The Fraught Lives of Nathan Kwan and Lapsang Souchong
Tutu Dutta: A Review
Chay Hwa Chua & Yeo Eng Hin
Malaysian Lotus Couple
Sophany Sor
The Surrealisms of Siem Reap’s Sophany Sor, Cambodia
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Jef Cablog
Cordillera painter, The Philippines
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The National Gallery of Australia
Exhibition, Gauguin’s World: Tōna Iho, Tōna Ao
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Terri Chong
Waiting, a Malaysian photography collection
Rimbun Dahan
Home of Malaysian architect Hijjas Kasturi and his wife Angela
Poonam Kishore
Art journey of Prayagraj artist Satyadheer Singh
Lotus
A quick word
Autumn
Welcome back to the The Blue Lotus magazine.
Inside this quarterly issue we take Asian art journeys to Australia, Bangladesh, China, India, Malaysia and Thailand, in order to bring you fresh and exciting art creations from Asia and the Asian diaspora.
Thank you, as always, for being here and reading this magazine. Do come back to future issues or take a look at past ones on ISSUU.
Submissions regarding Asian arts and cultures are encouraged to be sent to martinabradley@gmail.com for consideration
The Museum of Contemporary Art (MOCA), at 499 Kamphaeng Phet 6 Rd, Lat Yao, Chatuchak, Bangkok 10900, Thailand
A DAY AT THE MUSEUM
The Museum of Contemporary Art (MOCA) is privately owned. It was founded, in Bangkok (aka Krung Thep – the City of Angels), in 2012, by Boonchai Bencharongkul (Thai millionaire business executive, art collector and founder and chairman of Dtac Thailand’s third-largest mobile network). It houses and appreciates works of Thai artists. Boonchai Bencharongkul co-owns that museum with his son Kit Kanachai Bencharongkul.
MOCA has five intriguing floors. 1st Floor: National Artists of Thailand, 2nd Floor: Contemporary Thai Artists, 3rd Floor: Surrealist Thai Art, 4th Floor: More Thai National Artists and, finally, the 5th Floor: International Art.
More intriguingly, entry for this aged writer (over 60 years) was free on the showing of my passport, otherwise it would have been Bt280 (RM35.94, S$10.32 or USD 7.74).
Art writer John Hoskin has mentioned that…,
“Italian sculptor Corrado Feroci first came to Thailand in 1924 at the invitation of King Vajiravudh and entered the service of the Thai government as a sculptor at the Royal Fine Arts Department which had been founded in 1912. Having a deep love and respect for the country and its people, he was to remain in Thailand until his death in 1962 at the age of 70. In 1944 he acquired Thai citizenship and changed his name to Silpa Bhirasri.
An artist of renown — one of his most notable works
in Bangkok is the statue of King Phra Buddha Yod Fa (King Rama J) at the Memorial Bridge — Bhirasri was given the task of establishing the School of Fine Arts in 1933. He was to be the first principal and foremost teacher of the institute which, in 1943, was raised to university status and, as Silpakorn University, remains today the country’s leading fine arts academy.”
John Hoskin, in Ten Contemporary Thai Artists, Published by Graphis Co.,Ltd. 54 Surawongse Road, Bangkok, Thailand. 1984.
As well as championing Modern and Contemporary art in Thailand, Prof. Silpa Bhirasri, had been for responsible for the 1961 book ‘Thai Culture, New Series no. 8; Contemporary Art in Thailand’ (Effects of modern civilisation and influences of Western art), and the original designing of what is reputed to be the largest free-standing Buddha statue in the world. The ‘Leela Attitude statue’, is 15.875 meters high and is at the centre of the Phutthamonthon Buddhist park in Thailand’s Nakhon Pathom province. Prof. Silpa Bhirasri has has become known as the ‘Father of Contemporary Thai Art’. It is mentioned (in many places) that one of the reasons for creating MOCA was to honour Professor Silpa Bhirasri.
A thought about the museum’s title reminds me of David Teh, and his remarkable book ‘Thai Art: Currencies of the Contemporary’ (The MIT Press, Cambridge, Massachusetts/ London, England, 2017) in which he reminds his reader that….
“Most Thai artists are ambivalent about the term “contemporary art.” But whether they like it or not, it names the contest—all the more crucial since the state has staked its claim—over understandings of this troubled society and its troubling past. For the critic, at least, the contemporary must include the past; it does not replace it. If the term has critical value, it is to demand an art that dares to reflect and redefine its own modernity, a process that cannot but demand change.”
Perhaps that only muddies the water in the ‘Art’ debate of ‘Modern’ vs ‘Contemporary' vs contemporaneous, however ‘Contemporary Art’ was chosen as part of the tile for this particular museum.
While I was staying (yet again on a time limited basis) around Bangkok’s Chinatown, and feeling that I really should engage with Thailand’s ‘fine art’, I decided to take a trip to The Museum of Contemporary Art (mentioned above).
I had used my phone app to call a Bangkok ‘Grab’ (taxi) and, on an overcast day, mooched along for roughly half an hour to the totally splendid chunk of architecture which is Bangkok’s Museum of Contemporary Art (designed by Rachaporn Choochuey in 2012).
According to the Museum’s blurb...
“ MOCA Bangkok has been purposely built to showcase and exhibit the exceptional works of art collected over the past three decades by Boonchai Bencharongkul, whose passion for art runs deep… The building was built as if a whole block of granite was deliberately carved like a stem of jasmine which represents a unique Thai culture”.
Even on a day which was not one of Bangkok’s best, that ‘Contemporary Art’ museum was a statement in and of itself. Words like ‘bastion’, ‘stronghold’ and ‘ citadel’ of arts had immediately sprang into my mind.
Even before actually entering the building
I’d been imposingly ‘greeted’ by Thongchai Srisupraset’s large, Buddhist mythologically inspired and very apt sculpture of the Buddhist concept of ‘Kama’ (2014).
That sculpture presents a lion’s body, a snake’s tail, and the upper part of a human completed with the symbol of an open (symbol of enlightenment) lotus in his left hand. I was to see many, many more of Thongchai Srisupraset’s works in the museum space before, eventually, exiting happy (but mentally exhausted) after visiting all five floors of exhibits. Inside the museum the bronze ’Great Hornbill Lady’ also by Thongchai Srisukprasert towers over the visitor with the words ‘Bangkok, MOCA behind her as you enter.
Thai Art writer Hassapop Tangmahamek mentioned…
“Thongchai Srisukprasert's Fine art and sculptures reflect his progressive concepts and expression accumulated through time and experience. The artist's sensitivity and inspiration also have impact on his unique concept and creative approach. Even in the midst of conflict, obsession and desire, he can present beauty and aesthetics of art and science. Similarly, we can Find both satisfaction and disappointment in this profane world.”
Hassapop Tangmahamek From logiyadhamma' Exhibited At ARDEL's Third Place Gallery (2012)
Inside the museum, and with a desperate desire to use the ‘bathroom’, I quickly exited the café (more of that later) and skirted the ‘sculpture park’, to use the facilities. On exiting the toilet block I was practically petrified by the imposing sculpture of a huge ‘white lotus’ and its reflection in a small ‘pool’ (unfortunately, to date, I have been unable to discern either the year or the creator of this piece). The sculpture, which many have said appears to be a collection of snowy white breasts, or balloons, is, I believe, meant to represent a budding white lotus sprouting from the mud, which in itself may represent a move towards Bodhi (or being awakened), a state of
mental purity and spiritual perfection.
Before and during entry, and scattered around the museum, were numerous exciting, intriguing and at times imposing sculptures by some of the very best Thai creatives. The entry ‘Kama’ statue being one such, the ‘White Lotus Flower’ sculpture and its situational reflection being another and, on the 5th and final floor, Wachara Pranyoonkum’s fibre glass sculpture of Salvador Dali being a most impressive third. That is not to negate all the other fine sculptural works at The Museum of Contemporary Art (Bangkok), as there are many. And, being such a large space, it is impossible for me to present an accurate picture of the marvellous imagery displayed in that expansive museum.
There are some niggling let-downs in the museum, however. The disappointments are small, but irksome. The ‘shop’ is tiny, with the book portion being even smaller. It was a personal disappointment as I’d hoped to buy a catalogue of the museum, but was told that ‘Thai Contemporary Eye’ was ‘out of stock’. I asked about a general book about modern or contemporary Thai art and received the same reply. The books that were there seemed to be very specific and about one artist, or one group. Instead, I bought fridge magnets. From my perspective, it was a wasted opportunity on the museum’s behalf, and very disappointing to this writer about Asian art.
My second niggle is about the ‘café’. For me, it was another wasted opportunity. The space was potentially large enough. The view to the sculpture garden was pleasant enough, but the cafe itself was, overall, less than conducive to time well spent. It was a missed opportunity to hang some Thai art, even reproductions, or posters, for sale. I’m not altogether certain that
there was a theme to the cafe. There was a hint of Japonaiserie (‘Bento’ boxes, salmon or mackerel) and another hint at Americana (the Western styled coffees, but no ‘flat white’). There was no nod towards Thai fusion food, no hint of Nuevo Thai or anything representing an excitement about cuisine, even in its broadest sense. I remain puzzled as to whom the museum was, literally, catering for.
That said, I did like and very much enjoyed Bangkok’s The Museum of Contemporary Art (MOCA). The ability to buy a catalogue, even pay for access to a pdf online, which one could peruse on a smart phone or iPad (over a flat white or even a local Thai coffee and authentic khanom), would have been so much nicer though.
Ed
Monsoon Osmosis
Rebecca Haque
Soft melody of Fazr Azaan
A pre-dawn chiaroscuro
Of flashing silver sky
And dusky trees
Wafting branches wild
In the sudden kalboishaki storm
Shedding fistfuls of foliage
I inhale the luxurious scent
Of squelched earth
Smoking under the sodden leaves
Entranced by shafts of electric
Blue Lightning bolts
I am drenched in the rushing rain
I feel the sentient plops of raindrops seeping into
The texture
Of my soft brown skin
Slowly awakening the spirit within to respond
With gratitude
To the Muezzin’s call to prayer
Indian Monsoon Painting by Bhargavkumar Kulkarni
In Music and Dance: A Tribute to Celebrating the Divine Feminine
By Vasini Shyama Charan Jha
The divine feminine, known as Shakti, occupies a revered position in Indian culture, especially within the realms of music and dance. Representing power and energy, Shakti manifests in various forms, including goddesses, mothers, daughters, and artists. This article delves into the deep connection between Shakti and Indian music and dance, celebrating the divine feminine through historical narratives, mythological tales, and sacred texts.
Within the vibrant tapestry of Indian classical arts, Shakti, the primordial cosmic energy often personified as the divine feminine, creates a captivating pattern throughout music and dance. This exploration highlights the significant influence of Shakti in these art forms, showcasing the power, grace, and wisdom embodied in the feminine principle.
The Mythological Origins of Shakti In Hindu mythology, Shakti is recognised as the fundamental cosmic energy that manifests in various forms, each embodying a distinct aspect of the divine feminine. The Devi Mahatmya, a revered scripture celebrating the Goddess's power, recounts how Shakti, in her form as Durga, triumphed over the demonic forces that threatened the harmony of the universe. This legendary narrative is often expressed through music and dance, featuring the rhythmic chanting of powerful shlokas from the Devi Mahatmya and the elegant portrayal of key moments from the story.
One of the most esteemed mantras in Hinduism, the Lalita Sahasranama, praises the thousand names of the Goddess. Each name reflects Shakti's diverse nature and the countless ways she is honoured and revered. The recitation of this mantra, often accompanied by the melodic chanting of the Vedas, is a common practice in temples and ashrams throughout India.
The Melodies of Creation: Shakti's Song in Mythology From the primordial sound of "Om" that birthed the universe to the rhythmic pulse of creation, Shakti is the very essence of sound. The Devi Mahatmya, a sacred text within the Durga Saptashati, describes the emergence of the universe from the laughter of the Goddess Ambika, a form of Shakti. This laughter, imbued with immense power, vibrates as the primordial sound, setting the stage for creation.
Shloka: "Yā devī sarvabhūteṣu mātṛ rūpeṇa sansthitā I
Namastasyai namastasyai namastasyai namo namaḥ II"
Translation: Salutations to the Divine Mother who resides in all beings as their mother. (Devi Mahatmya, Chapter 1, Verse 5)
Devi Stotras: Celebrating the Divine Feminine through Song
The tradition of Devi Stotras, hymns dedicated to the goddess, forms a significant part of Indian musical heritage. These compositions not only praise the divine feminine but also serve as
powerful invocations of Shakti. One of the most famous is the Mahishasura Mardini Stotram, which describes the goddess Durga's victory over the demon Mahishasura:
"Aiyi girinandinī nandita-medini viśva-vinōdinī nandināte I
Giri-vara-vindhya śirō'dhi-nivāsinī viṣṇu-vilāsinī jiṣṇu-nute I I "
Translation: "O Daughter of the mountain, you who make the earth joyful, you who delight the universe, praised by Nandi, Dwelling on the crest of the great Vindhya mountains, delighting Vishnu, praised by Indra."
This stotram, set to soul-stirring music, invokes the power and grace of the goddess, embodying the essence of Shakti in both lyric and melody.
The Cosmic Dance of Creation
At the heart of Hindu cosmology lies the dance of Shiva and Shakti, a dynamic interplay that gives birth to all existence. This concept is beautifully captured in the Sanskrit shloka from the Soundarya Lahari:
Śivaḥ śaktyā yukto yadibhavati śaktaḥ prabhavitum Na cededaṃ devo na khalu kuśalaḥ spaṃditumapi I
Atastvām ārādhyāṃ hari-hara-viriñcādibhirapi Praṇantuṃ stotuṃ vā kathamakṛta puṇyaḥ prabhavati II
Translation: "If Shiva is united with Shakti, he is able to create.
If not, the god is not even able to stir. How then is one without merit able to bow to you or praise you, When you are worshiped by even Hari, Hara, and Virinchi?"
This shloka encapsulates the essence of Shakti as the activating force behind all creation, even empowering the great god Shiva himself. In the realm of music and dance, this principle manifests as the creative energy that brings art to life.
The Essence of Shakti
Shakti represents the dynamic forces that move through the universe. She is the creative energy that brings life, the fierce warrior who destroys evil, and the compassionate mother who nurtures. In Hindu mythology, Shakti is the personification of divine feminine power, often associated with goddesses like Durga, Kali, Saraswati, and Lakshmi.
Raga: The Feminine Essence in Melody
The concept of raga in Indian classical music is often described in feminine terms. Many ragas are personified as beautiful women, each with her own mood, personality, and time of day. This personification is not mere poetic fancy but a profound acknowledgment of the Shakti principle in musical creation.
Consider the description of Raga Bhairavi from the Ragamala paintings:
"Kr̥ṣṇāṅgī kuṅkumāktā kanakakalasair
hemapadmaiśca haste
Mālāṁ bibhrac ca kaṇṭhe maṇimayamukuṭaṁ tīrṣake dhārayantī.
Translation: "Dark-complexioned, anointed with saffron, holding golden vessels and lotus flowers, Wearing a garland around her neck and a jewelled crown
music. She is often depicted playing the veena, symbolising her mastery over musical notes and rhythms. The following shloka from the Saraswati Vandana highlights her significance:
Translation: May the goddess Saraswati, who is fair as a jasmine flower, the moon or a snow flake, who is dressed in white, and whose hands are adorned by the excellent veena, who is seated on a white lotus, who is constantly worshiped by Brahma, Vishnu, and Shiva, protect me. May she remove my lethargy completely.
Saraswati's influence on Indian classical music is profound. Musicians often invoke her blessings before performances, believing that her divine
grace enhances their creativity and skill.
Shakti in Dance: Durga and Kali Durga and Kali, fierce embodiments of Shakti, represent the powerful and transformative aspects of the divine feminine in dance. Durga's dance, often depicted in classical dance forms like Bharatanatyam, conveys strength, valour, and the triumph of good over evil.
Incident: The Dance of Durga
During the festival of Durga Puja, performances depicting the slaying of Mahishasura are common. These dances are not merely artistic expressions but also spiritual acts that invoke the protective energy of the Goddess.
Kali, the Goddess of destruction and transformation, is another significant figure in dance. Her dance, known as the Tandava, symbolizes the cosmic cycles of creation and destruction.
Indian classical dance forms like Bharatanatyam and Odissi pay homage to Shakti through their intricate movements and storytelling. The rhythmic footwork and expressive hand gestures depict the various aspects of the Goddess, her nurturing nature, her fierce power, and her cosmic dance of creation and destruction. The powerful Tandava dance of Lord Shiva is often mirrored by the Lasya dance of Parvati, symbolising the harmonious balance between masculine and feminine energies.
Shakti in Indian Classical Music and Dance
The influence of Shakti is deeply ingrained in the very foundations of Indian classical music and dance. The Natya Shastra, a seminal text on the performing arts, emphasises the importance of rasa (aesthetic experience) and bhava (emotion) in creating a profound connection between the performer and the audience. These concepts are intrinsically linked to the concept of Shakti, as they represent the flow of divine energy that animates the performance and evokes a spiritual response in the viewer.
In the Carnatic tradition of South Indian classical music, the concept of Navagraha Kritis (compositions dedicated to the nine celestial bodies) often features the Goddess in her various forms. One such composition, the "Soundara Nayaki Kriti" by the renowned composer Muthuswami Dikshitar, pays homage to Shakti as the consort of Lord Shiva. The lyrics of this kriti, which begin with the invocation "Soundara Nayaki Soundara Nayaki," celebrate the beauty and grace of the Goddess.
Similarly, in the Hindustani tradition of North Indian classical music, the concept of Raga Durga is dedicated to the Goddess Durga. This raga, characterized by its majestic and powerful notes, is often performed during the Navaratri festival, which celebrates the triumph of good over evil. The rendition of Raga Durga, with its soaring melodies and thunderous rhythms, is a testament to the might and magnificence of Shakti.
In the realm of Indian classical dance, the influence of Shakti is equally profound. The Bharatanatyam tradition of South India often features compositions that pay homage to the Goddess. One such piece, the "Soundara Nayaki Padam" by the renowned composer Kshetrayya, depicts the Goddess as the embodiment of beauty and grace. The dancer, through intricate footwork, graceful hand gestures, and expressive facial movements, brings to life the lyrics that extol the virtues of the Goddess.
Similarly, in the Odissi tradition of Eastern India, the concept of Trikhandi Pranam (threepart salutation) is a common feature of many compositions. This salutation, which involves bowing down to the Goddess, the Guru, and the audience, is a way of acknowledging the divine presence within each individual. The dancer, through this gesture, invokes the blessings of Shakti and seeks to create a sacred space for the performance.
The Voice of Shakti: Nada and Shruti
In Indian musical philosophy, sound itself is considered a manifestation of Shakti. The concept of Nada Brahma, the idea that the universe is made of sound vibrations, is intrinsically linked to Shakti. The primordial sound, Pranava or Om, is often associated with the goddess Vak, the embodiment of speech and sound.
A lesser-known but fascinating incident from the Brihaddeshi, an ancient Sanskrit text on Indian music, recounts how the sage Matanga discovered the subtle intervals between musical notes, known as shrutis:
"Once, while meditating in a forest, Matanga heard the melodious songs of birds. Intrigued by the variety of sounds, he observed that between the calls of a peacock and a cuckoo, there existed numerous subtle tonal variations. This revelation led him to conceptualise the 22 shrutis, forming the microtonal basis of Indian classical music."
This discovery highlights the feminine principle of Shakti as the source of nuance and subtlety in music, enabling a rich palette of expressions.
Event:
Kali Puja Dance Rituals
In Bengal, during Kali Puja, traditional dances are performed to honour the goddess. These dances are intense and energetic, embodying the fierce and transformative nature of Kali. Devotees believe that participating in or witnessing these dances purifies the soul and wards off negative energies.
Shakti in Folk Traditions
Folk traditions across India celebrate Shakti through music and dance, with each region adding its unique flair to the worship of the divine feminine. For instance, the Garba dance of Gujarat is dedicated to the goddess Durga. During Navratri, women dance in a circle, symbolizing the cyclical nature of life and the power of the goddess.
One such example is the Chhau dance of Eastern India, which is often performed during
the Chaitra Parva festival, a celebration of the Goddess Durga. The dancers, adorned in colorful masks and costumes, enact the story of the Goddess's triumph over the demon Mahishasura. The rhythmic movements of the dance, accompanied by the pulsating beats of the dhol (drum) and the shehnai (oboe), evoke a sense of power and energy that is synonymous with Shakti.
Similarly, in the Garba dance of Western India, the Goddess Amba is celebrated through the rhythmic clapping and graceful movements of the dancers. The circular formation of the dance, known as the Ras Garba, is believed to represent the cosmic dance of the Goddess, while the rhythmic clapping symbolizes the heartbeat of the universe.
The influence of Shakti extends beyond the realm of classical arts and permeates the rich tapestry of Indian folk traditions. In many parts of the country, local deities and goddesses are worshipped with great fervor, and their stories are often recounted through the medium of music and dance.
Shakti in Mythological Stories
Indian mythology is replete with stories where goddesses use their musical and dance skills to overcome obstacles and restore cosmic order. One such story is of Goddess Parvati, who danced to appease Shiva and bring him out of his meditative state.
Mythological Story: Parvati's Dance
When Shiva, the supreme ascetic, withdrew into deep meditation, the world was plunged into chaos. It was Parvati, with her graceful dance, who coaxed Shiva out of his trance, reminding him of his duties to the universe. This dance, known as Lasya, is characterized by its gentle and graceful movements, symbolizing feminine beauty and compassion.
Shakti Mantras in Music and Dance
Mantras dedicated to Shakti are often chanted in musical compositions and dance performances
to invoke the goddess's blessings. One such powerful mantra is the Durga Saptashati, a collection of 700 verses praising the goddess Durga.
Mantra: Durga Saptashati
Om aim hrīṃ klīṃ cāmuṇḍāyai vicce II
Translation: This mantra is believed to protect and empower the chanter, invoking the fierce and compassionate aspects of Durga.
The
Influence of Shakti in Contemporary Music and Dance
In contemporary times, the influence of Shakti continues to inspire artists. Modern adaptations of classical dance forms often include elements that celebrate the strength and resilience of women. Similarly, contemporary music compositions frequently draw upon themes of the divine feminine.
Accident: The Resurgence of Devadasi Tradition
In recent years, there has been a resurgence of interest in the Devadasi tradition, where women dedicated their lives to temple service through music and dance. Though the tradition faced significant challenges and was nearly abolished, efforts to revive and honor the artistic contributions of these women have gained momentum.
Shakti in Global Perspectives
The concept of Shakti has transcended Indian borders, influencing global music and dance traditions. International artists often incorporate elements of Shakti in their performances, recognizing the universal appeal of the divine feminine energy.
Event: Shakti Dance Festival
The annual Shakti Dance Festival in New York showcases performances by artists from around the world who draw inspiration from the concept of Shakti. This festival highlights the global resonance of the divine feminine and its artistic expressions.
The Shakti Festival: Celebrating the Divine Feminine
As the Sangeet Natak Akademi prepares to host the "Shakti , Festival of Music and Dance" at seven sacred Shaktipeeths across the country, it is an opportunity to celebrate the enduring legacy of Shakti in the performing arts. The festival, which will feature performances by renowned artists from across the country, will showcase the rich diversity of Indian music and dance traditions and their deep connection to the divine feminine.
One of the highlights of the festival will be the performance of the "Soundara Nayaki Kriti" by Carnatic music maestros at the Mahalakshmi Temple in Kolhapur, Maharashtra. The temple, which is one of the 108 Shaktipeeths, is dedicated to the Goddess Mahalakshmi, an aspect of Shakti. The performance of this kriti, accompanied by the chanting of the Lalita Sahasranama, will create a sacred space for the invocation of the Goddess's blessings.
Another notable event will be the performance of Raga Durga by Hindustani music artists at the Jwalamukhi Temple in Kangra, Himachal Pradesh. The temple, which is dedicated to the Goddess Jwalamukhi, is believed to be one of the 51 Shaktipeeths. The performance of this raga, with its majestic and powerful notes, will be a fitting tribute to the might and magnificence of Shakti.
The festival will also feature performances of Bharatanatyam and Odissi dance traditions at the Kamakhya Temple in Guwahati, Assam. The temple, which is one of the most important Shaktipeeths, is dedicated to the Goddess Kamakhya, an aspect of Shakti. The performances will showcase the grace and beauty of the Goddess through the medium of dance, with the dancers invoking the blessings of Shakti through the Trikhandi Pranam and other traditional gestures.
The Lasya and Tandava: Feminine and Masculine Principles in Dance
In the realm of Indian classical dance, the concepts of Lasya and Tandava represent the
feminine and masculine aspects of movement. Lasya, associated with grace, beauty, and subtlety, is often linked to the goddess Parvati, while Tandava, characterised by vigorous, powerful movements, is associated with Shiva. An intriguing conversation from the Natya Shastra between Bharata Muni and the gods illustrates this duality:
Bharata: "O Divine Ones, how shall I represent the cosmic dance in human form?"
Shiva: "Let my Tandava be the foundation, for it represents the power of creation and destruction." Parvati: "And let my Lasya bring balance, for in grace and subtlety lies the sustenance of all creation."
Bharata: "Then I shall weave both into the fabric of dance, for one without the other is incomplete."
This dialogue underscores the importance of balance between the feminine and masculine principles in dance, with Lasya representing the essential Shakti element.
Shakti
in Contemporary Arts
The influence of Shakti in Indian music and dance continues to evolve in contemporary times. Modern composers and choreographers often draw inspiration from this concept, creating works that bridge tradition and innovation.
An interesting incident occurred during the 1975 Sawai Gandharva Music Festival in Pune. The renowned Hindustani classical vocalist Gangubai Hangal was scheduled to perform late in the night. As she took the stage, a power outage plunged the venue into darkness. Instead of waiting for the electricity to be restored, Gangubai began singing the Devi raga Durga. Her powerful voice, invoking the goddess of strength, seemed to electrify the atmosphere. Witnesses recall feeling a palpable energy in the air, as if Shakti herself had been summoned. By the time she concluded her alap, the power had been restored, leading many to believe in the divine intervention of the goddess.
This incident not only showcases the power of music to invoke Shakti but also highlights how the concept continues to resonate in modern times.
Conclusion: The Enduring Legacy of Shakti Shakti in music and dance embodies a celebration of the divine feminine, honouring the power, grace, and resilience that women represent. Through mythological narratives, sacred texts, folk traditions, and modern interpretations, the essence of Shakti continues to inspire and uplift. By recognising the divine feminine within these artistic expressions, we acknowledge the timeless wisdom and transformative power that Shakti signifies. Celebrating Shakti means honouring the very source of life and creativity, resonating with the profound truth that the divine feminine is essential to the harmony and balance of the universe.
The concept of Shakti in Indian music and dance transcends mere artistic or philosophical ideas; it is a living essence that continually inspires and empowers. From the subtle microtones of shruti to the grand gestures of classical dance, and from ancient Sanskrit hymns to contemporary compositions, the divine feminine infuses every facet of these art forms with vitality, creativity, and deep significance.
As we honour Shakti through music and dance, we recognize the enduring wisdom embedded in Indian arts, a wisdom that acknowledges the feminine principle's power in creating, sustaining, and transforming our world. In every note sung, every mudra formed, and every rhythm played, we encounter echoes of that primordial energy, reminding us of the divine spark within and the cosmic dance that animates all existence.
The "Shakti, Festival of Music and Dance" stands as a celebration of the lasting legacy of the divine feminine in Indian culture. Through music and dance, the festival highlights the profound connection between Shakti and the performing arts, showcasing how this relationship has been honoured and preserved over centuries. As the
festival journeys to seven sacred Shaktipeeths across the country, it will create a sacred space for invoking the Goddess's blessings and celebrating the power and beauty of the divine feminine.
For over a quarter of a century, Vasini Shyama Charan Jha has had the privilege of sharing her passion for Indian folk music, performing in languages such as Maithili, Hindi, and Bhojpuri on prestigious platforms like All India Radio, Doordarshan, and Prasar Bharati. Her Master’s degree in Music has further enriched her understanding of the profound relationship between music and culture, allowing her to appreciate the nuances and intricacies that make each tradition truly remarkable.
Hasura Akter Rumky
Hasura Akther Rumky completed both her BFA and MFA from the Department of Oriental Art, Faculty of Fine Art, University of Dhaka.
Her artworks are deeply inspired by her emotional experiences and journey as an artist.People are the main subject of Hasura Akther Rumky's paintings. The artist is proficient in the use of pastel, acrylic, charcoal, and natural materials , pigments like soil . In her painting, there is illusion , silence , emotions and longing for human connection.
Rumky has so far participated in a number of group art exhibitions, workshops, art camps, projects, residencies and solo exhibition held both at home and abroad. She has received several awards including the club for UNESCO & the international Action Art's Awards for cultural contribution,2023. Grand Award, Bangabandhu International Art Exhibition, KAHAL Art Gallery, Japan in 2021, Honourable Mention Award at the 6th Oriental Painting Exhibition organized by OPSG in 2016, and Artist Shafigul Amin Smriti Puroskar (Award), Annual Exhibition, Department of Oriental Art, University of Dhaka in 2015. From the year 2019 to 2022, she worked as an Assistant Coordinator for the Asian Art Biennale Bangladesh 2022 at the Department of Fine Arts, Bangladesh Shilpakala Academy.
The Fraught Lives of Nathan Kwan and Lapsang Souchong
Tutu Dutta
Published: Jul/2024
ISBN: 9789815202007
Length: 256 Pages
Cousins Nathan and Junie Kwan, and their friend, Sachin Sundara, are students in the prestigious and fiercely competitive Noble Hall School – dismissed as bookish nerds by the popular students who rule at school and subjected to micro-aggressions, their friendship kept them afloat… until the bright new girl at school, Aida Anargul, befriended them.
Fashionista Aida brought a touch of glamour into their lives, and seemed to make the impossible seem possible. But their new found popularity is short-lived as Nathan’s world came crashing down when his precious Siamese cat disappears one night. The friends embark on a frantic search for Lapsang Souchong and discovered that their quaint little neighbourhood is hiding a dark secret.
The narrative merges the charm of old-school mystery, adventure and folklore; with complex Millennial characters, including (sometimes) unlikeable, annoying know-it-all protagonists and bold, formidable antagonists who are (sometimes) admirable.
A Review
Author Tutu Dutta is currently promoting her latest Young Adult novel ‘The Fraught Lives of Nathan Kwan and Lapsang Souchong’.
Tutu’s feline character, Lapsang Souchong, now joins the ranks of literary cats from the likes of Paul Gallico (Thomasina), Richard Adams (Tab), Terry Pratchett (Maurice) and the cat who has no name from Natsume Sōseki’s Japanese novel ‘I am a Cat’; not to mention the various felines in T. S. Eliot’s ‘Old Possum's Book of Practical Cats’.
Tutu, like the various characters in her book, is well travelled. She was born in India, but grew up in multi-ethnic, multicultural, Malaysia. She has also lived in France and Japan, as well as travelling to places far and wide, like Havana, Laos, New York, Nigeria, Singapore and Zagreb. Those adventures have, no doubt, added to Tutu’s acquisition and breadth of worldly knowledge as displayed by characters in her latest book.
Although Tutu Dutta’s ‘The Fraught Lives of Nathan Kwan and Lapsang Souchong’ is billed as a YA (Young Adult) novel, I am perennially suspicious of such literary demarcations. A good read is a good read albeit pigeon-holed as Young Adult, Romance, Science Fiction etcetera, etcetera, etcetera. And Tutu Dutta’s latest book is a good read.
As is right, both the main character Nathan Kwan (of Indian-Chinese heritage) and his companion, the traditional Thai WichienMaat (moon diamond) breed of cat Lapsang Souchong, are mentioned on the very first page of Tutu’s book. Also on that first page, the reader learns that all may not be as they seem (foreshadowing), with hints of loss and mystery included. Later in the story the mysterious, fragrantly enchanting Chempaka Lane and
tree, symbolisms and mythologies, seep into the reader’s sub-conscious.
Like some of the many meals described throughout the book (it is about Malaysia afterall, and Malaysia is all about eating), the reader is presented with course upon course, not just of gastronomy but of sumptuous facts, including birds of Malaysia, in particular the lack of ‘Humming birds’ and the presence of ‘Sunbirds’ as well as lore appertaining to ‘The Silk Road’, ancient Chinese lotus seeds, Japanese Manga and the Hyakumonogatari Kaidankai (a Japanese Buddhist inspired Samurai game) and a whole lot more. The whole book presents a degustation, a sampling of a multitude of varied multi-cultural facts, perhaps appertaining to a certain sector of youths, their cultures, upbringing and their schooling.
Reading ‘The Fraught Lives of Nathan Kwan and Lapsang Souchong’, I was constantly in awe of the author’s breadth of knowledge and her ability to lure her reader into her tale. I don’t believe that I’ve been so spellbound since my days attending university philosophy classes, where the Italian/American Professor would sit on a wooden desk and regale us acutely attentive students with his tales of philosophers, and jokes about Sigmund Freud (whom he considered a better storyteller than Arthur Conan Doyle).
I’ve purposely missed much out about Tutu’s story. That is in the hope that my brevity will spark a curiosity and encourage you, reader, to purchase and devour Tutu Dutta’s book…’The Fraught Lives of Nathan Kwan and Lapsang Souchong’. I eagerly await a sequel, perhaps a series.
Ed
Malaysian Lotus Couple
Chay Hwa Chua & Yeo Eng Hin
Lotus Chay Hwa Chua
Malaysian artists Yeo Eng Hin, and his wife Chay Hwa Chua, graduates of Nanyang Academy of Fine Arts (NAFA), Singapore and France’s L’Ecole Nationale Superieure des Beaux-Arts, regale us with their modernist Sumi-e and Guohua/Gongbi inspired (Buddhist) ‘lotus’ ‘paintings’, in an exhibition of lotus flowers, at the Art Specialist Centre in Klang, Selangor, Malaysia.
The artists illustrate the symbolic, philosophic and actual life cycle of lotus plants, from seed to seed, incorporating the entire life cycle of that plant in his depictions. With eye-catching colouration they do their subject (lotus) proud, without undue emphasis on religion or dogma.
Traditionally, the lotus plant represents notions of rebirth, as well as aspects such as purity of the body, of speech, and of the mind as it floats above the mud of attachment and desire. The lotus’ journey is from mud to bloom (with its seed dropping back into mud), and has become an object lesson of life and of spiritual enlightenment and awakening.
Lotus 1, Yeo Eng Hin
Lotus 2, Yeo Eng Hin
The Surrealisms of Siem Reap’s Sophany Sor
The happiness of love of each person is a different deal. Love has no form, no shape, no sound, no smell and is invisible. Love is a giving, but do not expect too much in return. Because if we put our heart into expecting the results we desire, it can make us happy, it can make us suffer as well. Planting trees to take root and grow well and strong in naturally is easy, but seeding people as strong as trees is not that easy.
The people we meet are not all the same. They come from different places, have different ideas,different attitudes.
People around us, they just give us advice, lessons, experiences,'s, obviously we ourselves are the walkers, the decision makers, the orienteers, the pickers, the creators of it.
After all, we all want to have a better life, want to be a people that an individual respects, loves, values, remember all the time. That is starting from ourselves.
A large tree can provide shade for all living things, depending on the irrigation water and the light of the sun, autumn leaves fall away from the stems or do not depend on the force of the wind. We are human, if we want to make ourselves valuable, our reputation is bright in society, it depends on ourselves, do not expect others to determine us as helpers all the time, do not act like leaves waiting for the wind to blow to the left or right, just follow the wind as the commander. Because one day, without help, we will follow them without a real goal.
Sophany Sor
Who I Am, Sophany Sor
Circle of Life
Sophany Sor (aka Phany), was born 1989 in Siem Reap, Cambodia, and sees herself as a Khmer figurative artist.
Phany became a student at the children’s art charity ‘Colors of Cambodia’, in Siem Reap, from 2009 to 2014. She graduated from university in finance and banking to work in both fields. She later became an art teacher, and then manager at ‘Colors of Cambodia’ (since 2012).
Phany champions not just Khmer (Cambodian) art and design, but also is adept at ancient Khmer instruments, and through her playing is helping to keep the Khmer musical culture alive. Another string to her bow is her keen interest in, and practice of, ‘Bokator’, the traditional Khmer martial art.
Frankness
Introvert
Ed
Jef Cablog
Jef Cawaon Cablog
Jef Cawaon Cablog is an artist from Barlig, Mountain Province, Philippines who believes in charting his future as a painter by looking to his past. Although he sought an artist's education within a modern institution, he promptly quit school when he felt that his instruction of him had begun to alter his traditional vision of him. Unlike most artists who strive to change the current, Jef looks upon his elders to try to see a window to his people's past. His paintings will show how stories and dreams handed down from the elders have translated themselves to visual images on canvas. Jef, an artist steadily gaining recognition in the Cordillera and national art scene, has always done his artistic creation in the mountains of Barlig where he gets his inspirations from him. Art patrons always notice how Jef's paintings are able to show aspects of Ifialig culture in non-literal form, making them unique and distinctive.
His current works are realistic and expressionist. He envisions his work as a time reference to record the transition from conventional to modern art using traditional medium. His compositions and lightings are earthy and low lighted to express his dreamy and imaginative world free from the hectic routines of the modern world. Majority of his subjects shown are indigenous and mythical passed along by old folks of his community.
His works are recently valued and perceived by writers, researchers, critics, advocates and collectors as priceless mementos of their experience and interaction with the community of the Cordilleras.
Emaruta (Vivid Reflection)
Insalay Mirage Confluence
Dewy-Eyed
Gaze
The National Gallery of Australia
Gauguin’s Tōna Iho,
Paul Gauguin, Three Tahitians (Trois tahitiens) 1899 oil on canvas
73 × 94 cm National Galleries of Scotland,
Gauguin’s World: Tōna Ao
Scotland, Edinburgh. Presented by Sir Alexander Maitland in memory of his wife Rosalind 1960, NG 222
The
National
Gallery of Australia’s Gauguin’s World: Tōna Iho, Tōna Ao
Staged chronologically across six galleries, Gauguin’s World: Tōna Iho, Tōna Ao charts Gauguin’s artistic and life journey from his Impressionist beginnings in France to his final years in French Polynesia.
Working with more than 65 public and private lenders, exhibition curator Henri Loyrette, former director of the Musée du Louvre and Musée d’Orsay, has assembled an exceptional exhibition of more than 140 works: paintings, sculptures, objects, prints and drawings, many of which are rarely shown together. Loyrette’s new research and scholarship explores how Gauguin belonged to the art and themes of his time, and reveals how contemporary perspectives enable new readings of his work.
The exhibition delves into Gauguin’s artistic battles, ambitions and singularity. From his early experiments in Synthetism and Symbolism, Gauguin forged new ground in portraiture, still life and landscape, cementing his reputation for an expressive use of materials and a bold, experimental approach to colour.
An avid traveller, Gauguin saw much of the world — from his early years with his mother’s family in Peru and his time as a merchant seaman to working in Denmark, France, Martinique, Tahiti and, finally, the Marquesas Islands. As he travelled across continents, he was inspired by the places, cultures and people he encountered. Railing against industrial society and the cosmopolitanism of modern France, Gauguin fashioned himself in tune with his environment beyond metropolitan Europe. Gauguin’s World: Tōna Iho, Tōna Ao includes a group of superlative selfportraits to show how he invented and
reinvented his image as an artist.
Tahitian and Marquesan objects are included in the exhibition, shown alongside Gauguin’s paintings and sculptures to suggest both his points of inspiration and the development of his work. The exhibition’s subtitle, Tōna Iho, Tōna Ao, refers to Gauguin’s use of Tahitian language in his work: Tōna Iho (the artist’s soul, spirit, heart, thought, ideas, opinions and views), Tōna Ao (all that constitutes or shapes Gauguin’s world).
Gauguin travelled to the Pacific with a ‘family of friends’—Japanese prints and photographs of paintings by his heroes past and present: from Giotto, Raphael, Michelangelo, Rembrandt, Holbein, Ingres and Delacroix to Puvis de Chavannes, Manet, Degas, Cézanne, Redon and Van Gogh—and displayed these in his final home at Atuona, on the Marquesan island of Hiva Oa. Gauguin’s World: Tōna Iho, Tōna Ao explores how he was constantly alert to new ideas, and how his discoveries and innovations were essential to artistic change in the nineteenthcentury and beyond.
Like many other historic and contemporary artists,Gauguin’s life and art have increasingly and appropriately been debated here and around the world. In today’s context, Gauguin’s interactions in Polynesia in the later part of the nineteenth-century would not be accepted and they are recognised as such. The National Gallery explores Gauguin’s life, art and controversial legacy through talks, public programs, a podcast series and films. Highlights include the symposium led by Henri Loyrette and the SaVĀge K’lub, the multi-disciplinary
collective led by Aotearoa/Pasifika artist, poet and activator, Rosanna Raymond MNZM.
The exhibition invites audiences to explore the artist’s personal and artistic legacy from both historical and twentyfirst-century perspectives: how his art profoundly influenced future art movements, and how his work and his life continue to reverberate and spark debate among contemporary audiences and artists alike.
In presenting Gauguin’s World: Tōna Iho, Tōna Ao, the National Gallery acknowledges the artist’s complex legacy. His attitudes to women, chauvinism and appropriation of other cultures—inextricably tied tonineteenth-century conceptsof gender, class and race—are deeply problematic for many contemporary viewers. Gauguin is, as curator Henri Loyrette asserts, a man of his times. Gauguin was an inveterate traveller, both
physically and conceptually, and he constructed his persona around the places he lived and worked. He was a voluminous correspondent, a published essayist and wrote several memoirs, most famously Noa Noa, his semi-fictionalised autobiography. Gauguin’s politics and broader social attitudes were modelled to an extent on those of his liberal journalist father, Clovis, and maternal grandmother, the writer and activist Flora Tristan. As a polemicist ever conscious of the need to self-promote, Gauguin’s writings are intended at times to shock and reveal an unreliable narrator.
Like other artists both contemporary and historic, Gauguin’s life and art have been debated increasinglyand appropriately here and around the world. In today’s context, Gauguin’s interactions in Polynesia in the later part of the nineteenth century would not be accepted and are recognised as such.
Paul Gauguin, Portrait of the artist with ‘The yellow Christ’ (Portrait de l’artiste au ‘Christ jaune’), 1890–91, Musée d’Orsay, Paris, purchased with the participation of Philippe Meyer and Japanese sponsorship coordinated by the daily Nikkei 1993.
Gauguin’s World: Tōna Iho, Tōna Ao, installation view, National Gallery of Australia, Kamberri/Canberra, 2024
Femmes de Tahiti, Paul Gauguin
Gauguin’s World: Tōna Iho, Tōna Ao, installation view, National Gallery of Australia, Kamberri/Canberra, 2024
Gauguin’s World: Tōna Iho, Tōna Ao, installation view, National Gallery of Australia, Kamberri/Canberra, 2024
Gauguin’s World: Tōna Iho, Tōna Ao, installation view, National Gallery of Australia, Kamberri/Canberra, 2024
In bringing Gauguin back to Moana/the Pacific, the National Gallery has actively sought the views and perspectives of Polynesian and First Nations communities from across the region culminating in programming that elevates the voices of Moana/Pacific artists and performers both now and into the future.
The SaVĀge K’lub is a multi-disciplinary installation and activation space showcasing artists from across Moana/ the Pacific. It explores ideas of hospitality, culture and identity. SaVĀge K’lub artists come together to celebrate all forms of art and culture, collaborating to acti. VĀ.te peopleand things.
First conceived by artist and scholar Rosanna Raymond in 2010, the SaVĀge K’lub is named in reference to a historic gentleman’s club first established in London in the nineteenth-century. The capitalisation of VĀ in the middle of the word privileges the Samoan notion of vā: the relational space between people and things. Vā is one of the founding principles ensuring Moana-based creative
practices and protocols are at the centre of the SaVĀge K’lub’s collective practice.
In hosting Gauguin’s World: Tōna Iho, Tōna Ao, the National Gallery welcomes a dialogue on our exhibitions and displays. We present works of art to the Australian public to inspire people to explore, experience and learn about art.
Text and images by The National Gallery of Australia 2024
Special one-off illumination of Paul Gauguin, Three Tahitians (Trois Tahitiens) 1899, National Gallery of Australia, Kamberri/Canberra,
Kamberri/Canberra, 2024, National Galleries of Scotland, Edinburgh, presented by Sir Alexander Maitland in memory of his wife Rosalind 1960
waiting
terri chong
waiting terri chong
‘Waiting’ is a project developed with a body of work from a series of photographs studying different kinds of human behaviour. These are expressions and emotions which rose from a state of stasis; a state of limbo while waiting for something to happen.
This project aims to connect and engage its viewers; to create an awareness of the significance of their responses and reactions to the photographs; essentially, to encourage them to be responsible for their actions. Misunderstandings can easily occur when there is insufficient clarity to guide towards understanding.
No one can predict the future. Pain, suffering , anxiety, frustration, desperation and boredom are as important as love, optimism, hope, excitement and empathy. How a subject feels , while waiting in suspended time, is edged in their features and posture.
From sweltering under the scorching sun or soaking in the rain, to the acceptance of bone-chilling cold or sheltering from driving snow, human nature’s resilience and stoic are all presented in stark black and white focus. The choice of using black and white is deliberate. It is used to contrast the private moments of the individuals caught in the glare of public life in the streets. I hope I was able to capture those fleeting yet significant moments with my lens.
When I started wandering the streets, camera at hand, I was first fascinated by the hurly-burly, chaotic scenes where people were just busy rushing around to get on with their lives, pursuing their livelihoods. They were looking ahead. Taking the next step or steps to move towards their goals.
Yet, as a bystander interested in exploring and capturing their state of mind, my eyes (and lens, of course!) zoomed in on individuals who were taking a break from being constantly in motion. These subjects were waiting, taking time out, whether intentional or enforced, in pursuit of their next moments in life, too.
It is wonderfully fulfilling as a photographer to bear witness to, and participate in this special yet mundane daily slice of life. I sincerely hope I have done these wonderful people justice with my exhibit, ‘waiting’.
Terri Chong
“In relation to photography, the concept of time is manifold. The medium is inherently temporal, with the ability to immortalise a moment or memory in an instant. The notion of photographic truth is tried and contested, but images have a unique power to transport us to different times, or equally, to act as portals into psychological landscapes that transcend it.”
Marigold Warner, the British Journal of Photography, article ‘Picture this: Time’, October 2022.
Today, in fact a few minutes ago, a parcel delivery rider handed me a wellwrapped package.
Inside the house, out of the rain, and with a growing anticipation, I sliced the parcel’s plastic wrapping open to reveal a carefully bubble-wrapped black slipcase, with a red cloth covered book spine boasting a golden, lowercase word ‘waiting’ stamped into the cloth. This was followed by the author’s name ‘Terri Chong’ also in lowercase, also stamped, but in a different font and in black, finally, there was the golden stamped Chinese character ‘děng’ (wait).
You might recall that, in Chinese culture, the colour red symbolises things that are auspicious, or associated with life-generating energy, and is the colour of celebrations of prosperity. In that same culture black represents water, and gold is associated with culture, power, wealth, longevity, and happiness. My parcel today reflected all three colours, and their combined sentiments.
I had been patiently, eagerly, waiting, not for Becket’s Godot or like Penelope, wife to Odysseus, but waiting to receive Malaysian humanist photographer Terry Chong’s book of her photography. That book was proved to be not only well worth the wait, but also a masterful collection of the photographer’s black and white ‘street’, or candid, photography.
I’d not been able to attend her book launch in Kuala Lumpur, due to illness, but the very thoughtful Terry had wanted me to have a copy of her photographic book nevertheless. It was a very kind gesture on her behalf to have send that copy to me, and I am most grateful.
In the moment, perhaps the Heideggerian ‘Augenblick’ which, according to the German phenomenologist philosopher Martin Heidegger, is not merely the glance of the eye, but the 'moment of vision', the lens closes. The lens captures what might seem to be a candid image, but in reality is an end moment in the series including processes of awareness and patient waiting. For the creative photographer, such be-stilled images are born out of waiting, of time, of a lifetime of study, of capturing other images, and of learning to distinguish the ‘right’ from the wrong moment, like any artist coming to their moment from experience and practised skill.
Terri Chong’s exquisite book of photographs reveals her visual sophistication, her enduring patience, and her profound grasp of waiting.
Rimbun Dahan
Rimbun Dahan
I was very fortunate that, on Sunday 25 August 2024, a friend invited me to go to the Rimbun Dahan ‘Open Day’ in Kuang, Gombak District, Selangor, Malaysia, near to Kampong (village) Cempedak (a type of ‘Jackfruit’, but with a richer flavour).
My knowledge of Rimbun Dahan had been scarce. I did, however, learn that it is a centre for developing traditional and contemporary art forms, established since 1994. Over time it has developed workspaces and accommodation with residencies for visual artists, dancers, choreographers, writers, arts managers, curators architects, ecologists and botanists. The space shares the expansive home of the notable Malaysian architect Hijjas Kasturi, and his wife Angela Jane Longworth.
I further learned that their home and lush surroundings have buildings designed by Hijjas Kasturi, as well as two early traditional Malay houses, from Perak and Penang. The ensemble is set in fourteen acres of tropical gardens where sculpture abuts nature, and is a comingling ambiance which has the appearance (to the excited visitor) of being both a stunning natural, and a carefully nurtured, environment. Incidentally, the name ‘Rimbun Dahan’ means ‘laden branch’, so named because the area used to be a fruit orchard.
According to the Tatler Asia magazine, Hijjas
Kasturi “…defined modern Malaysian architecture by imbuing modernism with cultural identity in his envisioning of buildings in post-independent Malaysia”.
The founder of Rimbun Dahan had, previously, created the School of Art and Architecture at MARA Institute of Technology (Malaysia), in 1967 and in 1998 received the Tokyo Creation Award. In 2001 he received the Malaysian Architect’s Institute Gold Medal, and was awarded an Honorary Doctorate from the Unviersiti Malaya, in 2005.
Travelling to the venue was quicker than expected and, as we were hungry, and there was a very convenient Malay eatery (Warong Selera Ria, established in 1985), across the road from the entrance to Rimbun Dahan itself, we dined.
Excellent Malay food is becoming hard to find around Kuala Lumpur. Fortunately, Warong Selera Ria (Lot 2419, Batu 17, Jalan Kuang, Kampung Cempedak, 47000 Sungai Buloh, Selangor, Malaysia) produces some very traditional, and excellent, Malay cuisine. I was delighted to discover Malay Pineapple Curry (aka Pajri Nenas) and a fish ‘Gulai’ (spicy and rich stew) with ‘Belimbing’ (a type of sour Starfruit) , which I had with a ‘Nasi Minyak’ (Malay Pilau Rice). My drink was Sirap Bandung (or Air Bandung, a Malay pink, sweet, drink) and, finally, for dessert, I ate not one, but three, of the
exquisite ‘Tapai Pulut’ (fermented glutinous rice), which were enwrapped in rubber-tree leaves.
The gates directly opposite Warong Selera Ria, led down a leafy lane to Rimbun Dahan. Getting out of the car I saw my first piece of sculpture, red rectangles embracing in a metallic romance in a small clearing, with a backdrop of very green leafy trees. A few steps forward brought me to another, white, metallic structure, a spiral/coil reminiscent of bread proofing baskets (and of infinity), placed above a subterranean staircase. More statutes caught my attention. In particular, two large wooden, Indonesian, Wayang kulit (puppet shadow play) pieces, attached to wheels.
A reminder, perhaps, of the host’s Javanese ancestry.
What was even more stunning than the manmade creativity was the garden, with its indigenous species of flora and the impressive (and accredited) arboretum comprising of 465 of tropical trees. To the casual visitor’s eye, the landscaping dissolved into nature’s will, giving the impression of being entirely autochthonous.
Time at Rimbun Dahan was not only well spent, but inspirational.
Ed
Wan Phing Lim was born to Malaysian parents in 1986 in Butterworth, Penang. She lives in Penang and is the fiction editor of NutMag zine. Her first short story collection ‘Two Figures in a Car’ was published by Penguin SEA in 2021. Her second collection, ‘Adorable’ is forthcoming in 2025.
Naraphat Sakarthornsap is a Bangkok-based artist whose work explores societal inequalities and gender discrimination through the medium of photography and installation. Flowers serve as central motifs in his practice, imbued with profound symbolic meaning. These floral elements function as keys to unlocking the complexities concealed within his work, often reflecting his personal and emotional depths. Naraphat’s early artistic inquiries focused on the ephemeral nature of flowers, mirroring a broader exploration of challenges imposed by the natural world. Over time, this interest evolved into a critique of societal power structures, as expressed through his floral imagery. His work invites viewers to look beyond the superficial beauty of his compositions and to contemplate the deeper messages embedded within them. In doing so, Naraphat’s work resonates with the experiences of many who grapple with societal norms and inequalities.
Gogularaajan Rajendran is a filmmaker based in Kuala Lumpur, Malaysia. He focuses on telling stories about Malaysian Indians, blending horror and humor through both provocative and poetic approaches. The short film “Walay Balay”, which he co-directed, premiered at the 2024 Cannes Directors’ Fortnight. He received the Krishen Jit Fund for his ongoing project “Araro Ariraro”, documenting the stories of Malaysian Indian plantation workers. Gogu is also currently developing his first fiction feature film, “Kaali: Depth of Darkness”, which received the inaugural mylab FINAS Award and was featured at the 2021 Seapitch Bangkok and the 2022 Film Bazaar Co-Production Market in India.
Sabiq Hibatulbaqi is a visual artist based in Bandung, Indonesia, born in Tasimalaya in 1994. His artistic practice explores the potential of sequential images across diverse mediums, including comic illustration, animation, codegenerated art, and installation. Typically, his main themes arise from the mundane, transforming everyday observations and experiences into visual narratives. His recent work focuses on the interplay between logic and aesthetics, seeking to find tension between these two seemingly disparate concepts.
Noelle Varela (b. 1993) is a Filipina visual artist who studied and earned her degree in Fine Arts at the University of the Philippines- Diliman. She mainly works with three-dimensional pieces and continuously constructs contemporary images using sawdust through flora and female imagery to depict female and women experiences, sensuality and societal standings.
Kieu-Anh Nguyen (b. 1997) is an interdisciplinary artist based in Hanoi, Vietnam. She enjoys creating spaces to foster inclusive conversations around underrepresented bodies and narratives, notably about women. Her art practice has foregrounded olfaction as the core line of inquiry to explore memory tracing and care practice, as it has taken the forms of participation and soft sculpture, and often suggests travels between time, spaces, and sensory experiences. Her work has been exhibited in various spaces, including VIVA ExCon, Vietnamese Women’s Museum, Asia Art Archive and documenta fifteen.
If you have any questions, please email arts@rimbundahan. org or WhatsApp Bilqis at +6017-3103769.
Satyadheer Singh
Art journey of Prayagraj artist Satyadheer
Singh
Poonam Kishore
Art works are wonderful creations which give a feeling of joy, whether they are stained with colour or a crack in the stone, there is no place in nature where there is no beauty, only its forms are different.
Something similar was seen in the recent one-week exhibition of paintings of an artist in Delhi's famous art gallery Habited Centre. That artist, Satyadheer Singh, was born in Prayagraj on 10 November 1982, his father is N. B. Singh and mother Rita Singh.
I have known Satyadheer since I undertook my B.F.A. with the Department of Visual Arts in Allahabad University. I was a student of the first batch of B.F.A. and Satyadheer was a student of the second year of B.F.A.
Despite knowing the artist, I found it necessary to interview him in regard to his recent work.
P.K How was your journey after doing BFA?
S.S- how was the journey, so why ask this question even after knowing that it was going to be a laugh!
Satyadheer answered very easily and decided to go to Bhopal to work as a full-time freelance artist in Bharat Bhavan Bhopal, (a world famous multi art centre). I have always had a deep interest in reading Hindi literature. My interest in literature nurtured countless ideas and gave my mind a creative mix. I like to express those ideas in the form of paintings and drawings. The stories of the middle class common man always attracted me. That is why I am influenced by the
stories of literary scholars like Sharad Chandra Chattopadhyay, Munshi Prem Chandra, Phanishwar Nath Renu and great artists like Jogen Choudhary, Manjeet K.G. Subramaniam etc.
Reading literature from the beginning influenced my art a lot, a kind of dramatic and interpretative quality I live all my emotions through painting. I am very comfortable expressing through lines and drawings. I paint when I am happy or sad, I paint when I am depressed. I paint to relax my body and mind. I also paint to promote myself, I paint when I am fighting conservative society and above all painting is my passion and profession. Painting has become my habit now and slowly it starts flowing in my capillaries like blood.
P.K.- Looking at your line drawings, it seems that it is an adaptation of a play or a story. Is this true?
S.S- My work has always been figurative. Even if there is no presence of a human being, his presence is felt. Man is the most beautiful creation of nature. I give special importance to lines in my paintings and lines are an important aspect in my art and two things are clearly important in using lines, one is the painter's own mental state and the technical aspect of the use of colours. An artist uses his colours on the basis of his theory and I also choose lines and colours in the same way to express my thoughts. I try to make the lines have an impact on the mind of the viewer. Only an art critic can explain it in words. And in my work, I not only create contrasts and
Upsidedown world 01
associations in the form of colours and space, but also try to bring the past and the present together by combining history and tradition with what we call contemporary. My stories focus on current problems and the common life experiences of common people. And this creates a world of imagination. My paintings often depict this conflict between dreams and the real world.
The figurative style is an old form of art. There has been a lot of work in this style since ancient times but I have my own way of looking at this world. I tell my stories in a unique form of lines, the strength and rhythm of my lines help me present my work in a contemporary style where I portray the Indian spirit through the eyes of a common middle-class person. Which seems like a narrative.
P.K. You have given great importance to lines in your paintings and have also used bright colours at some places. Do you find your paintings incomplete without colours?
S.S. I mainly work in figurative drawing and abstract forms of painting, preferring the starkness of black and white, but nowadays I mainly use grey shades for my paintings. My work often involves dynamic, broad brush strokes of acrylic paint or black colour on canvas/paper and very flat colours on the canvas background and in the figures, but with bold and powerful strokes of lines which are the characteristic of my art. It is often observed that my paintings, especially the lines of my figures express a controlled but dynamic emotion of stories from my subconscious mind. Colours have their own importance. For an artist, the medium speaks his mind and helps in bringing out all the hidden emotions in his mind. I try to bring out many elements of nature in their liveliness in my paintings by using red, yellow, blue, brown colours.
P.K.- I have heard that along with literature, you also like music very much and how important is it in your artistic life?
S.S. - Yes, I usually play classical instrumental music in my studio which gives me positive energy and rhythm. Many of my paintings (compositions) take shape when I am in a semisleep state and when I wake up, the composition usually starts to finish through my lines and easily makes the lines flow with colour and ink on paper/canvas.
Sutradhar (an Indian honorific meaning narrator, or quite literally ‘thread holder’) has also had many exhibitions in India and abroad and honoured in many
Time changes, art also changes with time. Sutradhar created a different identity with his lines. Time changes, new mediums come, this has been happening in every era. When an artist understands his medium art material well, then this understanding becomes the basis of his art life, then the feeling of neglect towards new changes leaves the artist behind and then he becomes engrossed in his own style, due to which his identity comes out in the form of art and this is not made in a year or two, there are years of penance of the artist behind it.
Dinner in Delhi
Midnight Marathon
Rebecca Haque
Fazr azaan, and dawn, will see Ritu rise to greet “Shadhinota Dibosh” on March 26. It being a Saturday this year, her son Anu (short for Anwar) has booked the swank restaurant at Baridhara to celebrate her grandson’s tenth birthday, even though the actual birthday was three days ago. But a mid-week working day is so very inconvenient for a dinner party in Dhaka, with the traffic hazards fouling up everyone’s mood and schedule. Anu was home again after a decade, but for only three weeks during Easter break, with an extra week finagled from his holiday hoard to mingle with friends and relatives, and introduce them to his lovely Hispanic wife Sienna, and his no less handsome son, Juan Ismail. “What a beautiful family! And oh, so very Bengali-looking, too!”, the women exclaim, as they drop by in groups and pairs for tea and impromptu meals and hugs and kisses. Ritu smiles with pleasure, quietly, gracefully accepting their praise. Her son had indeed chosen well, and he had done so well in graduate school, where he had met and fallen in love with Sienna. Ritu had been to their wedding in California twenty years ago, taking her own few precious heirloom gold and silver pieces to gift, to the bride of her only child. Always law-abiding, befitting her position as a University professor, she had meticulously taken permission from the Bangladesh Bank, and had declared every item to fulfill the United States Customs regulations.
Recently, strangely, somewhat quirkily, as her close friend and confidante Gulrukh would say, Ritu has started measuring life’s timeline in
swatches of decades. It is possible. Ritu thinks that all ‘baby-boomers’, born in the fifties, are conditioned to evaluate each decade according to its degree of achievement in arts, culture, and politics. We were taught to critique in terms of historical movements, epochal events, schools and -isms and schisms. McLuhan and Kenneth Clark and Desmond Morris of The Naked Ape’ fame were our gods. Ritu looks at the rows and rows of books in the bedroom and beyond in her large well-organised study, and raises a hand in salute. This year she herself has become a person who in social parlance is called a senior citizen, and is revered in the family group as an ‘elder’ having crossed the threshold of her sixtieth decade and stepping into the seventieth.
She now sits alone, softly braiding her long gray hair into a thin plait. She looks at the bedside table clock. It is nearly midnight, Friday night, and her home and heart are warm with joy. She turns to look at her face in the mirror, glowing in the reflected pool of light from the tall antique brass floor lamp. Yes, her lips mime the words, Anu has my eyes and high cheekbones, but he definitely has Ismail’s strong jaw and broad forehead. Ritu’s eyes sparkle in the half-light. Ismail was long gone, instant death at a midnight road crash forty years ago. Too young, too bright, too soon snatched from her arms. Anu was eight and confused and, clingy. Ritu stares into the flashing eyes of the face in the mirror and remembers the silent grieving, the long sleepless nights of flowing secret tears. She remembers the
suitors and the stalkers at work, at conferences at home ‘and abroad. She remembers too with pride how the flame of each proposal was snuffed, the overt and covert courtships petering out by her tactful, firm refusals. She was strong, she was determined. How could she be otherwise when Ismail was with her always? Was he not alive in Anu’s every feature, every gait and gesture?
Ritu looks away and her pupils dilate as she meditates on past decades. Her mind’s synergy streams into free-flowing association of life’s turning points with Grecian symbols of struggle and sacrifice and victory. Her heartbeat begins a classic song in choric sympathy with the three hundred at Thermopylae, ‘the Hot Gates’, with Phidippides’ palpitating heart at the 26mile victory run to. Athens after the Battle of Marathon. Integrity, Commitment, Faith, Freedom, Independence, National pride! Ritu’s heart echoes the words in systolic, diastolic rhythm. Run, Ritu, run. The race is not to the swift . . .
Suddenly, with a gut-wrenching twist of sliding, rupturing screen memory, Ritu throws her head back and moans low and long. She clutches her womb with her left hand and cradles her cracking heart with the right. Oh, in delight, Ismail had named their first baby Purnima, his very own beautiful moon-princess, born one moonlit Monday midnight. Ritu shakes her body from side to side to rid the mind of the pictures from so long ago, the pictures she has buried decades deep in the dark tunnels of the hippocampus. Ritu drops softly to the floor and crouches on her knees, smothering the wretched moaning sounds on the rough fabric of the bright handloom bedcover. The warm tears and hot breath create a bower for her face, and Ritu slowly subsides into a serene reverie of the actual moment of loss.
Ritu is a dazed mermaid, swimming in the current of the river of life. She gulps a mouthful of air and sprouts legs and is back spontaneously, decades back, to March 1971. She is running, running with hundreds and hundreds of people, with soldiers
running after them with guns and bayonets. Hundreds of legs running helter skelter, some falling, some dying, some trampling over bodies to save their own. She is running, holding infant Anu tightly to her waist in the crook of her right arm. Running and pulling five year-old Purnima with her left hand tightly holding the little girl’s right hand. Ismail is somewhere near or far in the crowd, running with his aged parents. Ritu cannot think, she cannot stop. She runs and spits out spittle and dust. The little girl cannot keep up with her mother’s frenzied pace. Pumima yells. Pumima stumbles.
Ritu’s left fist is forced out of its grip on her daughter’s right hand. She stops for a millisecond and hoists Anu more securely with both hands, and looks sideways to see another runner, a woman, swoop down to clutch Pumima. They instantly disappear among the miles and miles of nameless, faceless runners.
The melody of the muezzin’s call rouses Ritu from a blessed, restorative dream of Purnima’s face. She lifts her stiff, aching neck from the bed, and walks to the window on the east. A glimmer of an orange-reddish glow is on the horizon. Ritu sees the faint outline of the crescent moon, and offers a prayer for Purnima. She looks at the disappearing moon, and asks her Maker, “how can one find closure, if not through blind faith in the belief that the other woman and my child are survivors too? Not victims of predators, but valiantly victorious.’,
Rebecca Haque is Professor and former Chairperson (200912), Dept. of English, University of Dhaka, Also a poet, wniter, translator, and literary critic, her published books are Commencement Poems And Occasional Essays (2003, 2nd Ed, 2009), Women; Gender, And literature (2003), And Hemingway: A Centenary Tribute (co-edited, 2007).
"“[M]ultiplicity” has become a central theme in Chinese contemporary
replicating a mass of identical objects and
This exhibition examines a group of artists for whom point of their artworks
"“[M]ultiplicity” contemporary art with many young Chinese artists images to create astounding spectacles. whom multiplication and repetition are the very artworks […]"
The Modern Art Museum (MAM) in Shanghai, China, is an institution focused on diversity, equality, nurturing creativity and education. An institution with a global and multidisciplinary approach, MAM Shanghai aims at contributing to the education, knowledge and enjoyment of art through an immersive and engaging experience. Its vast industrial architecture offers a versatile and dynamic space to connect the shared cultures of the East and West. Located along the ‘cultural corridor’ of museums and galleries that runs along the riverside in the Pudong New Area, MAM utilizes innovative methods to facilitate public participation and engagement with art.
MAM Shanghai
4777 Binjiang Avenue
Pudong New Area
Shanghai
MULTIPLY!!! POWER IN NUMBERS IN CONTEMPORARY CHINESE ART
Barbara Pollack, Curator
Hongzheng Han, Associate Curator
March 2024
Chinese artists have known the power of copying and multiplying as tools for studying and glorifying original artworks. From the grand display of the Terracotta Warriors in Xi’an to Cai Guo Qiang’s AR fireworks above the Forbidden City, the experience of the “multiplier” is the core of Chinese artmaking. Printmaking was invented in China in 700 A.D. and moulds were used for even the earliest of bronze sculptures. Today, Chinese artists rely on the tools of reproduction to create, duplicate and distribute their creations. Yet, beyond practical uses of multiplication, “multiplicity” has become a central theme in Chinese contemporary art with many young Chinese artists replicating a mass of identical objects and images to create astounding spectacles.
This exhibition examines a group of artists for whom multiplication and repetition are the very point of their artworks, rather than merely a tool for easy replication and widespread distribution. Instead of the usual selection of prints and multiples that are expected in such an exhibition, here is a survey of artists who are pushing the envelope demonstrating the spectacular effect that can be achieved by grouping masses of similar objects together in the same space. There are artists who still rely on classical techniques, such as moulds, printmaking and paper cutting. But there are also many others who challenge the very notion of an “original” or a “limited edition” by employing the latest technology, including 3D printing, multi-channel animation,
artificial intelligence, virtual reality and NFTs. The exhibition demonstrates that rather than wowing an audience with a single unique work, such as the Mona Lisa, a greater impact can be achieved through amassing a crowd of works in total environments that invite interaction.
The use of multiplication to create spectacle is the core of this exhibition. Like synchronized drummers at opening ceremonies or omnipresence of images of social media idols, China excels at this form of spectacle yet its artists’ use of multiplication has rarely been investigated in a museum exhibition. Here, instead of attaching shame or illegality to multiples, the exhibition celebrates the power of the crowd and highlights those artists who make use of reproduction to beautiful and thoughtprovoking ends.
繁衍生息 (pronunciation: “fan yan sheng xi”; Meaning: flourish, multiply, and thrive.) is a four-character Chinese idiom that perfectly encapsulates this exhibition. It is divided exhibition into four sections, and each section is represented by each character of this famous idiom：
繁 (FAN: Grand/vigorous/complicated)
This section creates a visually alluring spectacle and underlines the significance of repetition and multiplication rooted in the originality of contemporary Chinese art. It is an invitation to find variations and nuances in a seemingly still and repetitive environment.
衍 (YAN: creative Replication/expansion)
The second part of this exhibition focuses on creative replication. By experimenting and expanding on the elasticity of traditional fine art mediums, the art here represents innovative techniques to demonstrate the infinite possibility of multiplication.
生 (SHENG: innovation/reborn/young)
The third section of the exhibition focuses on building an exhilarating and complex multiverse where art and technology intersect, integrate, and innovate.
息 (XI: life/message/rest)
This part of the exhibition intends to juxtapose the "highbrow" fine art elitism versus the "lowbrow" mass culture fantasia.
CURATION
Barbara Pollack, Curator
As a curator, educator and writer, Pollack has been involved in global contemporary art since the late 1980s. She is the co-founder of Art at a Time Like This, a non-profit organization providing a platform for free expression to artists addressing pressing issues of the 21st century.
A leading expert on Chinese contemporary art, Pollack curated Mirror Image: A Transformation of Chinese Identity at Asia Society in 2022. Her scholarly essay, Lu Yang: Artist vs. Avatar, was published in Screen Bodies, an academic journal. She also curated DOKU— Digital Alaya by artist Lu Yang at Jane Lombard Gallery in New York in May 2021 and organized My Generation: Young Chinese Artists, the first show of Chinese younger artists in the United States, which appeared at the Orange County Museum of Art in 2015.
has published two books on her research in China: Brand New Art from China: A Generation on the Rise (Bloomsbury, 2018) and The Wild, Wild East: An American Art Critic’s Adventures in China (Timezone 8, 2010). Pollack has contributed major essays on many artists including Liu Ye, Li Songsong, Lin Tianmiao, Wang Gongxin, Zhao Zhao, Sun Xun, and Tu Hongtao. Several of her essays were included in the China Art Book, published by Dumont Literatur in 2007. Based on her extensive interest in this field, she has been awarded to Asia Cultural Council fellowships and a Andy Warhol Arts Writer grant.
Hongzheng Han, Associate Curator
Hongzheng Han is a Faculty member and Academic Content Manager at Sotheby’s Institute of Art. They are also an associate curator at the Modern Art Museum Shanghai. Focusing on identity studies, Han has been invited as a guest speaker at the Asia Society and Museum, the Central Academy of Fine Arts, the University of Edinburgh, the University of Pittsburgh, the University of Michigan, New York University, the Brooklyn Rail, Christie's Education, the Asian Creative Foundation, among others. Han’s recent curatorial works include Within Global Isolation: Asian Artists in America; Runaway World 2020: Ten Chinese Artists Group Show, Beyond Borders: Art in the Post COVID Era, Standing Out, the Outstandings, Deformation and Reformation: A Modern Taste of Asian Identities, Mirror Image: A Transformation of Chinese Identity, among others. Han's curatorial works have been reviewed by Artforum, Artsy, Voice of Photography, and the New Yorker Magazine, among others.
From the very beginning of the picture, every good bad experience that has come to this day has become the subject of pictures. Art is such a great platform for me to express my mind which is basically sensitive! Singular-poetry writing, dance, music, formulary. In each of these abstracted art forms, being a young person, and having a child buried within me, helped me become a better Art Practitioner!
I have never really understood that I have fallen in love with Nude, which is basically a tendency towards realistic work. According to others, I do 'Nude' but I think I take pictures of nature! Because I think the human body is one of nature's best inventions. I am constantly drawn to the sensation of a woman touching a more invisible body, its shape, skin colour, light and even more invisible mind.
I am looking forward to finding more emotions .. I am also saying that some women are feminists, even so! Along with Nude, I have handled other subjects, including portraits, uplifting sculptures, but not as much love as I have on Nude! Right now, I cannot say whether I will only do nude for the rest of my life, but the thing that spills inside me will be my true art.
The sculpture "Speculum Sapientiae" 1989, by Pilar Viviente, painting on iron plate, 139 X 40 X 10 cm, from the Museum of Contemporary Art Barcelona (MACBA), is in dialogue with Ramon Casas/Maurice Lobre - Portrait in the mirror, 1882 - Oil on canvas - from the Carmen Thyssen collection, in prefigured dialogues at the Carmen Thyssen Space, Plaça del Monestir s/n, Sant Feliu de Guíxols, Spain.
Pilar Viviente (B. Madrid, 1958)
Pilar Viviente is a Spanish multidisciplinary artist who belongs to the so-called “reflexive generation”. Her Ph.D. is from the University of Barcelona. She has been a professor and doctoral tutor at the Faculty of Fine Arts, UMH, since 1998; and a member of InSEA (UNESCO). She has authored more than two hundred texts in both national and international publications.
Her work is present in the collections of several museums and foundations, among which stand out: MACBA, Hotel Arts, IEC, UB, Abartium (Barcelona); Fondation Satsuma, Colegio de España, Galerie Maegh (Paris); FC Foundation, Province of Aragon, CAI, UZ (Zaragoza); UMH (Elche); MGEC Museum (Marbella); MC, MEC, BNE (Madrid); Venusberg Museum (Frankfurt); Progressive Corporation, Orensanz Foundation, NYC AIDS Memorial Archives (New York); Ploiesti Art Museum (Romania); Çukurova University (Turkey); Soncino Comune (Italy); Museum (Valencia); Haegeumgang Theme Museum (South Korea).
Dialogues Introduction
The exhibition moves in the two spaces that outline the hybrid scenario of the 21st century: on the one hand, the physical and tangible universe of the sculptures and installations present in the exhibition and, on the other, the liquid, digital universe that houses the images of the paintings that have been selected for dialogue.
For each of the sculptures and installations in the exhibition, a virtual correspondence has been selected with a piece from the Carmen Thyssen Catalan Painting Collection, which can be accessed via the image or the QR code you will find on each card.
However, the handbook includes the texts of the stories created for each of the aesthetic or symbolic dialogues between the works present in the exhibition and those prefigured in the Carmen Thyssen Collection.
We hope you enjoy this story between works by local, national and international artists, on free loan, from the Carmen Thyssen Collection, the La Caixa Foundation, the Museu d'Art Contemporani de Barcelona, Chillida Leku , Opera Gallery Madrid, the Museum of History of Sant Feliu de Guíxols and the workshop of the artists themselves.
We hope that your visit will be a stimulating experience and that you will be encouraged to create and share new dialogues through our social networks.
and self-awareness. Both perspectives converge in the idea that the mirror does not just reflect an
Carmen Thyssen contemplating the work "Speculum Sapientiae" (1989) by Pilar Viviente, while paying attention to the explanations of Pilar Giró, curator of the exhibition "Between works, prefigured dialogues with the Carmen Thyssen Collection" and author of the texts of the narratives created for each dialogue, being the last of the dialogues.
The entourage, headed by Carmen Thyssen and Pilar Giró, had the participation of the President of the Deputation of Gerona, Miquel Noguer; the Mayor of Sant Feliu de Guíxols and Deputy, Carles Motas; the Deputy Delegate of the Spanish Government in Gerona, Pere Parramon, and the Director of Territorial Services of Culture in Gerona, Josep Calatayud, besides the presence of representatives
The entourage, with the commissioner Pilar Giró at the forefront, made a tour of the exhibition, stopping at the various sculptures and installations that make up it and the identifying element next to these, which includes the technical sheet of the contemporary art exhibited piece and a reproduction of the work from the Carmen Thyssen Catalan Painting Collection with which dialogue has been established, between artists, pieces and stories. The visitor can access virtual correspondence via the image or QR code found on each poster. It also has a hand guide in Catalan, Spanish, French and English, in which the texts of the stories created by Pilar Giró are included for each of the 24 dialogues, of aesthetic or symbolic character, among the works present in the exhibition and the
On the exhibition tour you can appreciate some more sculptures. The exhibition brings together a total of 27 contemporary artists, in a game with 24 dialogues with pieces from the Baroness's
Excellent proposal and curated in the hands of a scholarly storyteller, of versatile, broad and precise records, who communicates through subtle comparisons and metaphors, inviting us to the most
I am very grateful that you have thought of me and especially for the meaning this piece holds. All my gratitude to Pilar Giró for including me in this extraordinary exhibition, dialogue and dialogue,
Opening of «Between works, prefigured dialogues with the Carmen Thyssen Collection» at Sant
Photo Credit: BERGANTÍSTUDI, Sant Feliu de Guíxols City Council, 2024.
Pilar Viviente and Ferran Mascarell Canalda, historian, general advisor for the project of the future Thyssen Museum in Sant Feliu de Guíxols and general coordinator of the "Fundació Centre d'Art Pintura Catalana Sant Feliu de Guíxols" (Sant Feliu de Guíxols Catalan Painting Art Center Foundation).
No. 24 Dialogue Between Pilar Viviente And Ramon Casas / Maurice Lobre
The symbolic meaning of the mirror is the link between Pilar Viviente's sculpture and the enigmatic painting shared by Ramon Casas and Maurice Lobre.
In Viviente's work, ‘Speculum Sapientiae’ , the metaphor of the mirror becomes a central element, not only as a physical object, but as a vehicle for internal reflection and spiritual knowledge. The sense of the mirror, in this context, is a portal to an introspective dimension where the artist and the viewer are confronted with their own hidden depths and truths.
Both works use the mirror as a symbol and tool of reflection, both literal and metaphorical. In Viviente, the mirror becomes a symbol of spiritual introspection and wisdom, while CasasLobre's is a means of exploring personal identity and self-awareness. Both perspectives converge in the idea that the mirror does not just reflect an image, but reveals deeper dimensions of the human being.
Text: by the Commissioner Pilar Giró
Between Works. Prefigured Dialogues With The Carmen Thyssen Collection
L’Espai Carmen Thyssen holds the sculpture exhibition ‘Between works. Prefigured Dialogues with the Carmen Thyssen Collection’ running from July 5 to October 24, 2024, at the Monastery of Sant Feliu de Guíxols (Girona), Spain.
The basic concept is the idea of artists dialoguing with other artists through their work, and dialoguing with the viewers of their work.
Baroness Thyssen had a fabulous gesture the weekend that her first-born Carmen Thyssen turned 18, giving her all the limelight at the Costa Brava’s star event at the opening of the summer exhibition and presentation of the
Thyssen Museum in Sant Feliu de Guíxols.
It was there that the Baroness’ daughter spoke. “Good afternoon. I am very happy to be here, in front of all of you, representing my mother, to welcome you to this magnificent exhibition. I hope you enjoy it very much. Thank you”, she said after the speech of her cousin, Guillermo Cervera.
Guillermo Cervera, curator of the Thyssen Collection, explained that the future Thyssen Museum in Sant Feliu de Guíxols will open its doors at the beginning of 2027, although it could be advanced to the end of 2026. The exhibition ‘Between works. Prefigured Dialogues with the Carmen Thyssen Collection’ is for Guillermo Cervera “a brushstroke” of what he can offer from the art fund. The approximately five hundred pieces in the collection will allow for diverse content, as well as the rotation of works through different Thyssen museums, each with its particular identity.
The opening exhibition was attended by Miquel Noguer, the President of the Girona Provincial Council, Carles Motas, deputy and mayor of Sant Feliu de Guíxols, Pere Parramon, the subdelegate of the Spanish Government in Girona, and Josep Calatayud, the director of the Territorial Cultural Services in Girona, in addition to the presence of representatives of the social and cultural fabric of the district.
A Temporary Exhibition in a Monastery
The Monastery of Sant Feliu de Guíxols, in Catalonia, is a Benedictine monastery. It was first referenced around the year 961. It houses a History Museum and the Espai Carmen Thyssen. Located in the monastic quarters, the Museum of History offers us a collection of archaeological, ethnographic and artistic objects linked to the history of Sant Feliu de Guíxols, and has contributed to this exhibition with some pieces.
Since 2012, the Espai Carmen Thyssen has also existed in the old monastic quarters as a space
dedicated to publicizing the Carmen Thyssen Collection through temporary exhibitions. It lacks a permanent exhibition until the future when Thyssen Museum will open its doors, and only exhibits between the months of June and October.
The temporary exhibition, scheduled every summer in the space that will house the Thyssen on the Costa Brava, is dedicated this time to sculptures. The monumental complex hosts until October 24, 2024 an interesting dialogue between contemporary sculptures and paintings from the Thyssen Collection curated by Pilar Giró.
The exhibition ‘Between works. Prefigured Dialogues with the Carmen Thyssen Collection’ showcases a narrative between works by local, national, and international artists, loaned for free from the Carmen Thyssen Collection, the La Caixa Foundation, the Museum of Contemporary Art of Barcelona, Chillida Leku, Opera Gallery Madrid, the Museum of History of Sant Feliu de Guíxols, and the artists’ own studios.
This exhibition features a total of 27 contemporary artists, engaging in 24 dialogues with pieces from the baroness’s collection. Four of the exhibited sculptures are already part of the Carmen Thyssen collection authored by Manolo Hugé, Xavier Corberó and Josep Clarà.
24 Artists with 24 Dialogues
Nei Albertí. Manel Álvarez; Alfonso Alzamora; Ricardo Campos / Rosa Rosell; Josep Canals; Eduardo Chillida; Xavier Corberó; Xavier Escribà; Sílvia Gubern; Cristina Iglesias; Eva Lootz; Manel Marzo-Mart; Gerard Mas; José Luis Pascual; Enric Pladevall; Miquel Planas; Jaume Plensa; Pepa Poch; Juan Miguel Quiñones; Samuel Salcedo; Susana Solano; Alberto de Udaeta; Manolo Valdés and Pilar Viviente.
Visitors encounter the sculptures alongside an identifying element that facilitates the dialogue between artists, pieces, and narratives. Through the website https://www.espaicarmenthyssen.
com or via a magazine publication, the textual connection is established, and a podcast format will be implemented soon, according to the organization.
This is the first exhibition at the Espai Carmen Thyssen in Sant Feliu de Guíxols entirely dedicated to sculpture, though digitally linked to pictorial works.
Delving into the concept, the exhibition spread across the two spaces that can define the hybrid scenario of the 21st century. On one hand, the physical and tangible universe of the sculptures and installations present in the exhibition. And on the other hand, the fluid and digital universe housing the images of the paintings from the Carmen Thyssen Collection selected for each particular dialogue.
For each of the sculptures and installations on display in the exhibition, a virtual correspondence with an artwork from the Carmen Thyssen Catalan Painting Collection has been selected. It is accessible to the visitors via the image or QR code found on each label, which also includes an image of the painting. You can view it by scanning.
Additionally, the guide or handbook also includes texts of the stories created for each of the dialogues, aesthetic and symbolic nature, between the works of the 24 contemporary artists exhibited and those prefigured from the Carmen Thyssen Collection.
This exhibition aims to explore this trend in contemporary art, fostering a dialogue between past and present, modern art — Catalan painting of the baroness framed in the 19th and 20th centuries, and contemporary art — sculptures and installations. As well as between the physically tangible and corporeal and the digital world through the paintings selected for each dialogue, consequently also between the artists and viewers.
As curator Pilar Giró stated: “The aim is to create
a stimulating experience for the public, so that the existing dialogues are debated, new ones are created, and new readings or different interpretations are sought, making these dialogues not just those offered to the public, but allowing visitors to make the exhibition their own”.
Curator Pilar Giró has stated as her objective “that the viewer interacts and has reported that the exhibition adheres to the celebration of the centenary of Chillida and Tàpies”.
Pilar Giró also states: “We hope that you enjoy this story among works by local, national and international artists. (…) We hope that the visit is a stimulating experience and that it encourages you to create and share new dialogues through our social networks”.
This exhibition is well worth visiting. It is an excellent proposal and curatorship in the hands of an erudite narrator, with versatile, broad and precise registers who communicates through subtle comparisons and metaphors, inviting us to the most varied poetics.
Visiting the exhibition, you will find wall texts encouraging visitors to look, to understand and to find their own reward, whether aesthetic, intellectual or personal.
All 24 dialogues available in the link of the exhibition: https://www.espaicarmenthyssen.com/en/ the-exhibition/
Carmen Thyssen stood in for her mother and inaugurated the exhibition "Between works. Prefigured dialogues with the Carmen Thyssen Collection" at the Espai Carmen Thyssen in Sant Feliu de Guíxols, in which I have the honour of being part of the cast of artists that make it up. My most sincere thanks to Carmen, Tita Cervera's daughter, and her mother, Baroness Thyssen.
Pilar Viviente
Carmen Thyssen and Pilar Viviente
Photo credit to BERGANTÍSTUDI, Sant Feliu de Guíxols City Council, 2024.
NASI LEMAK
Malaysia’s simple ‘land worker’s’ dish, Nasi Lemak has, over the years, gained an international reputation.
Seen across the world’s stage, and in the hands of the most humble to gastronomic elite diners, Nasi Lemak does Malaysia proud with its harmonious culinary melange and its beguiling series of accompanying tastes.
Nasi Lemak is a dish of rice cooked in coconut milk and served with a side of sambal (chili paste), along with peanuts, eggs, fried anchovies and cucumber, as condiments.
NASI LEMAK
Malaysia, due to its multi-ethnic diversity and gastronomies of Chinese, Indian and Malay, as well as the cuisines of indigenous peoples, is internationally recognised as a foodie haven.
While many exquisite dishes belong to Malaysia’s culinary arts, one dish appears to have caught the popular imagination due, most probably, to its intriguing and enduring versatility.
Nasi Lemak, which at its simplest is rice cooked in coconut milk (called ‘Santan’ in Malaysia and gives the ‘fat’ content to the dish), is considered to be the Malaysian national dish. Modern basic ingredients include rice cooked in coconut milk, a sambal (a spicy relish possibly consisting of fresh chillies, shrimp paste (blachan), lime juice, sugar, salt, an egg, slices of cucumber, and fried anchovies (ikan bilis) with peanuts, (aka groundnuts). To this may be added numerous sides dishes (small plates).
This year (2024), the American Central Intelligence Agency (CIA ) has written on its Facebook page that…
“Nasi lemak is considered the national dish of Malaysia and is a popular Malay breakfast food. Its name in Malay literally means "fat rice" because its preparation makes it rich and creamy. It consists of fragrant rice cooked in coconut milk with pandan leaves, lemon grass, ginger, and other spices. Nasi lemak is usually served with a hard-boiled egg, fried anchovies, sambal paste, and roasted peanuts.”
Malaysia’s Nasi Lemak has developed over time from its humble beginnings. It now comes in many sizes, colours and tastes, far from its
practical origins. For some, Nasi Lemak’s origins appear to stem from a simple padi (rice field) worker’s meal, a rice heart protected by a banana leaf wrapping, and available to be eaten when taking a break from working in tropical fields.
South East Asia is no stranger to rice cooked in coconut milk. Apart from Malaysia, in Myanmar it’s called ‘Ohn Htamin’, in Thailand it is ‘Khao Tom Mat’, and in Indonesia it is ‘Nasi Uduk’. Some ‘histories’ of Nasi Uduk make the claim that Nasi Uduk came to the land of Sunda Kelapa (Jakarta) through trade routes during the 14th century.
Some people believe that Nasi Uduk came from the Malay people on the island of Sumatra and migrated to the island of Java. Others believe that the Malay Peninsular was the origin point, with the Malay peoples travelling to what is now Indonesia. Another story has suggested that Nasi Uduk originated from Java and was imagined by Sultan Agung of Mataram, a Javanese ruler, who wanted to recreate a form of Arabic rice that he had eaten (Kebuli rice). However, there are too many differences between Nasi Lemak and Nasi Uduk to dispelled any and all notions of a direct connection.
’Nasi Lemak’ (literally rice [nasi] cooked in coconut milk fats [lemak]) was first mentioned (in English) by the British Educator ([Sir) Richard Olof Winstedt F.M.S.) in ‘footnote 2’, on page 62 of his book, ‘Papers on Malay Subjects; Life and Customs Part II; ‘The Circumstances of Malay Life’, published in 1909 (but copyrighted in 1878).
“…the Malay cook will try to improve on perfection.
He will 1 boil the rice along with such spices as carraway seeds, cloves, mace, nutmeg and ginger and garlic, in dripping or coconut oil; or he will boil it in coconut milk instead of water…2 Nasi Lemak.”
On the same page (62), Nasi Lemak is mentioned along with ‘Nasi Minyak’ or ‘Nasi Samin' (rice cooked with ghee) and ‘Nasi Kunyit’ (glutinous rice cooked with turmeric, which turns the rice yellow).
The exact origins of Nasi Lemak remain unclear. Winstedt, in his 1909 publication, only mentions Nasi Lemak as an alternative to other methods of Malays cooking rice. Winstedt does not mention any of the side dishes which have since become associated with the ‘meal’.
Some years after the Winstedt publication, in 1935, Nasi Lemak is mentioned in the context of Malaysia’s Kuala Lumpur night Malay market (Pasar Malam) at ‘Kampong Bahru’, in the Straits Times newspaper (Kuala Lumpur’s Malay Market, 21 July 1935, Page 15).
“But if you like booboh katchang, nasi lemak, strange varieties of coloured cakes, jagong, and can tolerate some imitations of Chinese dishes —well you've found your paradise !”
While in 1940 a dance number dedicated to ‘Nasi Lemak’ by Ternyanyi Oleh came out on the Columbia Records label and, in 1946, an there was an article called ‘The Worker's Breakfast’ in the Malaya Tribune (2 November 1946, Page 4) it mentions….
“Packets of rice boiled in cocoanut milk, called ‘nasi lemak,’ are also sold in the mornings, usually, eaten with a couple of fried prawns and a dash of sambal.”
The concept of Nasi Lemak has grown and grown. Here are just some mentions, appearances and evolutions of Malaysia’s favourite dish in recent years ….
2012 The New York Times, in the article ‘A Food Bloggers’ Tour of Kuala Lumpur
By Naomi Lindt.
2016 The Guardian (UK) in the article…‘Dapur, London WC1: It looks, and smells, like the real thing’ by Marina O’Loughlin.
2017 Karex ‘One Super Studs Nasi Lemak Panas (hot)’ condoms available in Malaysia.
2017 Singapore, the Mc Donalds Nasi Lemak burger was launched.
2018 Malaysia embraces the Mc Donalds Nasi Lemak burger.
2019 New York Times in an article ‘Rice at Its Finest’ by Yotam Ottolenghi.
2020 Malaysian Santan restaurant and local ice cream artisan Crème De La Crème (CDLC) created Nasi Lemak ice cream.
2023 The Mc Donalds Nasi Lemak burger is back in stores.
2024 Malaysia Tatler in an article by Sim Wie Boon ‘Nasi lemak nominated for Unesco World Heritage status’.
2024 According to writer Jacelyn Chong (sethlui.com February 27, 2024), at the time of writing NALÉ (The Nasi Lemak Company) series of restaurants in Kuala Lumpur, Malaysia, have created Malaysia's most expensive Nasi Lemak, featuring Australian wagyu beef, priced at RM89. 90, excluding tax.
There’s a whole mess of Nasi Lemak merchandising, including T-Shirts and posters celebrating that dish.
Like much gastronomic fare, it depends on who’s making the Nasi Lemak. It seems that there is a Nasi Lemak for every taste. When cooked at home there is a lot of preparation for this dish. Outside, simple and cheap Nasi Lemak, or more expensive versions may still be bought from Malaysian street-side sellers, and in all kinds of eateries
Nasi Lemak has been available in Hong Kong for some time (‘Return of Lemak’), as well as in Victoria, Australia (‘Nasi Lemak House’), in London and a host of other places too.
I remember visiting ‘Satay House’ (established 1973, at Sale Place, Paddington, London) numerous times on trips to London from my rural abode and, incidentally, before I had first visited Malaysia (1981). That is, when I wasn’t eating, as a guest, at ‘Malaysia Hall Canteen’, London.
Martin Bradley is the author of a collection of poetryRemembering Whiteness and Other Poems (2012, Bougainvillea Press); a charity travelogue - A Story of Colours of Cambodia, which he also designed (2012, EverDay and Educare); a collection of his writings for various magazines called Buffalo and Breadfruit (2012, Monsoon Book)s; an art book for the Philippine artist Toro, called Uniquely Toro (2013), which he also designed, also has written a history of pharmacy for Malaysia, The Journey and Beyond (2014, Caring Pharmacy).
Martin has written two books about Modern Chinese Art with Chinese artist Luo Qi, Luo Qi and Calligraphyism and Commentary by Humanists Canada and China (2017 and 2022), and has had his book about Bangladesh artist Farida Zaman For the Love of Country published in Dhaka in December 2019.
Canada 2022
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