassador Dato’ Mohd Yusof Ahmad l
EDITOR Zanita Anuar l DEPUTY EDITORS Wening Cheah,
Hashimah Nyok & Alizam Hasan l ASSISTANT EDITOR Anis Amizan
Hussein Lim | CONTRIBUTORS/WRITERS Rachel Jena, Ooi Kok
Chuen, Faizal Sidik, Erry Arham Azmi, Bingley Sim danMarvin
Chan| DESIGNERS Nuzaihan Mustapa & Shamizar Rahim l
PHOTOGRAPHY Mohd Fitri Abd Rahman l
can be accessed at www.artgallery.gov.my/senikini
Any feedback and comment please email to us at:
anis@artgallery.gov.my
The publisher, National Art Gallery Malaysia,
holds the copyright of all editorial content.
SENIKINI (ISSN : 1985-7233) is published six times
a year by National Art Gallery Malaysia.
All Rights Reserverd.
Copyright©2010 SENIKINI Malaysian Art Now
Printed in Malaysia.
COVER :
Bagi ZULKIFLI YUSOF , nostalgianya tetap
utuh dengan bunga raya, dalam mencari
perpaduan itu, bunga raya dijadikan
simbol perantaraan beliau dan khalayak.
Semangat nasional dan perpaduaan
yang dirasai oleh beliau ketika remajanya,
kini dirasakan semakin pudar pada
penglihatannya. Beliau bukan sekadar mahu
mengembalikan semangat perpaduaan
itu, tapi turut mahukan bunga raya itu kekal
sebagai bunga kebangsaan Malaysia.
Percaya bahawa setiap negara yang ingin
membangun harus bersatu padu, lantas
bunga raya adalah simbol yang sesuai untuk
memperingatkan kita semula.
BUNGA RAYA IV 2010,
Canvas, Embossed Dye,
Wood Panels, 244 x 244cm

28.8 - 24.10 2010
Galeri 3a
The National Art Gallery is proud to
present the 136th Solo art exhibition
of Cheng Haw Chien.
A third generation master painter, poet
and calligrapher of the Lingnan
School, Cheng Haw Chien, who
began painting at an early age, will
showcase a wide range of works
specially selected for this exhibition.
Guided and inspired by traditional
Chinese virtues of dedication, sincerity
and sensitivity, Cheng Haw Chien not
only has an extraordinary grasps of
past traditions but also continues to
explore new artistic possibilities in the
Lingnan spirit of innovation. His
paintings have grace the halls
throughout Asia, the United States of
America, Australia and Europe.
ARTalk
02 Oct 2010
11 am - 1 pm
Auditorium, BSLN
Book Launch
09 Oct 2010
BSLN
www.artgallery.gov.my

04
FEATURES
ABC Sulaiman Esa :
‘Manusia dan Alamnya’
(1972-73) l Faizal Sidik
Setelah
37 tahun berada
dalam simpanan koleksi
Balai Seni Lukis Negara orang ramai telah
berpeluang melihat karya ini sekali lagi dalam
pameran ‘ABC: Antara Bahan Campuran’
iaitu pameran kolelsi karya bahan campuran
tahun 1950 an hingga 2000 daripada koleksi
himpunan tetap BSLN yang diadakan dari
Mac sehingga Januari 2011. Pameran ini
dibahagikan kepada dua bahagian iaitu
sebanyak 45 karya bahan
campuran telah dipilih untuk
dipamerkan pada pameran
Bahagian 1: 1950 an - 1980
an (Mac-Julai) manakala
72 karya pada Bahagian
2: 1990 an – 2000 (Ogos-
Januari).
Karya ‘Manusia dan
Alamnya’ (1972-73) adalah
sebuah karya penyertaan
beliau yang dihasilkan untuk
pertandingan ‘Manusia
dan Alamnya’ yang
dianjurkan oleh Balai Seni
Lukis Negara pada tahun
1973. Di mana karya ini
telah memenangi anugerah
utama dengan sebuah
lagi karya konseptual yang
bertajuk “Self-Portrait”
(1973). Ia juga adalah
kesinambungan daripada
penerokaan Sulaiman
daripada karya sebelumnya
iaitu ‘Compression’ (1972)
yang menggunakan bahan
seperti akrilik dan media
campuran atas kanvas,
namun cara persembahan karya ini yang
menolak permukaan konvesional empat segi
memberi permulaan baru dalam karya-karya
berikut beliau yang begitu dominan dalam
pengkaryaan di sini pada dekad 50 an dan 60
an.
‘Manusia dan Alamnya’ merupakan karya
komentar sosial yang pertama seumpamanya
yang telah dihasilkan di Malaysia pada tahun
1972. Ia merupakan tindak balas artis terhadap
dunianya. Ia merupakan sebuah pengkajian
antropologi yang pelbagai dimensi, yang
mempunyai pelbagai sifat, termasuk fi zikal
dan spiritual. Disamping itu ia boleh menjadi
sebuah kajian akademik, sosial, seksual dan
intelektual.
Dalam karya ini beliau mengumpul buku
lakaran, surat-surat, yang mengambarkan
setiap sudut aspek kehidupan beliau dari
segi ekonomi, sosial dan spiritual dengan 36
bahagian poket. Dalam barisan pertama
poket ini menggambarkan dokumen tentang
kewujudan beliau di
dalam dunia ini dengan
sijil kelahiran, kad
pengenalan, pasport
dan lesen kenderaan
di mana memberitahu
beliau mempunyai
kenderaan pada
waktu itu. Pada barisan
poket kedua pula
merupakan dokumen
pencapaian dan
kelulusan beliau seperti
GSC, diploma yang
memperlihatkan beliau
sebagai seorang yang
intelektual. Baris ketiga
pula adalah surat-surat
kepada rakan dan
lawan beliau yang
melambangkan beliau
sebagai manusia yang
mempunyai kehidupan
bersosial yang perlu
berhubung. Manakala
di baris yang keempat
adalah merupakan
Poket 6.2a
bahan-bahan peribadi
yang beliau kumpul
dan simpan iaitu buku,
rekod piring hitam yang diminati, sajak, bahan
bacaan dan lain-lain.
Menurut Sabapathy dalam katalog
pameran‘Piyadasa: An Overview 1962-2000’,
beliau mengatakan “satu lagi penghasilan
permukaan yang membawa dengan
lebih dekat antara seni dan aktiviti sosial;
terlalu banyak jurang yang dibuat sehingga
merugikan kedua-duanya dan oleh kerana
itu keterasingan melalui pendekatan ini
ia sedikit sebanyak boleh di pertemukan
semula, walaupun tidak menyeluruh atau
boleh diatasi. Dalam karya ini, Sulaiman tidak
Manusia dan Alamnya (1972-73), Bahan Campuran, 1973
selepas dibina semula pada tahun 2001-2010
oleh pelukis bersama unit Konservasi BSLN.
mengikut aturan konvesional; beliau menolak
kebiasaan dengan mentranformasikan
aktiviti sosial kedalam gambaran formal imej
yang mana boleh diukur daripada sudut
nilai estetika didalamnya. Sifat semulajadi
aktiviti sosial adalah isi utama dalam karya itu
secara keseluruhnnya. Pembuatan dengan
bahan mentah dengan baik dan pendekatan
seperti mengambil dan menyimpan didalam
album setem, ia dilihat cuba merendahkan
sedikit sifat karya kepada tujuan fungsi dari
segi entiti estetik. Komponen material yang
membentuknya sebagai karya seni tetap
ada namun cara persembahan lebih kepada
interaksi sosial. Kini tempatnya dalam dunia
seni; ia adalah dunia dimana kepercayaan
menjadi keutamaan. Ia berada di dalam
satu dunia yang mana ia akan diterima dan
statusnya akan ditentukan. Sempadan jurang
antara dua dunia (sosial dan seni) akan pada
masa itu menjadi kecil; malah sudah tentu
dapat membentuk kesamaan tanpa ada
pemisahan. Seni dan penglibatan sosial berkait
rapat pegungkapan kepelbagaian yang
mengubah jurang ruang antara ”.
Setiap baris menggambarkan aspek yang
berbeza dalam kehidupan beliau sebagai
manusia biasa. Apa yang menjadi ‘focus point’
dan penting yang ditekankan dalam karya ini
adalah disebelah kiri dan kanan barisan poket
tadi adalah objek seperti baju kot, tali leher
dan kasut disebelah kiri dan sejadah serta
bunga mawar di bahagaian kanan. Disebelah
kanan ini memperlihatkan kod dan simbol cara
berpakaian yang cenderung kebaratan beliau
Poket 21.1a

MAKKAH Beautifi cation
ART Competition Project
Saudi Arabia has invited hundreds of Islamic intellects
and artists from around the world to present their
thoughts on how to make Makkah the most beautiful city
in a rare contest for the development of Islam’s
holiest shrine.
More than 300 participants from most Arab countries and
as far as China, Malaysia, Pakistan, the United States and
Turkey have been shortlisted for the competition which
involves artistic works on how to beautify Makkah and
turn it into a museum-like city attracting not only pilgrims
but millions of Muslims who are interested in ancient
Islamic culture and arts.
1 2 3 4 5 6 7
8 9 10 11 12 13
14 15 16 17 18 19
20 21 22 23 24
25
30
‘Manusia dan Alamnya’
merupakan karya komentar sosial
yang pertama seumpamanya
dihasilkan di Malaysia yang
pada 1972. Ia merupakan
tindak balas artis terhadap
dunianya. Ia merupakan sebuah
pengkajian antropologi manusia
yang pelbagai dimensi, yang
mempunyai pelbagai sifat, juga
merupakan manusia yang terdiri
daripada fi zikal dan spiritual.
Disamping itu ia boleh menjadi
sebuah kajian akademik, sosial,
seksual dan intelektual.
31
32
26
27
28
33 34 35 36
Poket 1a
Poket 13.3a
29
We are proud to acknowledge that the
submissions from Malaysian artists Datuk Syed
Ahmad Bin Jamal, En Ramlan Abdullah and En
Syed Mousa Visage were short listed. The winners
of Makkah Beautifi cation Art Competition was
announced 27 September 2010, at King Abdul
Aziz Historical Center in Abraq Al Rahamah,
Jeddah. The head of the jury committee, Mr
Mohammad Farsi (a former mayor of Jeddah),
said that when selected the winners, the
committee considered those that refl ected both
Makkah’s history and the Islamic fi ne arts.
306 works of art submitted for the competition
are being displayed at King Abdul Aziz Historical
Center in Jeddah.
dimana beliau terpengaruh dengan cara pemakaian barat
dimana pernah berada disana selama lima tahun. Di sebelah
kiri pula perlambangan sejadah memberi makna beliau masih
lagi seorang muslim yang mempercayai Islam walaupun banyak
terdedah dengan budaya barat beliau jauh disudut hati masih
mempercayai agamanya.
Kain sejadah atau tikar sembahyang merupakah satu pernyataan
penting dalam karya ini. Beliau sebagai orang Melayu merasakan
beliau perlu mengenal semula identiti asalnya. Sedar atau tidak
Kongres Kebudayaan Kebangsaan yang diadakan pada tahun
1971 yang merupakan kongres seni budaya yang terpenting
dimana kerajaan, masyarakat dan ahli fi kir dipersoalkan
mengapakah seni yang berlaku pada waktu itu tidak memberi
apa-apa kesan kepada identiti, budaya dan jatidiri tetapi
cenderung kepada budaya barat. Beliau baru menyedari
bahawa beliau sebenarnya menceritakan tentang dirinya sendiri
yang mempunyai dua karekter, iaitu yang mempunyai ciri-ciri
fi zikal kebaratan dan spiritual Melayu Islam. Jadi perletakan
sejadah adalah menjelaskan bahawa walaupun beliau
mendapat pendidikan barat namun beliau adalah seorang
Muslim.
Penggunaan bahan plastik begitu dominan dalam karya ini
ianya dapat dilihat seperti penggunaan material bunga, poket,
baju daripada nylon yang juga plastik yang terdapat di dalam
karya bermaksud mereka yang tinggal di dalam hidupan urban
seperti beliau sering didedahkan dengan estetik di mana plastik
menimbulkan budaya urban yang tidak semulajadi yang ada
hanyalah sintetik. Sulaiman menolak elitis seni dan membawanya
ke dalam masyarakat dengan bahan-bahan harian yang lebih
mesra rakyat.
Menurut Sabapathy lagi “Karya yang dihasilkan daripada bahanbahan
terbuang yang dikumpulkan sebagai penolakan terhadap
persekitaran urban; ianya kini diberi nafas baru. Kebanyakan
objek terdiri daripada resit-resit dan pembayaran, transaksi
harian; setiap perlakuan menggambarkan keperibadiannya.
Ianya dimasukkan kedalam poket yang dihasilkan daripada
bahan sintetik antara manusia dan alamnya adalah manifestasi
penghubung dan peruntuh kehidupan urban yang di
terjemahkan kedalam dunia seni. Sulaiman menidakkan sifat
keindividuan seni dan membawanya ke bawah”.
Karya ini boleh dianggap sebagai sebuah karya ‘potret diri’
beliau. Sebuah ‘lukisan’ bermedia campuran kehidupan peribadi
beliau. Sulaiman Esa melukis kembali potret diri dalam dimensi
yang lain daripada rakan-rakan artis beliau pada waktu ini.
Walaupun tanpa ‘wajah’ beliau dalam karya ini ia merekod
dengan lebih jelas lagi siapakah dia Sulaiman Esa.
WINNERS
1ST PRIZE
MR. YASSER AZHAR, SAUDI ARABIA
2ND PRIZE
MR. SAUD KHAN, SAUDI ARABIA
3RD PRIZE
MR. YOUSEF JAHA, SAUDI ARABIA
4TH TO 9TH PRIZE GOES TO SAZAB, AN IRANIAN
COMPANY, AN EGYPTIAN MR REHAM MOHSEN, A TEAM
OF THREE EGYPTIAN ARTISTS MR AHMED ENAB, MR
AHMED BADAWI AND MR YASSER MOHANA, AN IRAQI
MR ZEYAD BAKORY, AN IRAQI MR AHMED ALAWI, A
SAUDI MDM AMAL FILMBAN.
05
FEATURES

06
FEATURES
‘BACK THEN, THESE DAYS’ l Arham Azmi
‘Back
then, These days’ (BTTD)
merupakan sebuah pameran
yang memperlihatkan karya Seni Cetak
Himpunan Tetap Balai Seni Lukis Negara
(BSLN) yang menyentuh akan penggunaan
medium terhadap pragmatik kreasi karya
cetakan pelukis Malaysia. Selain daripada
bertujuan memeriahkan Penang International
Prints Exhibition (PIPE), pameran BTTD ini juga
merupakan respon terhadap persepsi mono
manusia seni rupa mengenai Balai Seni Lukis
Negara (BSLN) didalam teks (printed text)
promosi ‘Malaysia’s Contemporary Art Scene’
(MCAT) yang cuba diterapkan (imprinted) ke
dalam minda pembaca menerusi penulisan
teks tersebut. Bertolak dari situlah makanya
BSLN menemui konsep pameran BTTD ini
yang mana terdapat dua cara pendekatan
pameran atas cubaan menerapkan
(imprinted) semula minda pembaca dan
khalayak seni rupa di Malaysia mahupun
Antarabangsa mengenai koleksi karya seni
cetak BSLN.
Back then
Sifat kreatif itu muncul dalam kehidupan
manusia apabila mula terdesak dalam
memenuhi tuntutan keperluan, dari situ
manusia mula menajamkan batu untuk
memotong, menyulam benang untuk baju,
menebang pokok untuk rumah, mengenal
tumbuh-tumbuhan untuk makanan dan
sebagainya. Sehinggalah keperluan itu
menjadi lebih kompleks, manusia mula
belajar untuk menjadi lebih moden agar
tidak ketinggalan yang akhirnya menjadi
sebahagian daripada kebudayaan mereka
sendiri.
Sulaiman Esa, Menanti Godot I
Gurisan, Etching
76 x 62cm, 1977
BSLN 1980-040
‘Back then’ dilihat dalam hal kesenirupaan,
pelukis mula melakar dengan menggunakan
sumber alam seperti arang, batu dan
sebagainya untuk menghasilkan karya
dengan cara imitasi, imaginasi, ekspresi dan
pendekatan lainnya. Berlanjutan dari itu,
pelukis mula mengenal, mempelajari dan
mengeksplorasi bahan untuk memahami
permukaan, kesan, dan sebagainya demi
mencari keistimewaan bahan dalam karya
seni (lukisan, catan, arca dan cetakan)
mereka sebagai sebuah pragmatik kreasi
sehingga ianya dianggap sebagai sebuah
karya estetik bagi golongan penilai.
Di Malaysia, setiap hasil karya seni rupa
(bicara mengenai seni cetak) yang berpotensi
telah dipertanggungjawabkan kepada
BSLN untuk dijadikan Himpunan Tetap BSLN
(Koleksi) yang berguna sebagai warisan,
Long Thien Shih
Rupa Barat di Awan dan Ombak Timur
1970, Sutera Saring, 73 x 70.5cm
BSLN 1971 - 009
dokumentasi, pengkajian dan sebagainya.
Antara karya cetakan terawal yang telah
menjadi himpunan tetap BSLN pada
tahun 1959 adalah karya Lee Joo For yang
bertajuk ‘Burung Dan Ikan’, menggunakan
teknik potongan kayu berwarna. karyakarya
cetakan awalan pelukis tempatan
telah menjadi koleksi BSLN secara aktif
sekitar tahun 70an, 80an dan 90an.
Gurisan, potongan kayu, suterasaring,
monoprint, potongan lino dan litograf
dilihat merupakan teknik dan medium
popular yang sering digunakan dalam
menghasilkan karya cetakan.
BSLN telah memilih beberapa buah karya
koleksi seni cetak BSLN yang terkandung
dalam ‘Back then’, antaranya adalah
‘Imago Senja’ Abdul Latiff Mohidin
menggunakan potongan kayu, ‘Alif Ba Ta’
Ahmad Kahlid Yusuf, ‘Of Fashion of Series
After Hiroshige’ Lee Kian Seng, ‘Departure
at Dawn’ Loo Foh Sang dan ‘Rupa Barat
Di Awan dan Ombak Timur’ Long Thien
Shih menggunakan suterasaring, ‘Rumah
Khoo Kongsi Pulau Pinang’ Ilse Noor yang
masih kekal sehingga kini menggunakan
teknik gurisan, begitu juga ‘Menanti Godot
1’ Sulaiman Esa dan ‘Di Pentas Mu Yang
Sepi’ Ponirin Amin, sementara ‘Kalimanjaro
In Nagasaki’ Juhari Said menggunakan
potongan kayu. Karya-karya ini dipamerkan
dalam sebuah bentuk risalah bagi
memperlihatkan kepada khalayak akan
koleksi-koleksi karya cetakan BSLN terdahulu
yang kini berkepentingan menjadi aset
utama terhadap negara selain daripada
menjadi sumber rujukan kepada peminat
seni rupa di Malaysia dan Antarabangsa.
These days
‘These days’, apabila bahan dan alatan
mula diciptakan mengikut peredaran
zaman, pelukis mula mempelajari dan
mencuba sesuatu yang baru yang mana
keinginan ini sentiasa wujud dalam diri
pelukis demi mencari kelainan terhadap
karya mereka sebagai sebuah identiti yang
tersendiri. Seni Cetak merupakan salah satu
bidang dalam seni rupa yang juga terkesan
dengan perkembangan teknologi. Bicara
mengenai teknik dan bahan dalam seni
cetak secara konvesionalnya sudahpun
kita ketahui, ‘These days’ karya cetakan
digital, telah mula duduk di dalam wilayah
seni rupa kontemporari sebagai pragmatik
kreasi pelukis sezaman. ‘These days’ BSLN
yang sentiasa mengikuti perkembangan
pelukisnya telah menjadikan karyakarya
seni cetak kontemporari sebagai
sebahagian koleksi BSLN yang terpenting.
Senario seni cetak mula dilihat melalui
proses evolusi apabila Ismail Zain mula
menghasilkan karya cetakan dengan
menggunakan teknik dari komputer
diantaranyanya karya ‘Al-Rumi’. Berlanjutan
dari itu juga dinamika medium Seni Cetak di
Malaysia mula dilihat duduk didalam wilayah
seni kontemporari apabila konsep multitasking
mula hadir dan wujud dalam diri individu
setiap pelukis didalam penghasilan sesebuah
karya seni rupa seperti Zulkifl i Yusoff, Ponirin
Amin, Wong Hoy Cheong, Redza Piyadasa,
Ahmad Shukri Mohamed dan ramai lagi.
Bagi memperlihatkan konsep ‘These Days’ ini
pula, kerja kuratorial telah membuat pemilihan
karya-karya yang akan dipamerkan di ruang
pameran untuk tatapan khalayak dan
pambaca seni rupa kontemporari. Medium
cetakan digital yang menjadi semakin
popular hasil daripada karya-karya Simryn Gill
sedikit sebanyak telah memberi kesan kepada
pelukis seperti Roslisham Ismail atau telah
dikenali sebagai Ise dengan karyanya‘Fed
Up! But I Know I’m Not Alone’ , Yee I-Lan, ‘Sulu
Stories: Sarung’ dan Noor Azizan Rahman
Paiman, ‘Sky Kingdom’ sebagai medium
dalam hasil karya mereka. Pelukis senior, Long
Thien Shih yang tidak kalah saing dengan
pelukis muda cuba meletakkan dirinya dalam
teknologi sezaman dengan menghasilkan
karya ‘Bar Coded Man’ menggunakan ‘Inkjet
Print’. Dalam ruang pameran ini juga kita
dapat lihat bagaimana pelukis muda seperti
Hazrul Mazra Rusli dengan karyanya ‘Maksud
Dan Pembayang’, telah meninggalkan kesan
cetakan dalam bentuk 3 dimensi di atas
permukaan kesat yang menggunakan simen
sebagai mediumnya, berbanding Shahrul
Jamili dengan pendekatan konsepsualnya
yang masih mengimplimentasikan teknik
cetakan dengan kepelbagaian bahan di
atas karyanya ‘Pair of Opposites’. Untuk yang
terakhir karya Phuan Thai Meng, ‘The Gleaner
2006’ pula menggunakan cetakan duratrans
dan kotak lampu yang kini dilihat antara
bentuk karya yang gemar dihasilkan oleh
pelukis muda lainnya.
Back then, These days
Dunia seni rupa yang juga menjadi
sebahagian daripada sistem kapitalis kurang
lebih telah mewajibkan karya seni rupa
mengikut peredaran sezaman. Memang
benar seni rupa kontemporari sangat
terkait dengan ekonomi dan tidak mampu
dielak oleh mana-mana pelukis sekalipun,
namun begitu, BSLN sebagai institusi seni
negara Malaysia yang terunggul sering kali
mengambil kira perihal kontemporari itu bukan
sekadar atas keperluan penjualan karya seni
rupa semata-mata tetapi karya seni rupa itu
yang lebih diutamakan. Sesungguhnya BSLN
bukan sekadar memiliki karya himpunan
tetap berbentuk konvesional sahaja tetapi
juga sering menyelidik, mempelajari dan
mengenal karya-karya terkini pelukis malaysia
dan menjadikan karya seni kontemporari
itu juga sebagai karya himpunan tetapnya
yang mana ia tidak mungkin dilihat pada
himpunan koleksi individu mahupun institusi
lain. Keunikkan inilah membuat BSLN sentiasa
menjadi pemegang dan perujuk utama
terhadap seni rupa di Malaysia. Semoga
pameran BTTD ini mampu memberi manfaat
dan menerapkan (imprinted) semula
pandangan yang murni peminat seni rupa
terhadap BSLN dan seni rupa Malaysia.
Phuan Thai Meng, The Gleaner 2006,
Cetakan duratrans dan kotak lampu,
87 x 123.5 x 15cm, 2006
BSLN 2009-105

l Bingley Sim - Art Collector
07
EXHIBITION HIGHLIGHTS

08
INTERVIEW
Yee I-Lan : Boogeyman l Rachel Jena
September
16, or
Malaysia Day,
hasn’t had as much fanfare, recognition,
or Jalur Gemilangs as Hari Merdeka despite
its historical relevance. On September
16, 1963, Malaya, North Borneo (today
Sabah), Sarawak, and Singapore formed
the Federation of Malaysia and this year’s
Malaysia Day will be the fi rst time in fortyseven
years it is offi cially marked with a public
holiday. It’s also when Yee I-Lann’s muchanticipated
solo exhibition, Boogeyman,
opens at MAP.
A collaboration by Valentine Willie Fine Art
and RogueArt, Boogeyman sees Yee present
limited edition Malaysia Day Commemorative
pewter plates, a collaboration with Royal
Selangor that features archival images of the
historic event in 1963, and the Orang Besar
series, Yee’s latest body of work encompassing
large silk-based pieces that fuse digital images
with batik design, and, smaller photographic
prints.
These recent works evidence Yee’s
unwavering love of history and the artist’s
ability to weave her personal observations
into fl uidly composed images. Audiences will
be able to compare and contrast Yee’s latest
practice with a selection of the artist’s older
works that’ll also be on display at Boogeyman.
Come November, Yee’s fi fteen-year career
will be examined in Fluid World, a publication
that’ll include Yee’s seminal works, artist’s
statements, as well as critical essays from
various contributors.
In the run-up to Malaysia Day, the artist, who
hails from Sabah, shared her thoughts on
Boogeyman, Orang Besar, and kerbaus with
Rachel Jenagaratnam through an e-interview.
What does the exhibition title
Boogeyman signify?
A ‘Boogeyman’ is a mythical monster often
associated with hiding in the closet then
jumping out to scare you and is often used
metaphorically to describe an irrational fear.
One of the populist etymology origins is ‘Bugis-
Man’, derived from the early days of European
trade in Southeast Asia, when local ‘pirates’
raided foreign trade ships.
‘Boogeyman’ is the title of my solo exhibition
as my work tries to understand stuff in our
collective ‘Malaysia’ closet. Seemingly
simple ideas such as ‘Bangsa Malaysia’
or ‘1Malaysia’, for example, are still being
debated and defi ned by our leaders. We
have many taboo subjects in that closet
nurturing an irrational (often unfounded) fear.
The Orang Besar series addresses our political
and economic structures that stretch across
centuries to the contemporary. For example,
I see the early trade ‘piracy’ as a kind of precolonial
defensive territorial resistance and
privateering for the local Orang Besar and
Sultans.
Does Boogeyman refer to the Orang Besar
and the idea of myth?
‘Boogeyman’ does refer to the Orang Besar
but indirectly. I do not refer so much to myth
but to our history.
Empires of Privateers and Their Glorious Ventures, 2010, C-type print, 80 x 240 cm, Ed. of 8
‘Orang Besar’ (lit. ‘Big Person’) was / is a common term
throughout the Southeast Asian archipelago dating
centuries, denoting a person of elite socio-politicaleconomic
standing in a community.
Traditionally, the wealth and infl uence of a man was not
measured by how much land he owned or by the quantity
of livestock or ships he possessed, but by the number of
persons dependent upon him. The control of people and
access to labour was considered to be the source of
power, thus the measure of wealth and infl uence.
The temperament of these Orang Besar structures, the body
politic, continues to the present despite colonial infl uence
that has been absorbed into ancient ways of rule and
control. The vertical bondage between persons, notions
of obligation and patronage, critical to the ancient power
structures, remains.
How do you think your work has evolved since your last solo
exhibition?
My last offi cial solo
exhibition was
in 2003 with the
Horizon Series. I
now spend more
time on research
and developing
ideas as well as
medium.
My work is photo
media based but
I like challenging
this. The new work
incorporates photo
media imagery
printed onto silk
with batik. I’m
also translating and referencing archival photographs into
iconic nationalistic imagery to be made into hard pewter
objects.
Was it a conscious choice to launch the
exhibition on Malaysia Day?
Yes. ‘Malaysia’ is my subject and I’m making 4 ‘Malaysia
Day Commemorative Plates’ in collaboration with Royal
Selangor. The 4 plates memorialize the 4 signatory territories
that formed Malaysia: Malaya, Sabah, Sarawak, Singapore
and their 4 leaders that proclaimed Malaysia on the 16th of
September 1963.
We’ve never had Malaysia Day commemorative plates
to my knowledge. Malaya’s Merdeka Day has one but
not Malaysia. Many people, especially in the Malaya
territory do not even know that the 16th of September
is ‘Malaysia Day’. It has not yet been given a public
holiday. As a Malaysian, I think it is wrong that ‘Malaya’ is
given precedence over ‘Malaysia’.
How did the idea of using textile and batik come about?
Did you collaborate with any batik artists?
Using batik and pewter (tin) is an effort to allow the
very medium of the message to also carry weight. The
medium is part of the storytelling about history, culture
and trade.
The Orang Besar series is a very male story so I wanted to
temper this using batik, traditionally a medium of female
commentary.
I fi rst learnt batik from the artist Fatimah Chik. I had a few
classes with her. I then worked with Masrina from Ilham
Cipta Handicraft in KL on the fi nal batik pieces. It was a
great pleasure to collaborate with her and her team!
What is it about photography that captivates you?
Photography is so accessible as a language.
Photography also permeates our lives as a mass of
undifferentiated signs and symbols. I want to fi nd
meaning through this visual language. I see the world
and to a degree our modern history, as a tetris-esque
photographic installation. I am more interested in using
photographs for their baggage than actually taking
photographs.
Lastly, why the fascination with kerbaus?
We, the population, are buffaloes!
A Rousing Account of Migration in the Language of Sea, 2010, C-type print, 61 x 61 cm
each (tripych), Ed. of 8
Malaysia Day Commemorative Plates (16 September 1963) Malaya, Sabah,
Sarawak, Singapore in collaboration with Royal Selgangor,
2010, Pewter, 25.4cm each (diameter), Ed. of 8
Kain Panjang with Petulant Kepala, 2010, C-type print, 82 x 180cm, Ed. of 5

The
Study of the Twilight at the River of Lost Footsteps (Yangon, Myanmar),
Watercolour and Ink on paper, 10 x 15cm, 1994
CHANG FEE MING :
SKETCHING THROUGH SOUTH-EAST ASIA l Ooi Kok Chuen
Tanah Gajah ( Teges, Bali, Indonesia),
Ink on Paper, 14 x 20.5cm, 2000
exhibition, Sketching Through South-east Asia, is a
thumbnail mosaic of one of the most compelling
artistic journeys which impact on many fronts other than art.
Though not the most comprehensive, it signals more than
two and a half decades of intrepid traveller-artist Chang
Fee Ming’s forays into the heart of South-east Asia’s more
isolated communities. The earliest among his 92 selected
sketches starts from 1992, although his journey actually
started in the mid-1980’s.
It also dovetails his great Mekong artistic odyssey, tracing
life of impoverished peoples especially in the lower reaches
from Thailand, Laos, Myanmar, Cambodia and Vietnam to
the source in the Tibetan Qinhai region.
From the rituals of romance of Bali and the whale hunters
of Lamalera to the fi shermen of Vung Tau in Vietnam and
the pious observances in Laos and Myanmar, Chang Fee
Ming has captured in his pen and brush, simple people who
time and country seem to have forgotten, people blithely
going about their simple lives, with their simple needs and
carefree innocence.
These are heartfelt stories, whether the subjects are at work
or at leisure. Tough, stoic, honest and hardworking people
who are cultured in their own ways, without pretensions or
fanfare.
These quaint portraits done in typical Asian narrative
tradition can be taken as little studies of history,
anthropology, arts and culture, with telling socio-economic
commentaries.
To Fee Ming, the usual art paper is not his only ‘canvas’. He
would sketch on notepads or envelops with their unrelated
printed trademarks and usually postal-stamped, for the
veracity and a touch of ornamentation.
His paintings are real essays about yesterday’s people
today, their weather-beaten or wizened faces telling the
story of hardship and tenacity, and yet their eyes revealing
a spirit of happy nonchalance.
Unwittingly, his works have raised greater awareness about
the indigenous people and minority communities in the
outer reaches of the South-east Asian hinterland, their
cherished tradition and beliefs which many in the rush for
lucre have lost.
Trudging or trekking or traveling by jeeps or whatever
outmoded transport to get into the more inaccessible
interiors, Fee Ming is often up to the challenge. For him,
no fi ve-star hotel comfort or “four-seasons” gourmet
meals, for he travels light and cheaply, like an explorer.
His quest is only the Holy Grail of secrets of life of a
disenfranchised people, whether singly with a heroic
halo or in camaraderie as part of a greater human
endeavour.
He is like an itinerant wanderer in search of the oral
tradition of old communities, as he gets entranced by
local folklores and beliefs.
Fee Ming is like a visual reporter, moving effortless
on the ground with his easy-going demeanour,
politeness and humilty. He often strikes up
conversation with the locals easily, learning a lot
about the people and cultures, the terrain and odd
places. Most of all, he conceded to having done
some homework before visiting the places, including
the socio-political dimensions.
His sketches are quick, incisive and decisive, of the
moment, not so much the light perhaps, but in the
patterns, and the lines that defi ne and confi ne a
subject. Most importantly, there is an intimacy to the
subjects, that at once establishes a closeness, as if
the subject is in front of you.
In all, Fee Ming says that he is fortunate to have
not encountered any hostile forces despite moving
into areas such as illegal logging, landmines and
controversial dam development sometimes.
His only big fear was when he badly injured his
painting right hand in a bus accident on his way
from Luang Prabang to Vientiane in 1994.
“The marketplace is often where it is at, a very good
place to start to size up a place and get to know
the local people, for it is here where they converse,
mingle and trade,” says Fee Ming.
The markets of Pasar Perihajo in Yogyakarta
(Indonesia), Pasar Atas in Bukittinggi (Indonesia),
Kengtung and Inle lake in Myanmar, Salavan in Laos,
Chiang Khong in Thailand, Cai Be (Vinh Long) in
Vietnam, Kampung Chnang in Cambodia… and of
course, his favourite visual hunting ground in his home
state of Terengganu.
Sometimes, the reality is more grim, like that of a war
past in Laos, where unexploded bombs lurk and the
exploded mortar shells come in handy as prayer bells
(in a monastery in Champasak) and as substitutes of
wooden house stanchions.
The link between Man and Nature can be seen in the
giant octopus-like buttresses gripping the ruin of Ta
Prohm in Siem Reap, while that between God and Man
are shown as acts of faith and supplications whether it
be Islam, Buddhism, Christianity or Hinduism.
One is reminded of his saffron fugue of the Mandalay
Series, of a sketch of two monk friends looking at the
sun set at Don Khong in Si Phan Don in Laos.
Day in, day out, the rituals of life are reenacted all
over these traditional communities. Whether it be a
cremation ceremony or a performance rehearsal, the
gamelan ‘kling-klongs’ like a mnemonic mantra in the
Tejekula in Bali.
Another salient point about Fee Ming’s works, is the
redoubtable standard in terms of technique whether
Alm ( Bangkok, Thailand),
Ink on Stamped envelope, 12.5 x 18cm, 1994
it be the textural quality, the colours,
the composition or the bold concept.
His angles of depiction include cut-offs,
lopped-off body, top-down view, closeups,
full frontal or from the back.
Figures can be reduced to just a jumble of
straggly lines. He is great at depicting the
tired rural folks at rest, some completely
poofed in gay abandon on the stilt-house
parapet with one leg dangling over a
wooden railing.
Catch II (Kampong Cham, Cambodia),
Watercolour and ink on paper, 19 x 19cm, 2010
“The consummate quality of Fee Ming’s
works was astoundingly shown, for
instance, in his more recent “graduation”
masterpieces after a guest stint with the
Singapore Tyler Print programme in 2009.
His epic Mekong Series of paintings, one
of the most ambitious art expeditions ever
attempted, have travelled to fi ve major
Asian cities – Kuala Lumpur (Malaysia),
Jakarta (Indonesia), Chiangmai
(Thailand), Beijing (China) and Singapore.
The works are all recorded in a 128-page
accompanying book, in a notebook form
with fi ve neat sections, namely Market
and Meeting Place, Culture and Tradition,
Work and Livelihood, Rest and Leisure,
and Garden and Landscape.”
09
ART REVIEW

10
EXHIBITION HIGHLIGHTS
Specimen
#7, 2010,
Oil & Epoxy
on canvas,
ASHORE : Yong Look Lam
Pinkguy Malaysia Art & Frame’s relentless support
for local artists continues with Yong Look Lam’s
sixth solo show, Ashore on 16 October until 28
October 2010.
Ashore reveals the painterly brilliance of
watercolor techniques and sensuousness. In
this series Yong explores Malaysian culture
and traditions through the depiction of fi shing
boats, rural life, local fl ora and fauna and other
indigenous aesthetics. His elegant composition
and multifaceted design brings charm to
community life while keeping the watercolor
tradition alive and reputable.
Yong Look Lam’s contribution to watercolor
paintings is considerable. He showed the way
towards the evolution of a distinct representation
based not only on the subject matter but on the
artists’ particular refl ections conditioned by his
environment and traditions.
Yong seems to have a mystical bond with
fi shing boats which never strays far from reality
in his landscapes. He crafts pictures which are
indubitably Malaysian in a genre style which
refl ects aspects of Malaysian sensibility. To
create such representation, he escape from
the alienation of the urban landscape, to fi nd
contentment and inspiration in a simple way of
life, travelling to fi shing villages and being with
rural people to share their joys and anxieties in
search of that elusive Malaysian “soul”.
Join us for a breathtaking artistic experience of
Ashore accentuated by our exclusive frames as
we continue our support for local artists while we
strive to make Malaysian art accessible to all.
We would also like to thank everyone who has
contributed to the success of this exhibition.
HOM 6 th Artist in Residency
Tiong Chai Heing
Artist Tiong Chai Heing likes sculptures and paintings
that are “alive” and speak to her. Artworks with
a metaphysical or surrealistic tendency. Her
own works are thoughts and views about the
environment that we live in. In the hot and
humid top-fl oor studio of House of MATAHATI,
something is fermenting
and cooking. Akin to a
bundle shop, heaps of
material on the fl oor
are piled up and some
are stacked against
the wall. Evidence of
experimentations and
possibilities took over every
nook and corner of the given
workspace. In the clutter, there are
sculptures that look like they are about to
move if touched like a mimosa and tell a story.
Addressing her concerns for the environment and love
of nature, an infectious sense of restlessness is prevalent in her
search for readaptation and redemption. Manually, she twists
and sculpts the fabric. The driven and obsessed young artist
from Johor relates to her artworks to personal encounters based
on past projects and reserves the same enthusiasm for one of
nature’s fi nd: fungi. Like mold attacking the bark of a tree, Chai
Heing works non-stop, looking for ideas and techniques to invent
an entirely new creation that is organic and could come alive in
a fertile ground.
Chai Heing takes bold actions in producing these tributes to
nature. She feels a personal attachment to her artworks; to be
able to shape them with her own bare hands. Why fabric? Why
clothes, you ask? Well, clothes are one the most personal items
anyone can have. The way we utilize our possessions refl ect
who we are; be it our own private belongings or others’. The
delicate laces and elaborate prints we choose to
wear could be an illustration of our personality, our
trade-mark or identity. What we wear tend to defi ne
who we are, and vice-versa. But what happens when
the clothes are discarded from the body? Chai Heing
brings to life these cast offs. Through her creations, she
breathes in hope and fresh meanings. When asked
about the choice of using fabric, Chai Heing admits
her penchant for antique prints and patterned laces.
These materials are her favourite tools for vending
inspiration. Frozen in time, the artworks are stories
captured, fl eeting and stuck in motion.
- Text edited from the Review by Huda Nejim Al-Asedi
Tree 2010, Oil on board, 180 x 120cm
Tanjung Dawai, Sungai Petani 3, 2010, Watercolour on paper , 29.5’ x 42.5”
Pulau Gajah Hilir, Sabah 3, 2010, Watercolour on paper, 14.5’ x 42.5”
Practice Work #4 2010, Fabric & oil on board, 77 x 53cm
Born in Yong Peng, Johor in year 1986, Tiong Chai
Heing was graduated from Dasein Academy or Art
Kuala Lumpur in Diploma of Fine Art in year 2008
Tiong Chai Heing has participated in a number of
group exhibitions since 2007; the most recent is this
year Art Program SASARAN in Kuala Selangor, and
Malaysian Vietnamese Contemporary Art Exhibition
at Penang Mutiara Gallery in Penang. Last year,
she participated in Young & New Part III Exhibition
at House of MATAHATI, Kuala Lumpur, Iskandar
Malaysia Contemporary Art show (IMCAS) at Danga
City Mall, Johor Bahru and The Dialogue Of Art
Exhibition at Annexe Gallery, Kuala Lumpur
She was the award winner (Charcoal) of Tanjong
Heritage Art Competition in Kuala Lumpur back in
year 2008. In 2009, Tiong Chai Heing was the Finalist
for fi rst Malaysian Emerging Artist Award (MEAA) at
Soka Gakkai Malaysia, Kuala Lumpur also Finalist
IMCAS Award, Danga City Mall in Johor Bahru.
Chai Heing has been a full time painter since 2007
and she lives and works in Kuala Lumpur.

12
FEATURES
Agapetus A Kristiandana, Sisyphus
Painted on aluminum
105 x 47 x 111 cm, 2009
S.Bin Art Plus, Singapore
Art
Expo Malaysia 2010 provides the opportunity for
visitors to admire 2,000 pieces of beautiful artworks
(paintings, sculptures, digital art, and installation) presented
by reputable art galleries from around the world, under one
roof – MATRADE.
Most of the main players have stayed on for the 4th edition
of the International Art Expo Malaysia with more Singapore
galleries and an exciting group of Japanese artists joining in.
On the Malaysian side, it’s an almost full house of leading
galleries with a great mix of established artists, superstars and
emerging artists.
The Art Expo Malaysia 2010 will be held at the MATRADE
Exhibition and Convention Centre (MECC) in Kuala Lumpur
from October 28 to November 1.
For entertainment value, there will be the latest video drama
art of animation wizard Miao Xiao Chun, whose Microcosm
was a huge hit at last year’s Art Expo Malaysia.
The exhibitors are from 16 countries but some
of the artists featured are from eight other
countries, including those from the innovative
Embassy’s Row featuring works of artists
from Argentina, Cuba and Ecuador.
Singapore’s big galleries will not only
feature works from Singaporean
masters and contemporary artists.
They will also have, some singularly,
artists from Tibet, China (Yisulang
Art Gallery), the United States,
Germany, India, England and
Australia (Art Facet).
Japan’s Asian Artists Network will be
making their debut with artists such as
Yoko Yamada and Ichiro Sato.
Spain’s Madrid-based ATR Gallery will
again plug its two hot emerging artists,
Jesus Curia and Guillermo Oyaguez.
Works of world renowned artists Andy
Warhol, Roy Lichtenstein (Collectors
Contemporary) and Joan Miro (ATR Gallery)
will also be tested in the market.
Singapore Artists Pavilion, which is managed by
Cape of Good Hope Art Gallery, will have masters Goh
Beng Kwan, Choy Weng Yang, Lim Tze Peng and Lim
Yew Kuan, while young blind sculptor Victor Tan will be
represented by Sunjin Galleries.
Rafi ee Ghani, Sabak 1
Oil and mixed media,
121.92 x 142.24 cm, 2009,
Art Case Galleries, Malaysia
Indonesia’s hot artists Putu Sutawidjaja and Agapetus
Kristiandana will debut with Singapore’s S.Bin Art Plus
which will also have the Indonesian master Lee Man
Fong, while MAD Museum of Art & Design will have
the Pop Art duo Song Wei (China) and Jahan Loh
(Singapore). Y2Arts will present Feng Ye and Zi Peng
(both from China), while Singapore’s newest gallery
Art Trove will present German artists Ewald
Platte (1894-1985).
Myanmar’s Summit Arts Collection will have Aung Thiha,
known for his fat women, while the Philippines’ Galerie
Joaquin will bring Jaspher Penuliar and for the fi rst time,
Daniel dela Cruz.
Chit Fung Art, a respected Hong Kong gallery in
traditional Chinese brush painting dealership will
doubtless unveil works by their heavyweights such as
Wang Mingming, Jia Youfu and Li Dingcheng.
Other notables include Hungarian Zoltan Ludvig
(Ludvig Gallery Budapest), Taiwan’s Du Xi (William
Contemporary Art Space), Macau’s James Chu
(Art For All, AFA), Korea’s Alvin Lee (International Art
Cooperative Organization, IACO), Indonesia’s Dwi Stya
Acong (Koong Gallery), Ojite Budi Sutarno (Puri Art
Gallery) and Krijono (H Gallery Art & Painting), India’s
Anjolie Ela Menon and the late Paritosh Sen (AP Western
Art Gallery). Other Indian artists represented are like S.
Elayaraja (The Gallery of Gnani Arts) and Ravi Shankar
(Archana Gallery).
Cheah Yew Saik (City Art Gallery), Dato’ Sharifah
Fatimah Zubir, US-based Khoo Sui Hoe (Artfolio), USbased
Eng Tay (Art Accent), Syed Thajudeen (Sutra
Gallery) head the Malaysian section with popular midcareer
artists Ahmad Zakii Anwar, Jalaini Abu Hassan,
Chang Fee Ming (Valentine Willie Fine Arts), Raja
Shahriman b. Raja Aziddin (Pelita Hati House of Art).
Batik artist Chuah Seow Keng strikes out under the
Yahong Art Gallery banner, while Art Salon @ SENI will
feature the US-based Malaysian-born Lee Long Looi.
The younger set includes Tan Kai Sheuan (a2 Gallery),
Tan Kok Cet (Artseni Gallery), Samsudin Wahab, Khairul
‘Meme’ Shoib and Haslin Ismail (R A Fine Arts – The
Gallery).
Art Expo Malaysia also goes HERITAGE with the Archi-
Heritage exhibition of Malaysia’s leading artist of the
landscapes and old buildings, Peter Liew. His thick oil
impasto works cover three continents – Asia, Europe
and the United States. His Asian works focus on colonial
buildings and places of worship in Singapore and
Malaysia. The Malaysian palette is on Kuala Lumpur
and the twin Unesco World Heritage designated sites of
Penang and Malacca. Also in the heritage orbit are the
“fl oating buildings” of Venice and the colonial houses in
upstate New York in America.
From China, Zhong Shan Cui Heng Culture and
Art Village will be reconstructed while there will be
exhibitions by The Li Chi Mao Art House and a group of
Shaan Xi art academy lecturers led by Wang Xi Jing.
The Henry Butcher Art Auctioneers booth will focus on
its 2011 programme. There will also be a ‘Know Your Art
Expo Malaysia’ booth for feedback, interaction and
future collaborations.
Art Expo Malaysia 2010 is co-organised by National
Art Gallery Malaysia, supported by Ministry of Tourism
Malaysia, and under the esteemed patronage of the
Crown Princess of Perlis DYTM Tuanku Hajjah Lailatul
Shahreen Akashah Khalil.
For enquiries, please contact 03-7728 3677 / 012-206 1345 /
info@artexpomalaysia.com OR log on to
www.artexpomalaysia.com
Yoshitomo Nara, Rock’ n Roll the Roll
Acrylic on wood
228 x 301 x 9 cm, 2009
MAD Museum of Art & Design, Singapore

14
ART REVIEW
| PENGENALAN |
Apabila membicarkan teori mimesis atau teori bentuk di
dalam karya ‘Republic’ oleh Plato yang mengemukakan
bahawa segala yang ada di dunia ini merupakan tiruan
(mimesis) dari yang “asli” di dunia idea. Saya ingin
membawa pembaca meneroka dunia dialog wajah diri
dengan meminjam konsep tersebut dengan menyelusuri
karya mimik muka, riak wajah dan ekspresi diri oleh Amin
Asa’at.
| WAJAH-WAJAH |
Menurut Plato “Karya catan bukalah melukis objek yang
sebenar tetapi hanya gambaran seperti gambaran di
sebuah cermin”. Inilah yang cuba diterokai oleh Amin
Asa’at dalam pameran solonya ini yang bertajuk ‘Wajah-
Wajah’ atau ‘Faces’. Bersandarkan teori seni daripada Plato
tadi beliau mempersoalkan dimanakah letaknya tempat
seseorang artis dalam proses penciptaan. Ini kerana dalam
teori memesis oleh Plato itu mengatakan “Artis yang melukis
sebuah kerusi adalah meniru bentuk kerusi yang dibuat oleh
tukang kayu.Tukang kayu pula mencipta kerusinya daripada
bentuk induk yang hanya wujud dalam alam idea, iaitu
bentuk induk yang hanya dihasilkan oleh Tuhan. Maka wujud
tiga kerusi yang dihasilkan oleh tiga sumber iaitu bentuk
atau idea kekerusian oleh Tuhan, perabot kerusi oleh tukang
kayu, dan catan oleh artis”. Sebab itulah di awal tadi Plato
menyebut catan adalah gambaran seperti cermin jadi
beliau membuat keputusan artis yang membuat ‘bentuk’
bukanlah satu hasil yang sebenar dan betul.
Inilah yang cuba di sampaikan oleh Amin sungguhpun
begitu subjek beliau bukanlah sebuah kerusi tetapi wajah.
Dalam konteks membuat wajah muka artis bergerak dalam
lingkungan akademik renaisan yang cukup menebal
golongan sufi daripada Leonardo Di Vinci kepada
masyarakat bawah Rembrand, sehinggalah kepada seni
moden daripada potret salebriti Andy Warhol kepada
optikal Chuck Close, namun ia masih berada di tahap
kedua daripada idea teori bentuk yang meniupkan ekspresi
Wajah- wajah, 2010,
60” x 44”, Akrilik & Cat Aerosol (Spray Paint)
Menghadap Diri Sendiri, 2010,
60” x 88”, Akrilik & Cat Aerosol (Spray Paint)
diri wajah, idea penciptaan ini masih lagi
dianggap sebagai pandangan klasik yang
bernafsu realisma dan representasi.
Amin Asaat
WAJAH-WAJAH
l Faizal Sidik
Dalam pameran ‘Wajah-wajah’ saya ini
boleh membahagikannya kepada beberapa
tema iaitu potret diri, rakan artis dan kenalan
rapat. Dalam semua karya potret diri karyakarya
oleh Amin boleh dikatakan sebagai
penerokaan kepada psikologi keindahan
pada ketidakindahan atau seni emosi
dalam memotretkan perasaan yang dekat
dengan dirinya seperti sinis,duka, resah,
kecewa, marah, gelisah, hiba, sakit, risau dan
pengharapan.
Dalam karya potret diri artis digambarkan
secara berekspresi. Dalam siri karya ini Amin
menggunakan teknik stensil dan putih
sebagai latar, manakala mimik muka seolaholah
bereaksi secara spontan dimana
bahagian matanya menceritakan segalagala
didalam diri artis, bahagian bahagian
muka menggunakan warna akromatik
hitam dan putih seolah-olah menceritakan
hitam putih dirinya. Pelbagai aksi muka atau
‘facial expression’ yang memberi tumpuan
kepada deria seperti mata, kening dan mulut
seakan meriakkan pelbagai perasaan yang
mempengaruhi diri artis.
Kombinasi penggunaan tona hitam putih
ditambah dengan pencahayaan terang
gelap yang matang berupaya menceritakan
ekspresi diri Amin pada masa ini. Manakala
dalam siri terakhir potret diri beliau jelas
mengambarkan perasaan terkejut, hal ini
dapat dilihat pada reaksi mata dan keningnya
yang diangkat keatas, manakala bahagian
di bahagian mulut seperti tanda tanya dan
persoalan diri didalam diri. Kepada siapakah
beliau ingin menyimbolkan wajah-wajah itu?
Adakah beliau mengejek sifat diri atau sifat
masyarakat urban disekitar beliau seperti
dalam pepatah Melayu yang lebih gemar
‘bermuka-muka’?
Dalam siri karya rakan artis menggunakan
akrilik dengan teknik catan semburan
melambangkan latar keseluruhan mimik
dilihat dengan wajah ceria dan gembira
seperti seorang pelawak atau ‘jester’. Amin
bijak memilih rakan beliau yang sesuai
untuk karakter ini. Beliau seolah-olah artis
yang menjadi ‘pengarah’ dan ‘penulis
skrip’ kepada ciptaan watak-watak dalam
arahan beliau. Amin mungkin meminjam
sedikit inspirasi daripada Warhol yang pernah
mengembangkan idea ini dalam karya-karya
potret selebriti Hollywood seperti ‘Elvis Presley’.
namun dalam karya rakan artis ini Amin telah
menjadi mangsa untuk ‘diperlawakkan’
dengan berjaya memberi ekspresi kejenakaan
pada bahagian mata, hidung dan yang paling
ketara adalah bahagian bawah bibir yang
mungkin sengaja di mimik sebegitu seolah-olah
diri Amin sememangnya telah ada dengan
sifat semulajadi menjadi pelawak.
‘The painter is taken
by way of illustration’
Plato
Dalam sebuah siri karya ‘Wajah-Wajah’ dilihat
seakan artisnya juga digambarkan seperti pelakon
di pentas opera yang mainkan sendiri dengan
mendandan muka dengan pigmen hitam putih.
Apa yang menarik dalam sebuah karya ini adalah
dimana beliau memegang kamera dengan urutan
muka dengan mata terbeliak diatas dengan
bahagian kepala sengaja ditiadakan (tanpa
songkok) disamping tangannya memegang
kamera sebagai metafora refl eksi kepada masa
dan ruang dengan merakam semula wajah itu
dilihat seolah seorang badut yang tercuit hatinya
namun pada masa yang sama seolah-olah
merakamkan sifat seseorang yang tanpa ada
apa-apa identiti diri. Apakah komedi atau tragedi
disebalik mimik wajah-wajah ini?. Hanya Amin
sahaja yang mengetahuinya.
Kesimpulan
Melihat karya Amin umpama mencermin kepada
diri sendiri. Eksplorasi diri (self-exposure) terhadap
pencarian diri ibarat memandang ke dalam
perasaan manusia yang meneroka sifat kendiri,
artis telah memprovokasikan persoalan dalam
diri, serta karakter diri seseorang individu. Amin
mengambar refl eksi realiti masyarakat pascamoden
menerusi potret artis yang sezaman
dengannya bagi memperwakilkan pergolakan
kemanusiaan pada hari ini yang mana meminta
sedikit perhatian warga di dalamnya.
Rujukan
Alex Neill and Aaron Ridley,The Philosophy of Art: Readings Ancient
and Modern, McGraw-Hill Inc, 1995.
Matius Ali dan M Hum, Estetika; Sebuah Pengantar Filsafat
Keindahan, Sanggar Luxor, 2004
Hamidah Abdul Hamid, Pengantar Estetik, Dewan Bahasa dan
Pustaka, 1995.
Ku Tangkap Wajahku, 2010,
34” x 24”, Akrilik & Cat Aerosol (Spray Paint)

Pertama kali di peringkat Negeri Selangor khususnya,
Anugerah Bakat Muda Selangor 2010 diadakan
anjuran Jawatankuasa Tetap Belia dan Sukan dan
Sekretariat Belia Negeri Selangor. Malam anugerah ini
menyaksikan himpunan bakat-bakat yang rata-ratanya
tidak pernah didengari di Selangor sebelum ini tapi
sudah mencapai tahap kejayaan yang dibanggakan
di persada antarabangsa.
Terdapat 4 kategori utama dan 14 sub-kategori
disenaraikan dalam pencarian bakat-bakat muda ini
iaitu Seni Musik Solo dan Kumpulan, Seni Visual Arca/
Catan dan Media Baru, Seni Persembahan Musik
dan Teater/Tarian dan juga Penulisan Kreatif dalam 4
bahasa iaitu B.Melayu, B.Cina, B.Tamil dan B. Inggeris.
Berdasarkan syarat-syarat dan kriteria-kriteria yang
ditetapkan pihak kami menerima lebih dari 500 karya
dan diadili oleh para-para juri professional.
16th April 2010, Jumaat
Audiotorium Dewan Sivik MBPJ, Petaling Jaya
Kemuncak malam anugerah ini juga diwarnai dengan
berbagai jenis persembahan iaitu dari kumpulan
Bunckface, Tilu, Elyana, Hands Percussions, Hizad dari
pelbagai bentuk persembahan. Dengan kehadiran
seramai 1,200 orang penonton membanjiri Dewan
Sivik MBPJ serta tetamu kehormat YB Azmin Ali, YB Dr.
Ahmad Yunus, YB Jenice Lee, Prof. Dr. Abu Hassan
Hasbullah dan juga panle-panel juri yang lain.
Penerima anugerah bagi setiap kategori membawa
pulang RM3,000 beserta trofi dan sijil. Bagi anugerah
utama (Anugerah Khas Juri) membawa pulang geran
RM20,000 beserta trofi dan sijil.
PENULISAN KREATIF (BM)
PUISI/SAJAK-AMMALUDDIN ZHAHIR (KREASIONISTA)
CERPEN/NOVEL-HASMI HASHIM (LEMBING AWANG)
PENULISAN KREATIF (CINA)
PUISI/SAJAK-CHEN LOONG (‘WEI CHENG’ THE WALL)
CERPEN/NOVEL-HASMI HASHIM YANG JIA REN (HENG JIU BA SHI DE YU)
PENULISAN KREATIF (TAMIL)
PUISI/SAJAK NAVIN (KOLEKSI SAJAK)
CERPEN/NOVEL YUVARAJAN (ULTRAMAN)
PENULISAN KREATIF (BI)
CERPEN/NOVEL KOW SHIH LI (NIGHT SHIFT BLUES)
SENI PERSEMBAHAN
MUSIC (TRADISI/MODEN) – HANDS PERCUSSION (DIALOGUE IN SKIN)
TARI/TEATER (TRADISI/MODEN) – MARLENNYDEERNERWAN (PERISTIWA DI ZOO)
SENI VISUAL
CATAN/ARCA -HASLIN ISMAIL (THE DEMOCRACY OF AVANT (GARDEN IN WONDERLAND)
GRAFIK/MEDIA BARU – ABROR RIVAI (PEREMPUAN, HUJAN DAN KEMATIAN)
MUSIC
SOLO – KHOR JEE FEI (SOLO HARP WITH ORCHESTRA – LIVE!)
KUMPULAN – TILU (KU BUKAN AKU)
ANUGERAH KHAS JURI
SAHARIL HASRIN SANIN (PENULISAN – TERORIS BAHASA)
KUMARAVEL VIALAN (PENULISAN – BOUQUET OF STORIES)
ROSHASLAM HIZAD (MUSIC – DANCE WITH THE WIND)
BRIAN YAP (PENULISAN – THE TROUBLE WITH MALAYSIA)
ANUGERAH UTAMA
(BAKAT MUDA SELANGOR) – HANDS PERCUSSION
ANUGERAH UTAMA
(BAKAT MUDA SELANGOR) – HANDS PERCUSSION
15
CREATIVE INDUSTRY

MM
16
ARTIST IN RESIDENCY
Malaysian artist, Marvin Chan,
the alternate for the Freeman
Foundation Asian Artists’
Fellowship 2010, was awarded
the alternates grant by the
Vermont Studio Center in May
2010.
This thriving artist community
is a melting pot for artists and
writers from around the world
to explore and develop their
work. Bringing back with him,
in his bundle of experience,
are pieces he constructed
representing the people and the
place. In this article is a piece
he wrote refl ecting the subtle
changes surrounding his journey
from what he knew to what he
realized.
This being his fi rst time in the
US, made him look at things
differently, bent on making the
best of this opportunity to go
beyond the confi nes of what
he already knew, he set himself
free to the unpredictability of
the medium instead of focusing
on a controlled process. As
he became more aware of
the different environment, It is
interesting to see how he is able
to react and reinvent the way
he makes his art and capture
‘meaning’ in a refreshing
aspect.
In his own words, these works
are a combination of painting,
recycled materials and found
objects which I put together
to portray the people I met. I
use the packaging from the
things they use or consume,
I sometimes supplement the
work with found objects to
underscore an aspect or a story
of the person. I did these in
Vermont studio center to make
a cumulative representation of
the artist community there.
What process can teach us
I see my self
In the mirror,
I see my self
In the people,
I speak the same language
But not the same meaning,
I am not,
but I am
A table which I made into a ‘life’ to ‘painting/collage’
interfacing device
otherwise called a palette. THE
I displaced my self
and now I see
I am standing in klia,
waving to my wife,
I walk further
into the glass enclave,
still waving to my wife.
I do not know
what to expect
nor what is
really
expected of me.
All I know is trepidation.
The fl ight
will reach Hongkong
in three hours.
I am relieved.
Only three hours from home.
I am in khai tak airport.
I am three hours
away from home.
I call jessica.
Five hours later.
the fl ight attendant waves to
show
the nearest exits and
demonstrates
how to put on a lifejacket.
This will be the second time
today.
It looks bleak.
The cabin jitter
is brought to a crescendo
by a chorus of screaming
engines,
the plane peels
away from the tarmac,
pulling me
further
away
from what I know.
A carpet of clouds,
a cough
wheeze
the smell
COUNSEL of STRANGERS l Marvin Chan
Portrait of Victor Castro from Mexico.
I used the Whisky bottle we were drinking from,
after work of course.
of airline food
punctuate my melancholia,
I am starving.
15 hours
I am in JFK airport,
it looks strangely similar
to the old Subang airport,
swiftlets glide
past tarpaulin sheets
stuck to the ceiling
joined to plastic tubes.
that hang downwards to...
somewhere
stains pepper the carpet,
and immigration offi cers
pepper the crowd.
they scowl
scrutinize
and direct
I am greeted by
a stoic looking
Latin-American
immigration offi cer,
he stokes my intention
on why I am here for a month.
So I answered him
I couldn’t stay for two months.
He was perplexed by my
answer,
I wanted to sleep.
5am,
a beeping
sound yanks me
from my cocoon,
the cold
New York wind
bites.
I am on my way
to burlington.
We were piled into an airplane
no bigger than a bus.
the fl ight attendant
did her ritual
and then the seats shook,
the earth pulled away like a shy
lover
dashing into the clouds.
We arrive,
it is snowing.
It is spring.
Strange but refreshing,
I haven’t seen snow in a while.
My pants drop
as I removed all metallic
objects(my belt buckle
included)
from my body,
past the metal detector
and into a van.
In the van;
after all this trouble,
I had better come back
with something.
And I probably did.
I found my self,
in the counsel of strangers.
Day one,
I brought nothing,
to refuse myself the comfort
of knowing
familiarity
and left myself
no choice
but to learn.
I had 4tubes of colors.
given to me by Andrea.
Andrea runs the studio store.
A pack of brushes
from Katherine Widen
66cents.
“My mom gave these to me”
she said.
The fi rst week swept by
in waves of delirium,
An ebb-tide of the past,
present
and the future.
I didn’t have canvas,
I didn’t have painting mediums,
I didn’t have a piece of paper
to write this down.
I found a door.
some walls.
some trash.
a cafe.
a bottle of turpenoid.
and
an epiphany.
I fi nd myself
in the people.
Mark Hallet
Dan Allen
Harlan Mack
Who smile at me
gave me brushes
canvas and a location
I often hear people
pose the question,
who am I,
who are you,
who are we?
(I will kiss the land from where I
come from.)
But for now
I am
Max Naff
Katherine Widen
Kim Su-hyun
Kendra Denny
Ariel Churnin
Mary Lamboley
David Kearns
G todd haun
Tatiana Klacsmann
They were the
people who worked
in the church studio
Joshua Abelow
Catherine Altice
Nandi Comer
Lourdes R Correa
They are also
the people who
call out my name.
Suzanne Bennet
Marie-Claude Bouthillier
Zel Brook
Welcome to my studio for the month.
A space I was eager to defi ne as my diary,
yes, marvbook :P
The walls were permeable
so we could hear each other

Marilynn Derwenskus
Jean Walcot
Meredeth Turshen
Patricia T Dye
Constanza Isaza Martinez
They can hear my brush
chaffi ng the canvas
Dameon Lester
I could hear them
on the phone
while I mold
incomprehensible
blobs of color
into poetry.
Allyson H Turner
worthless sheets
of fabric
grow more
endearing
more encrusted
with memory.
more vivid
with meaning.
brush strokes
trace outlines
of my conversations
We spoke
the same words
we held different
beliefs
Dinner time,
A room fi lled with more than 70
people
My table;
Chepecuadra
Vicente
Victor Castro
Jon rises from the
multitude of people
and murmur to
welcome
everybody
Kendra
A combination of portraits showing the people in church
studio, or a ‘country’ or community.
Kevin
Max Naff
Gurdeep
Me
Tortilla with
pulled pork
Vegetarian
Chickpea soup
Brownies
Cori champagne
Sandra Preston
Louise von Weise
Jon Gregg
George Pearlman
Kathy Black
Jill Leninger
Arista Alanis
coffee
Carl Oltvedt
and two pieces
of lemon in
a cup of warm
water.
Peter Lignon
Vicente T Lozano
The conversation
is hardly audible,
Kevin P McCaffrey
Kyle McCord
Kara Candito
But it was good
Beth A Netelkos
It is one week
before the
fi rst critic
arrives
It happens
at the same time
as
open studio
tribulation and revelry
With that I have given to me
my work becomes an
accumulation
of their good
perhaps this will suffi ce
Open studio
People are pensive
they are deciding
whether
they want a critic
Tom Burkhardt
John Monti
Jose Cobo and Juan
Perdiguero
Denyse Thomasos
write down your name
if you do...
from what
I heard...
Critics
are
relentless
their
penetrating eyes
glow with amber
people
break
under
their breathe
foot steps
heavy with
speculation
every creak
of the fl oor board
slamming of the front doors
could
echo
sudden death
It seems
ominous
and then it begins
Portrait of Ginny Spencer and Almaz Wilson.
with a question
followed by
an ambiguous
explanation
a sigh
creaks
murmur
and approaching footsteps
The session begins
I bolted
with everything I had
a systematic spew
of words
while wondering
if the critic gets it
or am I good enough
or is this all a hoax?
I get a little wonky during
examinations
any kind
My mind ebbs into a tide of
ifs buts and maybes
while I fervently delivered
the outline
the thinking behind
the decision
the decision itself
and how it relates to the work
the...
the pieces that are there
on the wall.
Me.
I was on the wall.
The prognosis is done
the prescription
was a cluster
of honey crumble
it seemed surreal
Critic session with John Monti from Pratt Institute.
Chepequadra posing next to his portrait.
too good to be true.
but thats only the fi rst.
and for the following.
I choose relentlessness
and so I remain
Gurdeep Singh
Chau Nguyen
Kirsten Reynolds
Andrea Malin
Adam D Smith
Bonfi re smoke twigs
drink food and merry friends
Ginny Spencer
Susan M Steinberg
pebbles
under my feet
Kyoko Uchida
Charlotte Riley Webb
Dorothy C Weiker
stars over my head
people all around
the energy revitalized
rejuvenated
refreshed
Almaz Wilson
we talked
shared laughter
a bench
an experience.
The people spoke English
but it didn’t mean the same
if I said it
if she said it
strange
we were strange
in some ways
strangers
in the cloak of night
in the counsel
of strangers.
- Marvin Chan 12/7/2010
17
ARTIST IN RESIDENCY
EXHIBITON REVIEW

Rom SuperFlat to SuperSplat! l Ooi Kok Chuen
Curator’s Talk : The Strategy of the Zero Generation -
After the Impact of Superfl at Speaker : Takashi Ishizaki
Venue:
The Annexe Gallery, Central Market, Kuala Lumpur.
Date: September 8, 2010
Organisers :
The Japan Foundation and Rumah
Air Panas collective
The
talk by Takashi Ishizaki, an associate
curator with the Meguro Museum
of Art in Tokyo, focuses on Japan’s Zero
Generation using Takashi Murakami as an
arbitrary if unconvincing time marker.
Unconvincing because the prolifi c Murakami,
the art-world’s poster boy of late capitalism,
is not only still very much in currency but is
also through his company, Kaikai Kiki, behind
developing the careers of some of these late
baby-boomers.
Also, there is no clear ‘break’ between
Murakami and the Z-Gen, and Murakami
himself bows to spiritual antecedents set by the
‘pidgin Japanese’ phenomenon. Artists such
as Morimura Yasumasa (b. 1951) is noted for his
theatrical and absurd ‘cosplays.’
Besides, Murakami (born 1962) and the Z-Gen,
who are born in the 1970’s and 1980’s, share
common traits in their art-making: cybernetic
technology, sexual fetish, ostentatious
otaku (anime fanatics) culture, anime and
a psychological vein of violence. After all,
Murakami captured world attention with his
‘SuperFlat’ theory and art in 2000 but has since
assumed mega rock-star status, especially after
his risqué sculpture of onanism, My Lonesome
Cowboy (1998), was sold for US$15.5 million
premium at Sotheby’s New York in 2008. That
year, he was also named in Time magazine’s
“100 Most Infl uential People” list, the only visual
artist included.
Murakami became more recognised after his
hugely commercially successful collaboration
with designer Marc Jacobs to create
“Everything is Everything” (c)Koki Tanaka 2006
handbags and other products for Louis Vuitton
in 2003.
So, while looking at the disparate stimuli in the
new-wave Japanese art subculture, the subtitle
may really be about ‘Who is the next Takashi
Murakami?’
Ishizaki, himself a Z-Gen-er being born in
1977, is, however, more interested in fi nding a
pattern and gestalt in Japanese art among
the thirtysomethings/fortysomethings, and
concludes at the end of the talk that it is
something still “weak” and “unclear”.
He notes the paradox of
‘locality’/’internationality’, that for Japanese
artists to make it, they would have to “change
their style” (like Murakami and On Kawara,
both based in New York) and not do something
which they love. Murakami did not make any
headway until he headed for New York, and
even when he became a celebrity, there
was skepticism back home in Japan, while
On Kawara struggled with his ‘bathroom
art’ before switching to his celebrated ‘date
paintings’.
Ishizaki makes a cogent point about this
purportedly spoilt generation who have
enjoyed 65 years of relative peace after the
excesses of Japanese militarism.
It’s a new Japan for them - from the impact
of the death of Emperor Hirohito (1989),
effectively ending the Showa Era; the collapse
of the Japanese ‘bubble economy’, the 1993
defeat of the Japanese Liberal Democratic
Party after 38 years, the fall of the Soviet
Union and the Eastern Bloc countries, and the
economic perils of globalization.
In his talk, Ishizaki classifi es the contemporary
artists under Outsider Art (self-taught,
artmaking-centric, Yoshi Toro), Craft/Design
(care for quality: Murakami, Tabaimo),
Performance (Maeko Sato and Satoshi
Hashimoto) and Projects (process important:
MALAYSIA CONTEMPORARY
ART TOURISM (MCAT) Sparkles in Penang
Contemporary Art Tourism Trail in Penang The Penang chapter of
1Malaysia Contemporary Art Tourism (MCAT), “Sparkles In
Penang” (SIP) features thirteen offerings of contemporary art
exhibitions in ten different venues throughout September 2010.
These venues have been known as amongst the prime movers of
contemporary art exhibitions and activities in Penang. The
biggest offering is called “Contemporary Art Campus”, a major
exposition of Universiti Sains Malaysia (USM) Fine Art Collection
at several locations in the USM main campus. Other major
exhibitions include Penang International Print Exhibition (PIPE) at
the Penang State Art Gallery and several other locations in USM
and Georgetown. SIP is also complimented by public
programmes such as artists talk, exhibition tour and workshop to
engage various sections of the public and community with
contemporary art. A seminar entitled “Penang as a sustainable
international hub for contemporary art tourism” is scheduled to
take place at the Eastin Hotel in conjunction with SIP and the
MCAT campaign in Penang. As a historical state known for its
rich variety of cross-cultural heritage, Penang has also been
known for her own unique flavour of art scene. Other than the
conventional forms of fine art practices, sparks of new,
innovative, fresh and exciting approaches have also been
Curator’s Talk: The Strategy of the
Zero Generation - After the Impact of
Superfl at Speaker: Takashi Ishizaki
Taro Izumi, Koki Tanaka) with added divisions of
Self/Others and Product/Action.
For his Zero Gen-ers, he traces the activities
of Koki Tanaka (car running over a phalanx
of full milk packets on the road, and creating
a crashing cymbal with the crashing of
stacks of basins from an overhanging onto a
museum fl oor), Taro Izumi, Shimabuku and the
collectives Chaos Lounge and Chim1Pom.
He notes that to them, money is not that
imperative, and they use objects of daily use
in their artmaking while attempting to make
the mundane in daily life into something more
interesting.
Chaos Lounge makes works that can be
downloaded for individual input and uploaded
again, much like the Wikipedia system.
Chim1Pom comprising fi ve men and a woman
called Ellie, thrives on zany Conceptual
projects involving social interaction and public
posturing. Like catching rats and painting
them to look like Pokemon and raising taboo
memories of the Hiroshima atomic bombing.
An earlier collective using electronic media
in constructing modern-day allegories is the
multidisciplinary Dumb Type, which was formed
in 1984 in Kyoto.
The talk offers an inkling of the latest art trends
among Japanese youth. It helps fi ll the gap ,
after the critically acclaimed 1994 exhibition,
Japanese Art After 1945 (Scream Against The
Sky) held at the Yokohama Museum of Art. (It
was curated by Alexandra Munroe). But the
talk was conspicuous by the absence of Muslim
art students and practitioners as Hari Raya was
only two days away.
Note : Ishizaki received his MA at the Tama Art
University, and worked at the Setagaya Art
Museum until 2009. His curatorial exhibitions include
‘Afterimages of Tokyo’ (Setagaya, 2005), ‘Shaseijutsu
Photo Projects’ (Setagaya, 2008) and ‘Inside Outline -
Motohiro Tomii & Yuki Okumura’ (Kabegiwa, 2009).
witnessed in many parts of Penang for the past ten years. These
sparks have been mostly instigated by the younger generation of
more experimental contemporary artists with support of local
institutions, NGOs and special-interest groups. They provide
sparks that will hopefully turn Penang into an exciting
international hub for contemporary art tourism in this region.
So, come and visit Penang. While you are in Penang during the
month of September, don’t forget ‘to take a ‘SIP’’! “SIP” is
jointly organised by the Ministry of Tourism Malaysia, Tourism
Malaysia Penang, Muzium & Galeri Tuanku Fauziah and the
School of the Arts USM. It is supported by nine major
galleries in Penang.
For General Information & Press Inquiries,
contact Muzium & Galeri Tuanku Fauziah, USM
Tel : +604-6533888 ext : 3261/2137/4789/4788/4787/4786/3294
Fax : +604-6563531 / +604-6535060 E-mail: dir_muzium@notes.usm.my /
shicaineshuib@yahoo.com / ayzz_mng@yahoo.com / adzlan_mgtf@yahoo.com
www.mgtf.usm.my
www.mgtfusmpenang.blogspot.com
www.tagged.com/mgtfusm
www.facebook.com/mgtfusm
www.twitter.com/mgtf
www.youtube.com/mgtfusm
19
EXHIBITON REVIEW
CURA T.O.R

BSLN SANA SINI
PERTANDINGAN
MELUKIS DAN
MEWARNA
KANAK – KANAK
SEMPENA MALAYSIA
INTERNATIONAL DIVE
EXPO 2010)
Balai Seni Lukis Negara dengan kerjasama
Asiaevents Exsic Sdn Bhd telah menganjurkan
pertandingan melukis dan mewarna kanak – kanak
pada 31 Julai dan 1 Ogos 2010 bertempat di Putra
World Trade Centre ( PWTC ). Pertandingan ini
telah mendapat perhatian kanak – kanak seramai
200 orang peserta menerusi 4 kategori yang telah
dipertandingkan. Program ini merupakan acara
sokongan sempena Malaysia International Dive
Expo 2010 yang dirasmikan oleh Yang di Pertuan
Agong XIII, Tuanku Sultan Mizan Zainal Abidin ibni
Almarhum Sultan Mahmud Al-Muktafi Billah Shah.
MAJLIS MAKAN
MALAM BERSAMA
PELUKIS
Pada 23 Julai 2010 telah berlangsung satu
Majlis Makan Malam Bersama Pelukis yang
bertempat di Lobi Balai Seni Lukis Negara.
Majlis Perjumpaan dan Makan Malam
Bersama Pelukis ini diadakan khusus untuk
memperkenalkan Ketua Pengarah baru
BSLN iaitu Dato’ Mohd Yusof Ahmad kepada
para pelukis di Malaysia di samping menjadi
medium untuk berkongsi idea serta bertukar
pandangan dan pendapat antara BSLN
dan pelukis tempatan. Harapan BSLN untuk
memartabatkan Seni Visual dan Kontemporari
Malaysia dipersada dunia diharap dapat
direalisasikan dengan jayanya melalui usaha
dan aktiviti begini.
RUANG INTERAKTIF
PAMERAN “NEGARAKU”
ZULKIFLI YUSOFF
Sehubungan dengan Pameran “Negaraku “ Zulkifl i
Yusoff pada 26 Julai 2010 hingga 23 September
2010 di Balai Seni Lukis Negara, cawangan
pendidikan menyokong dan menyediakan
Galeri 2C sebagai ruang interaktif Pameran Zulkifl i
Yusoff. Cik Tan Hui Koon, kurator dan Kamariah
Abdullah, kurator kanan yang membawa idea
bagi menekankan kepentingan bunga raya
sebagai bunga kebangsaan. Ruang Interaktif ini
membawa tema Taman Bunga Raya. Selama 1
minggu mengambil masa bagi penyediaan ruang
ini. Dalam ruang interaktif ini ada aktiviti Bengkel
Sutera Saring yang menarik minat orang awam
. Pada 9 ogos perasmian Pameran “Negaraku”
Zulkifl i Yusoff , ruang interaktif ini juga membuka
kepada orang ramai dan selama sebulan ini,
ruang interaktif ini telah mendapat sambutan baik
daripada orang ramai dan pengunjung asing.
Ruang interaktif ini buka setiap hari dari 10.00 pagi
hingga 4.30 petang .
MJVAX – MALAYSIA-JAPAN
VIDEO ART EXCHANGE
VIDEO SEBAGAI ALAT
PERTARUNGAN
Malaysia-Japan Video Art Exchange (MJVAX) adalah sebuah
kolaborasi penggiat seni video dari Malaysia dan Jepun.
Seramai lima orang penggerak muda seni video dari Jepun
akan menyertai dalam program-program yang dijalankan
di Kuala Lumpur, Ipoh dan Penang mulai 21 Julai sehingga
3 Ogos 2010 dengan diselenggarakan oleh senior artis /
pengamal seni video. Antara nama-nama artis Malaysia yang
terlibat dan turut serta adalah Hasnul J Saidon, Kamal Sabran,
Kok Siew Wai, Masnoor Ramli, Nur Hanim Khairuddin dan
Sharon Chin. Program ini akan mengupas kepelbagaian fungsi
serta potensi video sebagai bentuk ekspresi diri, keterujaan,
pertarungan serta penguasaan diri. Dengan kata lain: video
sebagai alat pertarungan.
PAMERAN “NEGARAKU”
ZULKIFLI YUSOFF
Kuala Lumpur, 9 Ogos 2010 : Bersempena sambutan
Kemerdekaan Negara ke 53, Balai Seni Lukis Negara
(BSLN) mempamerkan Pameran Solo Profesor Madya
Zulkifl i Yusoff, sejak 26 Julai lalu dan akan berakhir pada
17 Oktober 2010 bertempat di Galeri 2A dan 2B Balai
Seni Lukis Negara. Majlis perasmiannya diadakan di
Aras 1 BSLN dan disempurnakan oleh YB Datuk Seri
Utama Dr Rais Yatim Menteri Penerangan, Komunikasi
dan Kebudayaan Malaysia.
Zulkifl i, sebagai pensyarah Universiti Perguruan Sultan
Idris dipilih untuk berpameran solo di Balai Seni Lukis
Negara kerana keperibadian beliau, yang patrioritik,
berdisiplin, bercita-cita tinggi dan amat peka kepada
teknologi terkini. Selain itu, kepintarannya dalam
mengolah bahantara dan konsep pada karyanya
dengan mengaitkan ia pada sumber-sumber
tempatan.
Beliau merupakan Pemenang Anugerah Utama
Pertandingan Bakat Muda Sezaman tahun 1988 dan
1989, Pemenang Anugerah Utama Salon Malaysia,
Philipmmorris (1995), terkini Anugerah Akademik
Negara (AAN) dari Kementerian Pengajian Tinggi.
Pameran ini merupakan satu himpunan karya-karya
terbaru beliau yang memperlihatkan karya-karya
berupa lukisan, kolaj, gabungan kepelbagaian bahan
(mixed media) dan instalasi. Selain memperlihatkan
kepada khalayak akan perkembangan dan hasil
karya terkini ianya juga akan memberi pengalaman
baru kepada khalayak untuk meneroka kepelbagaian
disiplin bahan dalam karya seni rupa. Bersempena
dengan Hari Kemerdekaan 31 Ogos 2010 dan juga
Hari Malaysia pada 16 September 2010, pameran ini
diharap mampu mengembalikan semangat nostalgia,
kedamaian dan menanam semula semangat
patrioritik kepada khalayak yang datang melihat
pameran ini.
KEPADAMU KEKASIH
(YANG MAHA ESA)
Sempena meraikan keberkatan bulan Ramadhan, Balai Seni Lukis
Negara (BSLN) dengan bangga mempersembahkan Pameran
“KEPADAMU KEKASIH (Yang Maha Esa) ‘. Pameran ini telah
dirasmikan oleh YB Senator Dato ‘Dr Mashitah Ibrahim pada 20
Ogos 2010 di lobi utama BSLN. “KEPADAMU KEKASIH (Yang Maha
Esa)’ adalah sebuah pameran yang mengkhususkan kepada
keimanan, kesyukuran dan pengabdian kepada Allah S.W.T. Yang
Maha Berkuasa. Karya yang akan dipamerkan ini juga akan dijual
dan 10 peratus dari hasil jualan akan disalurkan kepada Badan
Kebajikan Islam. BSLN juga telah menjemput anak-anak yatim dari
Pertubuhan Penyayang Raudhah pada majlis perasmian tersebut.
Majlis perasmian diteruskan dengan bacaan suci Al-Quran yang
diperdengarkan oleh peserta termuda Akademi Al-Quran, adik
Muhammad bin Ahmad Zahid sementara menantikan waktu
berbuka puasa dan disusuli dengan solat sunat tarawih.

SESI APRESIASI
SENI KARYA-KARYA
SULAIMAN ESA
SEMPENA PAMERAN
ANTARA BAHAN
CAMPURAN (ABC)
Pameran Antara Bahan Campuran (ABC)
kini berlangsung di BSLN dari 30 Mac 2010
sehingga 16 Jun 2011. Sehubungan dengan itu,
BSLN bercadang untuk memperkenalkan Sesi
Apresiasi seni karya-karya Dr. Sulaiman Esa iaitu
Compression 3, Manusia dan Alamnya, dan Ke
Arah Tauhid. Bicara seni telah berlangsung pada
17 Julai 2010(Sabtu) di Auditorium, Balai Seni Lukis
Negara iatu 10.00 pagi hingga 12.00 tengahari.
Sasaran audien bagi bicara seni ini adalah pelajar
IPTA dan orang awam. Seramai 55 orang telah
menyertai program ini dari UiTM Shah Alam dan
Unisel. Dr. Sulaiman Esa telah memberi ceramah
berkenaan perkembangan idea dan evolusi karya
beliau selama tiga puluh tahun. Para peserta
mendapat pengalaman yang cukup menarik
tentang seni media campuran ( mix media ). Pada
pukul 11.30 pagi Dr. Sulaiman Esa membawa para
peserta ke ruang pameran bagi menjelaskan
karyanya Compression 3, Manusia dan Alamnya,
dan Ke Arah Tauhid dengan lebih dekat dan
membuat perbandingan antara karya-karya ini.
EKSPO SENI MALAYSIA
ANTARABANGSA 2010
Pada 25 September 2010 telah berlangsung satu Pra
Perasmian Ekspo Seni Malaysia 2010 yang ke-4 bertempat
di Balai Seni Lukis Negara. Ekspo ini yang akan berlangsung
di Pusat Pameran dan Konvensyen Matrade, Kuala
Lumpur, bermula 28 Oktober sehingga 1 Januari 2010.
Pameran ini akan menampilkan beberapa pelukis terkenal
dari beberapa institusi ternama dari 19 buah Negara
termasuk Malaysia. Negara-negara lain yang terlibat
adalah dari Argentina, China, Cuba, Ecuador, Jerman,
Hong Kong, Hungary, India, Indonesia, Jepun, Korea
Selatan, Macau, Myanmar, Pakistan, Filipina, Singapura,
Sepanyol dan Taiwan. Persembahan pada tahun ini akan
didahului dengan animasi blockbuster digital oleh bintang
terkenal, Xiao Miao Chun dari China.
JANUARI
AIAE: 20 Nov 2009 – 31 Jan 2010
Konservasi Masjid Tok Machap
Pameran En Bloc: 12 Dis – 22 Feb 2010
FEBRUARI
Art on Necktie: 2 Feb - 19 Feb 2010
Pameran Seni Bangladesh: 19 Feb – 28 Feb 2010
Pameran 1 Malaysia bersama Rakyat Negeri Melaka 4 Feb– 8 Feb 2010
Pameran Laman Seni Putrajaya ke – 25 bersempena Karnival keceriaan
Putrajaya 20 Feb-21 Feb 2010
Malaysia Open 10 Feb-31 Mac 2010
MAC
Underwater Sceneries: 6 Mac - 6 April 2010
Japanese Design: 8 Mac - 11 April 2010
ABC: 30 Mac - 30 Julai 2010
Program Pertandingan Mewarna Seni di Sini ‘ 1 Malaysia’ di Gua Musang
Kelantan pada 8 Mac– 12 Mac 2010
Pameran Laman Seni Putrajaya yang ke - 26 27 Mac -28 Mac 2010
Pameran Catan Relief Kanak-kanak di Galeri 2C ( Pengkarya Muda) pada
March – Julai 2010
Pameran Dato’ Latt @ UTM Skudai : 22 Mac - 29 Mac 2010
APRIL
Kata Luhur A. Samad Said : 9 April - 30 Mei 2010
Pameran Abundant Australia : 19 April – 31 Mei 2010
Bicara Seni Sempena A. Samad Said sesi bercerita “ Di Simpang Jalan dan
“Kata Luhur pada 21April & 28 April 2010
Artist at Lobby : 15 April - 31 Mei 2010
MEI
KL Design Week: 1 Mei - 16 Mei 2010
Program Pertandingan Mewarna Batik oleh Kanak-kanak Tadika sempena
minggu perpaduan Negeri Kelantan di Sekolah Rendah Ismail Petra pada 29
Mei 2010
Pertandingan Merwarna KUNTUM anjuran Majalah KUNTUM & McDonalds
dengan kerjasama BSLN di ruang Lobi Aras 1 dan Anjung Belakang pada 15
Mei 2010
WIEF@KLCC Convention Centre: 17 Mei - 20 Mei 2010
Shanghai World Ekspo 1 Mei - 31 Oktober 2010
JUN
Pameran Art Friend: 26 Jun – 20 Julai 2010
Bengkel Arca 1 Malaysia sempena Cuti Sekolah di BSLN 8 Jun-10 Jun 2010
Pameran Karnival Cuti Sekolah Di Pasar Seni Jun 2010
Pameran Innofest 2010: 19 Jun - 20 Jun 2010
JULAI
Pameran Art Triangle : 7 Julai – 7 Ogos 2010
MJVAX : 20 Julai – 6 Ogos 2010
Majlis Makan Malam Bersama Ketua Pengarah : 23 Julai 2010
Bicara Seni “Art Collecting” Anjuran bersama Malaysian Art Friends di Galeri 2A
BSLN 3 Julai 2010
Pertandingan Mewarna Kanak-kanak anjuran Malaysia International Dive Expo
2010 (MIDE 2010) di PWTC pada 30 Julai - 10 Ogos 2010
Pameran Seni di Putrajaya sempena“Floria 2010” : 9 Julai - 18 Julai 2010
Pameran Merakyatkan Seni dan Budaya (PMS) kawasan Lembah Pantai, KL
pada 27 Julai 2010.
Bicara Seni “30 ARTFRIENDS” di Auditorium BSLN Pada 10 Julai 2010
Bicara Seni “ARTRIANGLE” di Auditorium BSLN Pada 10 , 17, dan 24 Julai 2010
Bicara Seni bersama Dr. Sulaiman Esa sempena pameran Antara Bahan
Campuran (ABC) di Auditorium BSLN pada 17 Julai 2010
Pertandingan Bakat Seni Kartun Merdeka: 15 Julai - 31 Ogos 2010
OGOS
Pameran KepadaMU Kekasih (Yang Maha Esa) : 10 Ogos – 30 Sept 2010
Bengkel Seni Kreatif dan Seni Tampak di Krash Pad: 2 Ogos 2010
Bicara Seni bersama Haslin Ismail sempena Pameran Antara bahan Campuran
(ABC) di Auditorium BSLN pada 7 Ogos 2010
Pameran “NEGARAKU” Zulkifl i Yusoff di Galeri 2C: 26 Julai - 17 Oktober 2010
Koleksi Tetap Antara Bahan Campuran (ABC) Bhg.2 : 20 Ogos - 10 Januari 2011
Malam Dirgahayu Tuanku: 4 Ogos 2010
SEPTEMBER
Pra Perasmian - Art Expo Malaysia 2010: 25 September 2010
Pameran Solo Cheng Haw Chen: Alam Seni: 28 September - 24 Oktober 2010
Dengan Cara Kita: 12 September - 24 Oktober 2010
Back Then’ These Day: 23 Sept - 23 Okt 2010
OKTOBER
4th M’sia Art Expo @ Matrade : 28 Oktober- 1 Nov 2010
Penerimaan & Penghakiman Pertandingan Bakat Muda Sezaman 2010: 20
Oktober - 1 Nov 2010
NOVEMBER
Bakat Muda Sezaman : 20 Nov - 20 Feb 2011
Temu Bumi : Nov 2010 - Jan 2011
Espectacular Lucha Libre: 15 Nov - 15 Dec 2010
BSLN KALENDER 2010
Keterangan lanjut hubungi : usnita@artgallery.gov.my

INVENTORI HIMPUNAN
TETAP WARISAN SENI
TAMPAK NEGARA
2004-2009
1065 karya terbaru
Himpunan Tetap Balai
Seni Lukis Negara yang
telah diperolehi dari
tahun 2004 sehingga
2009.
300 Muka surat
1065 Gambar Karya
berwarna
ISBN: -
AKAN
DATANG !
BSLN Publication
ZULKIFLI YUSOFF ‘NEGARAKU’
Katalog pameran ini merupakan
satu himpunan karya-karya
terbaru yang memperlihatkan
karya-karya berupa lukisan, kolaj,
gabungan kepelbagaian bahan
(mixed media) dan instalasi.
Selain memperlihatkan kepada
khalayak akan perkembangan
dan hasil karya terkini ianya juga
akan memberi pengalaman
baru kepada khalayak untuk
meneroka kepelbagaian
disiplin bahan dalam karya
seni rupa. Bersesuaian dengan
jangka waktu pameran yang
akan melalui sambutan hari
Kemerdekaan 31 Ogos 2010 dan
juga sambutan hari Malaysia
pada 16 september 2010,
pameran ini diharap mampu
mengembalikan semangat
nostalgia, kedamaian dan
menanam semula semangat
perasaan patriotik kepada
khalayak yang datang melihat
pameran ini.
ISBN 978-983-3497-48-5
107 m/s
RM 80
BARU !
KEPADAMU KEKASIH
Katalog KepadaMu
Kekasih diilhamkan khas
bersempena dengan
Kedatang ramadhan
dan sebagai tanda
kesyukuran kepada
Allah Yang Maha Esa.
Penerapan nilai-nilai
murni seumpama
ini diharap dapat
menemukan para
pelukis dan khalayak
dalam konteks wacana
keislaman yang boleh
ditarbiahkan dalam
pelbagai arus dan
bentuk penghayatan
sama ada ilmiah
mahupun kesenian.
ISBN 978-983-3497-50-8
84 m/s
RM 20
BARU !
BMS2010
Sebuah katalog pameran
yang memfokuskan kepada
pelukis muda yang bertanding
menghasilkan karya yang
bermutu tinggi dan mempunyai
jatidiri sebagai seorang
pelukis. Pelukis muda yang
berjaya dalam pertandingan
ini diberikan anugerah dan
insentif galakan. Pertandingan
ini mula diperkenalkan pada
tahun 1974 dan dibuka kepada
warganegara Malaysia yang
berusia dibawah 35 tahun.
CHENG HAW CHIEN
ALAM SENI / THE ART WOLD
All publication can be purchased at the Gallery Shop located at National Art Gallery. For enquiries please email to osmi@artgallery.gov.my
DEADLINE 31 JAN 2010
AKAN
DATANG !
Brosur pameran solo Dr. Cheng Haw
Chien ini memaparkan memaparkan
pameran beliau yang ke 136. Melalui
pameran ini, pelbagai elemen seni
lukisan, puisi dan kaligrafi dengan
cara menulis untaian-untaian puisi
di terapkan di atas lukisan. Menerusi
teknik-teknik yang unit beliau ini telah
berjaya merintis aliran keseniannya
sendiri. Beliau belajar daripada
generasi silam dan memberi
kesedaran kepada generasi akan
datang.
RM15 sekeping
RM30 satu set (3 jenis rekabentuk)
BARU !

CRANIUM by Cheng Yen Pheng, HOM’s 7th Artistin-residence.
21/09- 09/10
HOM, Ampang
houseofmatahati.blogspot.com
DEAD or ALIVE In her debut solo exhibition,
Cheng Yen Pheng paints skulls and skeletons.
As a symbol of power as it is the most important
part of the human skeletal structure, the skull
reigns and recurs as the central theme and seen
as an object of beauty. Inspired by Tibetan art
and Chinese ornaments, the skull which usually
symbolises death and evil, is perceived from a
different angle.
MY GOD IS MY TRUCK-Heroic Potraiture from the Far
Side of Paradise: Anurendra Jegadeva
13/09 - 13/10/2010
Wei-Ling Gallery, Brickfi elds, KL
03-22601106/07, weiling@weiling-gallery.com
With this new body of work, Anurendra Jegadeva
has continued to develop a range of narrative tools
in his works – recurring motifs, text, color symbolism,
the framing devices of temple carvers and stainglass
makers and comic book artists – which are the
vocabulary of a multifarious existence. A Malaysian
artist of Indian descent Anurendra Jegadeva has
lived and worked in both Malaysia and Australia.
With a broad perspective of home and the world
beyond he deftly combine his views on the world
with the autobiographical which stems from his own
personal response to or experience of his subject/s.
He strongly believes in the enduring power of
the painted image, and has worked consistently
over the last twenty years to forge effective and
fresh narrative approaches to contemporary and
historical themes.
WHAT’S ON
Eight Pioneers of Malaysian Art
25/09 - 15 Oct 2010
Art Salon @ SENI, SENI Gallery KL
theartgallerypg.com
This exhibition focuses on eight pioneer artists who
are now regarded as Pioneers of Malaysian Art. The
defi nition of a pioneer artist as described by Dato’
Dr.Tan Chee Khuan is a fi rst generation Malaysian
artist who has contributed to the development of
the art tradition in Malaysia and was infl uential on
the art of many younger artist. It is of his opinion,
most of the pioneer artists were from Penang or
were associated with Penang. This exhibition of 49
paintings will try to capture the nostalgia of the
glorious days in Penang when artists painted for the
joy of art and not for commercial considerations.
16 Oct : Toy talk + Dweey Toy Custom
workshop
18-22 Oct: DWeey Toy Exhibition
The One Academy
www.toa.edu.my
Toy No Fun is a creative collaboration project
of Toy Minister and The One Academy. The
project is a combination of Toy Talk, Dweey
Toy Custom Workshop, and Dweey Toy
Exhibition. Besides, Toy No Fun is a corporate
social responsibility project of Toy Minister and
it serves as an entry level for young designers/
students and general public to understand the
toy design world.
Yee I-Lann: Boogeyman
16/09 - 03/10
Black Box @ MAP, Solaris Dutamas, KL
Mon – Sat: 10am – 6pm
Liza (liza@vwfa.net,+60 3 2284 2348
www.vwfa.net
Boogeyman will introduce her new body
of work ‘The Orang Besar Series’. The literal
translation of ‘Orang Besar’ is ‘Big Person’,
a common term dating centuries and used
throughout the Southeast Asian archipelago
to denote a person of elite socio-politicaleconomic
standing in a community. The
works illustrate the Orang Besar structure, the
body politic, and how this continues to be a
major character in the region’s political and
economic nature in our modern society.
Young Malaysian Artist – New Objec(tion)
Galeri Petronas, KLCC
13/07 - 03/10 2010
http://www.galeripetronas.com.my/galeri
GALERI PETRONAS presents a glimpse of Malaysian
art’s future with Young Malaysian Artist – New
Objec(tion). Brash, edgy and exciting, this
invitational exhibition by the gallery features 40 new
works by 40 young artists aged between 25 years
to 45 years of age who have had their works shown
and published in recent years. Names of note
include Haslin Ismail, Liew Cheng Hua, Mohamed
Fadly Sabran, Noor Azizan Abdul Rahman Paiman,
Samsudin Wahab and Tan Nan See, who are
already making waves in the local art scene.
The exhibition highlights the range of mediums
and innovations that are being employed by
contemporary young artists today. They challenge
traditional aesthetics through their methodology
and philosophical concerns in response to the
world around them. Such attitude is marked by
a complete openness towards the materials and
processes with which art can be made and the
form that it can take. Offering a glimpse of things
to come in Malaysian art, viewers can expect
groundbreaking new ideas, expressions and
innovations through a smorgasbord of new video
art, photography, installation, sculpture, and of
course, the conventional painting.
Young Malaysian Artist – New Objec(tion)
Galeri Petronas, KLCC
13/07 - 03/10 2010
http://www.galeripetronas.com.my/galeri
GALERI PETRONAS presents a glimpse of Malaysian
art’s future with Young Malaysian Artist – New
Objec(tion). Brash, edgy and exciting, this
invitational exhibition by the gallery features 40 new
works by 40 young artists aged between 25 years
to 45 years of age who have had their works shown
and published in recent years. Names of note
include Haslin Ismail, Liew Cheng Hua, Mohamed
Fadly Sabran, Noor Azizan Abdul Rahman Paiman,
Samsudin Wahab and Tan Nan See, who are
already making waves in the local art scene.
The exhibition highlights the range of mediums
and innovations that are being employed by
contemporary young artists today. They challenge
traditional aesthetics through their methodology
and philosophical concerns in response to the
world around them. Such attitude is marked by
a complete openness towards the materials and
processes with which art can be made and the
form that it can take. Offering a glimpse of things
to come in Malaysian art, viewers can expect
groundbreaking new ideas, expressions and
innovations through a smorgasbord of new video
art, photography, installation, sculpture, and of
course, the conventional painting.
VAA 40 fi nalists exhibition
01/09 -30/09
Adorn Floor, Muse Floor, Starhill Gallery, KL
artsfestival@starhillgallery.com
Starhill Gallery Visual Arts Awards is an art
competition that aims to elevate the Malaysian
art scene with exciting opportunities for young
and upcoming artists to showcase their talent with
potential for fame and success. VAA also aims to
promote works that explore complex ideas, display
innovative use of materials that will display artistic
skill and experimentations that are in line with the
Global Art dialogue. Join us now if you want to be
a part of this elevation of Malaysia’s Fine Art.
TO ADVERTISE IN
PLEASE EMAIL TO...
anis@artgallery.gov.my
Phuan Thai Meng, The Gleaner 2006, Cetakan duratrans
dan kotak lampu, 87 x 123.5 x 15cm, 2006 BSLN 2009-105
“ Jean-Francois Millet’s master piece - The Gleaner (1875)
was use in this piece of artwork as my visual language
(in term of it contents and composition) to construct and
metaphor a new social landscape of our society now. The
using of the master piece is also intent to have a platform
to re-thinking of our art environment, art history and......
I made use of narrative and allegory to sketch out the
doubtful questioning and cynicism. Several techniques are
used in the process of making this art piece, the scene of
this piece of work is a photo shorting of a 3 dimensional
small scale mock-up with a live mini lighting setup ( just like
a mini theatre stage )that I make.
The process of making “art product” for me isn’t just a
process of making out an “art product”, but as an action/
performance to react to the content and itself are also
become one of my matter of express idea and
concept too.”
PHUAN THAI MENG

Malaysian art now
>ART Expo Malaysia 2010
>SULAIMAN ESA: “MANUSIA DAN ALAMNYA”
>The Counsel of Strangers @
Vermont Art Residency
>“BACK THEN, THESE DAYS” –
International Prints Exhibition, Penang
>Rom SuperFlat to SuperSplat!