1Malaysia Contemporary Art Tourism by mgtf usm

CONTEMPORARY ART TOURISM sparkles in

Penang

CONTEMPORARY ART TOURISM sparkles in

Penang

1Malaysia Contemporary Art Tourism Sparkles in Penang 1 September - 16 October 2010

Contemporary Art Campus Adiwarna Gallery School of the Arts & 6 other locations around USM campus Penang International Print Exhibition (PIPE) 2010 Balai Seni Lukis Pulau Pinang PIPE 2010: Tera Muda Galeri 27, School of the Arts, USM PIPE 2010: Ketumbukan, Seni Cetak Alternatif Malaysia Muzium & Galeri Tuanku Fauziah, USM Solo Print Making by Juhari Said entitled “BEFORE” Group Exhibition by Asean Artists Galeri Seni Mutiara Vibrant Art Showcase Equator Academy of Art Heritage Penang II - Paintings, Drawings & Sketches by Local and International Artists Galeri Art Point Solo Exhibition by Mr. A.Rashid Penang Malay Art Gallery Gallery Artists Alpha Utara Gallery Flame of Flowers Ido Gallery Solo Show by Loo Foh Sang and Mohd Khizal Saat Peter Liu Art Gallery Intermission Volume 1 Art & Design Exhibition Gallery @ KDU

Tel: 04 6533888 ext3261/2137/4789/4788/4786/3294 Fax: 04 6563531/6535060 Email: dir_muzium@notes.usm.my Website: www.mgtf.usm.my www.mgtfusmpenang.blogspot.com www.tagged.com/mgtfusm www.facebook.com/mgtfusm www.twitter.com/mgtf www.youtube.com/mgtfusm

Online Exhibition http://mgtf.usm.my/exhibit/php

Perpustakaan Negara Malaysia

Cataloguing- in- Publication Data

Hasnul Jamal Saidon, 19651 Malaysia Contemporary art tourism / Hasnul Jamal Saidon. ISBN 978-967-10008-1-6 1. Art--Malaysia--Exhibitions. 2. Malaysia--Social policy--Exhibitions. I. Universiti Sains Malaysia. Muzium & Galeri Tuanku Fauziah. II Judul. 759.9595 ©2010 1Malaysia Contemporary Arts Tourism Festival and Muzium & Galeri Tuanku Fauziah, Universiti Sains Malaysia. All rights reserved. No part of this publication may be reproduced except for the purpose of research, critism and review, without prior permision from the artists and publisher.

Contents Defining Contemporary Art Under-deconstruction – Contemporary Art in Malaysia After 1990

Message by Y.B. Dato’ Sri Dr. Ng Yen Yen Minister of Tourism, Malaysia

Sparkles in Penang

Introduction to “Contemporary Art Campus”

USM’s Modern and Contemporary Art Legacy Prof. Tan Sri Dato Dzulkifli Abdul Razak Vice-Chancellor Universiti Sains Malaysia

Sustaining Relevancy Hasnul J Saidon

CONTEMPORARY ART CAMPUS Absorbing Future Shock: Video, Digital & New Media Art Adiwarna Gallery, School of the Arts, USM

Reading…’Women’ Women’s Development Research Centre USM

Reading…”Women’ Penerbit USM

100

Abstraction / Social Criticism / The Semiotic of the Body Hamzah Sendut Library USM

106

Animal Kingdom / Nature Heals USM Medical Centre (Pusat Sejahtera)

148

The Sublime Pusat Islam USM

160

Built Environment School of Housing, Building & Planning USM

168

Socio-Cultural Index USAINS, Eureka Complex, USM

180

PENANG ART TOURISM TRAIL Penang International Print Exhibition (PIPE) 2010 Balai Seni Lukis Pulau Pinang

192

PIPE 2010: Tera Muda Galeri 27, School of the Arts, USM

196

PIPE 2010: Ketumbukan, Seni Cetak Alternatif Malaysia Muzium & Galeri Tuanku Fauziah, USM

200

Solo Print Making by Juhari Said entitled “BEFORE” Group Exhibition by Asean Artist Galeri Seni Mutiara

204 208

Vibrant Art Showcase Equator Academy of Art

212

Heritage Penang II - Paintings, Drawings & Sketches by Local and International Artists Galeri Art Point

216

Solo Exhibition by Mr. A.Rashid Penang Malay Art Gallery

220

Gallery Artists Alpha Utara Gallery

224

Flame of Flowers Ido Gallery

228

Solo Show by Loo Foh Sang and Mohd Khizal Saat Peter Liu Art Gallery

232

Intermission Volume 1 Art & Design Exhibition Gallery @ KDU

236

THE TEAM

240

ACKNOWLEDGEMENTS

241

1MALAYSIA CONTEMPORARY ART TOURISM Sparkles In Penang (SIP) Defining Contemporary Art The term ‘contemporary’ connotes something that is

It has to be noted that whatever that is contemporary today

modern, current, up-to-date, fashionable, present day and

will become ‘historical’ in another ten or more years to

existing. The term ‘art’ here refers to many different forms

come. Contemporary then, also connotes relevancy and

of expression that are prevalent in the today’s visual art

sustainability of artworks in cutting across the time-space

practice such as painting, printmaking, sculpture, drawing,

dimension. It is on this basis that several critical and

photography including digital print, video art, new media

seminal works that were produced more than ten years ago

art and installation art. Current practice of contemporary

are also included in “SIP”.

art also includes many diverse forms of alternative media, process and methodologies that include youtube

Under-deconstruction – Contemporary Art in Malaysia

video, web-based collaborative project, experimental

After 1990

and site-specific performance and installation, situational

For those who subscribe to a very linear reading of time

and instructional art, sound art, light art, artist’s book,

and notion of progress, contemporary art in Malaysia

graffiti, ready-mades, ephemeral art, intervention art,

after 1990 may seem a bit puzzling. In fact, writer Ooi Kok

expanded painting, quilt, fax and mobile phone. There is

Chuen uses a colloquial term ‘syiok’ as a pun for future

also a tendency to combine various media, process and

shock that the local artists had to encounter as Malaysia

methodologies as well as to explore beyond the confine

engaged with globalisation, free market capitalism and

of gallery wall and its white cube paradigm amongst the

information technology during the 1990s.(1)

contemporary art proponents today. If one is willing to forsake one’s dependent on the Despite the emergence of non-conventional, experimental,

dominant master-narrative that has been used to

multi-disciplinary and alternative new forms, traditional

construct the history of Malaysian art, one may encounter

forms such as painting still persist. In fact, painting (in

a contemporary art scene that is marked by ironies,

its many variations) has continued to play a central role

paradoxes and contradictions, as much as probabilities,

as an important form of contemporary expression in the

possibilities and potentials. They are rather prevalent

Malaysian art scene.

if we look into the fact that even the notions of history, modernism and postmodernism are not spared from being ‘deconstructed’ and contested. It seems like the discourses

of contemporary art in Malaysia since 1990 until today have

aesthetic, reclaiming local and regional values

entitled ‘Under-Deconstruction – Contemporary Art in

artworks in the period after that year mostly observe and are ascribe

been ‘under-deconstruction’ and in a state of flux.

and elements, as well as enriching and expanding

Malaysia After 1990’ in Timeline, published by the National

to postmodern traits. Therefore any appreciation regarding the ideas

visual art practice in Malaysia during the late

Art Gallery in 2008.

and practice of Malaysian contemporary art must revert to that time

Michelle Antoinette in her essay Different Visions:

80s and early 90s. Several obscured but critical

Contemporary Malaysian Art and Exhibition in 1990s and

trajectories in UiTM should also be highlighted

Beyond describes the period during the 1990s as being

especially in functioning as important preludes for

See Safrizal Shahir, ‘Art Criticism in the Appreciation of Malaysian

marked by ‘a climate of openness’ where ‘critique in art

many forms of contemporary art practice today.

Contemporary Art’ in sentAp! Issue no.2, 2006, pp. 9-10.

has emerged’. She further states that it is a period where

4. Response to a perceived hegemony of the so-

‘constant flux and fragmentation is taken as a defining

called ‘Malay revivalist proclivities’ by writers and

3. Post-modern condition in the Malaysian art scene has been

feature of Malaysian culture and society’.(2)

several influential visual artists.

explicated amongst many by: Zanita Anuar, ‘Ebb and Flow:

5. The three catalysts of change especially

Notes

Observations on the cognitive tide in Flow/Arus. National Art Gallery,

The discourses of contemporary art in Malaysia are marked

during the 1990s, which include the imperative of

by several key issues. Amongst them include :

globalisation, free market capitalism and the impact

1. This colloquial term was coined by Ooi Kok Chuen in ‘A

in Rupa Malaysia. Balai Seni Lukis Negara, Kuala Lumpur, 1999;

of information and communication technology.

Comprehensive History of Malaysian Art’, in Dr. Tan Chee Khuan,

Niranjan Rajah, ‘The End of Globalization? Malaysian Art at the

1. A shift from master-narrative to multiple

6. Multiple and intertwined trajectories in dealing

200 Malaysian Artists, The Art Gallery, Penang, 2002, p. 42.

Close of the 20th Century’ in, Fukuoka Triennial, Fukuoka Asian

discourses, which include the paradox of

with social concerns and reflecting postmodern

‘deconstruction’ and the emergence of ‘other’

encounters.(3) Such trajectories also include a

2. Michelle Antoinette, ‘Different Visions : Contemporary Malaysian

Art Gallery, Kuala Lumpur, 2004; See also a chapter on ‘From

narratives that challenge the idea and reliance on

convergence of modernist and postmodernist

art and exhibition in the 1990s and beyond’ in Caroline Turner

Modernism to Post-modernism’ in Syed Ahmad Jamal (ed), The

singular historical narrative in reading the practice

paradigms, emergence of new forms and the

(ed), Art & Social Change : Contemporary Art in Asia and the

Encyclopedia of Malaysia : Crafts and The Visual Arts, Didier Millet,

of visual art in Malaysia.

sustainability (or superiority) of painting. Another

Pacific, Pandanus Book, Canberra, 2003. Through this essay,

Singapore, 2007; and the seminal Digital Collage, Ismail Zain Solo

2. Preludes to postmodernism, which highlight the

important development is the emergence of new

Michelle focuses on the “defining moments and seminal figures

Exhibition, Galeriwan, Kuala Lumpur, 1988. Serena Abdullah, in her

importance of certain seminal works in the 70s

writers-curators, new spaces, young movers and

of contemporary Malaysian art from 1990s to the present, by

article ‘Positioning Malaysia’s Postmodernism’ in sentAp!, issue no.

and 80s as important preludes to several forms of

new institutions.

tracking the different and multiple trajectories along which recent art

3, 2006, states that “even though, the “postmodern art” and changes

contemporary art practice today.

7. Emergence of several key artworks that reflect

production has evolved.” p. 232.

happening in Malaysian culture can be seen as an upshot of the

3. Rethinking of ‘Malay proclivities’, which

the neo-expressionist impulse, Malay angst and

questions the highly ethnocentric reading of the

dilemma; echoes of resent, reasserting the ‘others’

Safrizal Shahir in his essay, ‘Art Criticism in the Appreciation of

postmodernism really manifests in Malaysia?”. She further proposes

role and contribution of UiTM especially during

and reclaiming obscured histories; and challenges

Malaysian Contemporary Art’ proposes that:

that “a different strategy must be taken in positioning this latest trend

the 80s towards visual art practice in Malaysia.

in moving beyond racial polarity.

This includes acknowledging the contribution of

frame’.

Kuala Lumpur, 2000; Redza Piyadasa, ‘Melangkau Sempadan’

Art Museum, Fukuoka,1999; Hasnul J Saidon, Takung, National

postmodern conditions through the globalisation process but does

in the Malaysian art world” p. 8. In this regard, it is important to note “The nascent point of Malaysian contemporary art, which embraces

that, as Safrizal writes, “blind acceptance of Western-oriented theory

its lecturers and graduates in questioning blind

For a comprehensive review of contemporary art in

or allows for the emergence of postmodern ideas, relatively could be

and its vague application onto Malaysian artworks only produces

adherence to the Western notion of art and

Malaysia, especially after 1990, one can refer to an essay

traced back to the late 1980’s. Indications and profiles suggested by

an intentional fallacy, due to the fact that Malaysian contemporary

art itself is deeply rooted in a local socio-cultural space which has experienced hybrid fusion.” Refer to Safrizal Shahir, pp. 9-10. He further reminds that “Deconstruction, Intertextuality, Perversion, Simulacra or Hyper Reality are several typical theoretical principles that could be adopted as tools for art criticism of Malaysian art. However, profound and sincere observation on the functions of criticism shall accordingly inspire us to search for the sustenance of ‘hikmah’ intelligence with regards to the whole practice of art criticism” p. 10.

MESSAGE BY Y.B. DATO’ SRI DR. NG YEN YEN MINISTER OF TOURISM, MALAYSIA Malaysia’s wealth of culture, beautiful landscapes and exotic foods has been documented numerous times before. In fact, these are some of the main reasons for travellers to choose Malaysia as their holiday destination. However, there is one aspect of Malaysia that many have yet to discover: our beautiful and priceless art heritage. In recent years, Malaysia’s art scene has grown to become an impressive force simply due to the good number of old and new artists populating the scene with their talent, and the amount of work they produce each year. The sizeable number of private galleries especially in the major cities has also encouraged the growth of Malaysian art by providing artists with a space in which to exhibit their works. In addition, these art galleries play an important role in identifying and discovering talented artists and grooming their careers as an artist. The presence of both corporate and individual art collectors and many others who are becoming well-acquainted with the benefits and pleasures of art, have also boosted the Malaysian art scene. The Ministry of Tourism recognises the growing importance of art in respect to tourism. Malaysian art is the canvas upon which our culture, our lifestyle, our landscapes and people are featured. It is an important – and beautiful – documentation of Malaysia, the state of our country, the feelings of our people, the sense of nationhood. It is the perfect reflection of the 1Malaysia concept that the Malaysian Government envisions. In this respect, I am happy that Malaysian art can be brought centre stage through this publication, as well as other initiatives planned for the development and promotion of Malaysian art. I believe that these efforts will go a long way in promoting a love and appreciation for Malaysian art and similarly a love for Malaysia as a destination worthy to explore and discover. “MALAYSIA TRULY ASIA” Y.B. DATO’ SRI DR. NG YEN YEN MINISTER OF TOURISM, MALAYSIA

1MALAYSIA CONTEMPORARY ART TOURISM “Sparkles In Penang” The Penang chapter of 1Malaysia Contemporary Art Tourism (MCAT), “Sparkles In Penang” (SIP) features thirteen offerings of contemporary art exhibitions in ten different venues throughout September 2010. These venues have been known as amongst the prime movers of contemporary art exhibitions and activities in Penang. The biggest offering is called “Contemporary Art Campus”, a major exposition of Universiti Sains Malaysia (USM) Fine Art Collection at several locations in the USM main campus. Other major exhibitions include Penang International Print Exhibition (PIPE) at the Penang State Art Gallery and several other locations in USM and Georgetown. SIP is also complimented by public programmes such as artists talk, exhibition tour and workshop to engage various sections of the public and community with contemporary art. A seminar entitled “Penang as a sustainable international hub for contemporary art tourism” is scheduled to take place at the Eastin Hotel in conjunction with SIP and the MCAT campaign in Penang. As a historical state known for its rich variety of crosscultural heritage, Penang has also been known for her own unique flavour of art scene. Other than the conventional forms of fine art practices, sparks of new, innovative, fresh and exciting approaches have also been witnessed in many parts of Penang for the past ten years. These sparks 20

have been mostly instigated by the younger generation of more experimental contemporary artists with support of local institutions, NGOs and special-interest groups. They provide sparks that will hopefully turn Penang into an exciting international hub for contemporary art tourism in this region. So, come and visit Penang. While you are in Penang during the month of September, don’t forget ‘to take a ‘SIP’’! “SIP” is jointly organised by the Ministry of Tourism Malaysia, Tourism Malaysia Penang, Muzium & Galeri Tuanku Fauziah and the School of the Arts USM. It is supported by nine major galleries in Penang.

1MALAYSIA CONTEMPORARY ART TOURISM Sparkles In Penang (SIP) Introduction to “Contemporary Art Campus” Leading the ‘sparks’ of SIP is a major showcase of

new media artworks by contemporary Malaysian artists

Universiti Sains Malaysia (USM) Fine Art Collection at the

today. In fact, USM is perhaps the only institution in

Adiwarna Gallery, School of the Arts USM. The showcase,

Malaysia that has been comprehensively collecting video

aptly-named “Contemporary Art Campus” also spills out to

and new media works as a part of its acquisition, curatorial

several other buildings, turning the whole campus into an

and research practices.

art gallery. This bold initiative, perhaps the first to be taken by a local public university, compliments the University’s

Spearheaded by the Muzium & Galeri Tuanku Fauziah

‘garden’ concept. It also affirms USM’s commitment in

(MGTF) USM, the showcase intervenes with the existing

promoting a sustainable symbiosis of the arts and sciences

spaces of several strategic buildings in the campus in order

as the University steers it’s transformative drive as the first

to bring the Collection to the campus community and public

APEX-status University in Malaysia.

at large. Using such creative intervention as a part of its curatorial and audience research method, “Contemporary

USM Fine Art Collection has been acknowledged by

Art Campus” presents a unique approach in engaging

many local and international scholars as one of the most

the campus community with modern and contemporary

important repositories of modern art in the Southeast

art. This initiative also epitomises MGTF’s transformative

Asian region. Several works from the Collection have been

stance in enriching interpretations of its precious, diverse

featured in many major exhibitions as significant signposts

and important Collection. By turning several interior spaces

and milestones for the Malaysian and regional art history.

of the campus into public art galleries, MGTF hopes

Works by Ibrahim Hussein, Latiff Mohidin, Ismail Zain,

to sustain the relevancy of its Collection, especially in

Joseph Tan, Nirmala Shanmughalingam, Zulkifli Buyong,

balancing USM’s scientific endeavours.

Patrick Ng, Dzulkifli Dahalan, Ismail Hashim, Lee Kian Seng, Redza Piyadasa and Ruzaika Omar Basaree in

The showcase is divided into seven themes, spread into

this Collection for examples, can be read as the early

eight different locations in USM :

trailblazers and roots of many forms of contemporary art

practice today. Artworks by these pioneers and trailblazers

1. Absorbing Future Shock – Video, Digital and

are currently complimented by recent acquisitions of rare

New Media Art

drawings as well as cutting edge video, digital prints and

Adiwarna Gallery, School of the Arts USM 25

2. Reading… ‘Women’ Women’s Development Research Centre USM

Contemporary Art Campus

Penerbit USM 3. Abstraction / Social Criticism / The Semiotic of the Body Hamzah Sendut Library USM 4. Animal Kingdom / Nature Heals USM Medical Centre (Pusat Sejahtera) 5. The Sublime Pusat Islam USM 6. Built Environment School of Housing, Building & Planning USM 7. Socio-cultural Index USAINS, Eureka Complex USM Central to the campus-wide exhibition is ‘Absorbing Future Shock (AFS) –Digital, Video and New Media Art’ at the Adiwarna Gallery. The exhibition features digital prints and video works by internationally-renowned Malaysian artists such as Wong Hoy Cheong, Hasnul J Saidon, Yee I-Lann, Hayati Mokhtar, Nadiah Bamadhaj, Ahmad Fuad Osman, Masnoor Ramli and Nur Hanim Mohamed Khairuddin. Complimenting these are works by the younger generation of experimental, conceptual and new media artists such as Faizal Zulkifli, K.Azril, Roopesh Sitharan, Sharon Chin, Vincent Leong, Tengku Azhari, Kamal Sabran, Fadly Sabran, Rini Fauzan, Anuar Ayob, Ekram AlHafis, Colmann Abdullah and Haris Abadi. Rare collection of digital collage prints by the pioneer of computer art in Malaysia, the late Ismail Zain are also featured.

AFS represents MGTF’s boldness in acquiring critical but

patterns and textures of nature. The abstract school of

commercially-challenging artworks created by some of

works is further added by the inclusion of Lim Eng Hooi,

Malaysia’s best talent in the contemporary art practice. It

Joseph Tan, Choong Kam Kow and Fadzil Othman’s

also epitomises the changing realities that surround the

formalist exposition of optical and minimal art. Paintings

contemporary Malaysian art practice towards and beyond

and prints by Md Sani Md Dom, Cheah Ewe Hoon, Zakaria

the 21st century.

Ali, Raja Azhar Idris’s, Ismail Kadir, Mohd Shaparel and Ilse Noor represent a more representational and picturesque

AFS also feature non-electronic-based artworks that

works in the Collection. Paintings by Penang-born/based

reflect artists’ response towards technological intervention

artists such as James Sum, Chong Hon Fatt, Chai Chuan

and existentialist’s interpretation of self, identity and

Jin, Chuah Siew Teng, are also featured.

representation in today’s age of global telecommunication and industrial mechanisation. Works by young artists such

Other special features include early works of Jailani Abu

as Ruzzeki Harris, Abd Latiff Ahmad Padzali, Al-Khuzairie

Hassan, Mohd Ekif Amir, Romli Mahmud and Haron

Ali, Mohd Faiz Shukor, Azmin Hussein, Umibaizurah Mahir

Mokhtar. All these works were created during their student

and Khairul Azmir Shoib represent such response.

days or early phase of their career, thus placing the works as amongst the most valuable if not rare components of the

The showcase also offer precious opportunity for visitors to

USM Collection. Mixed media are represented by the works

enjoy rare collection of preparatory drawings by prominent

of Mohd Noor Mahmud and rare sketch of Fauzin Mustafa.

and influential contemporary artists such as Sooshie

Zulkifli Yusoff’s painting, Raja Shahriman’s sculpture and

Sulaiman, Fauzin Mustaffa, Noor Azizan Paiman, Tengku

Bayu Utomo’s print represent expressive approach towards

Sabri, Mastura Abdul Rahman, Shamsul Bahari and Eng

human figure.

Hwe Chu. These rare drawings are complimented by architectural sketches by Pheh It Hao and Penang-based

All the works mentioned above are exhibited under several

Ch’ng Kean Kiean.

different themes and locations as listed before.

Fauzan Omar, Tang Hon Yin, Sharifah Fatimah Zubir,

With the green and scenic USM campus as an ideal setting

Hamidi Hadi, Sabri Idrus, Fathullah Luqman Yusuff and

for visiting, “Contemporary Art Campus” is certainly a

Rahmat Haron are also represented. They are known

more than worthy showcase to be explored, enjoyed and

for their commitment towards abstract pursuits, intuitive,

appreciated.

Ismail Zain Al Kesah (1988) Computer Print 20cm x 28cm Purchased

formalist and perceptual leanings. Their works also feature romantic, poetic and extended formalism through colours, 28

CONTEMPORARY ART CAMPUS USM’s Modern and Contemporary Art Legacy 1. Revisiting The Pioneering Spirit 39 years ago in Malaysia, the idea of introducing fine art

In this regard, the late Hamzah Sendut’s vision and

as a scholarly endeavour within the matrix of a tertiary

forwardness in planting the seed of fine art in USM in

science-oriented institution like Universiti Sains Malaysia

1971 was indeed far ahead of its time. This seed was

(USM) would probably be dismissed as preposterous.

later nurtured to grow into an Art Center, which was later

Even today, the lingering possibility of such a dismissal

upgraded to the School of the Arts. The presence of

still persists despite the increasing call for a convergence

the Art Center had paved the way for the establishment

between art and science. The call itself reflects the

of a museum in USM, which now houses one of the

imperativeness of developing a more balanced knowledge-

most important and valuable collections of modern and

based human capital to meet the growing demand of the

contemporary Malaysian art in the region.

industry, especially the creative industry. More importantly, there is also a pressing call for a sustainable development

2. MGTF and the Future Stance of USM Fine Art

which entails cross-disciplinary initiative and pro-active

Collection

engagement from experts in both the arts and sciences.

As MGTF encounters the imperatives of the 21st century, it has to do so with a strong rooting in its own rich and

As Malaysia positions itself within the global matrix and st

changing realities of the 21 century, the demand to

diverse cross-cultural heritage. This heritage is marked by the spirit of creating a sustainable cultural ecosystem.

facilitate inter-connectedness within and across multiple

Prof. Tan Sri Dato Dzulkifli Abdul Razak with Pago-Pago (1965) by Latiff Mohidin.

disciplines simultaneously escalates. It also calls for the

Asian artistic legacies can be traced in its rich cross-cultural

redefining of the mismatch in our current higher education

heritage of pictorial recitations or performed paintings in

ideals as we take a leaf from Eastern wisdom which

countries such as Indonesia, Malaysia, Thailand, Vietnam,

declares that ‘learning is about being and not about having’

Myanmar, Laos, Cambodia, China, Japan, Iran and India.

as articulated by Confucius, or that of Islam that regards

They reflect the products of a sustainable ecosystem. Can

knowledge as a source to not only create material wealth,

this sustainable ecosystem be retained and conserved

but also to create spiritual well-being.

in today’s regional matrix of Asian contemporary art, considering the rapid changes that have taken place as we race and engage with the challenges of the 21st century? 31

Can the need for preservation and conservation as well as

should also include artworks that feature cutting edge

revitalisation and adaptation be reflected in USM’s Fine Art

experimentations with new media. This may expand the

Collection in the following years?

reading of art beyond a formalist interpretation. In addition, the explication of the collection may not anymore be

It is in the spirit of reflecting the motion towards inter-

confined by a closed definition of fine art according to the

connectedness and conserving a sustainable cultural

Western tradition, but enriched by non-linear and multiple

ecosystem that MGTF should chart the future direction of

discourses related to pressing contemporary issues, with

its acquisition.

a strong rooting in the rich tapestry of local and Southeast Asian cultural heritage.

USM’s future art collection should reflect how Malaysia creatively navigates herself within the complex matrix of the contemporary ‘glocal’ society. Emphasis should be given to artworks that reflect the challenges of absorbing the so called future shock, diverging and converging consumerist lifestyles, the pressing and sensitive issues related to ethnicity, religion and gender, the imperatives of the free market economy and the impact of ICT.

USM’s Fine Art Collection has to be supported by substantive supporting programs that will further enhance, diversify and sustain its relevancy with the changing times. MGTF has to embark on extensive research and publication activities to explicate its Collection. MGTF also has to sustain a healthy link with other major institutions that own extensive collections of modern and contemporary art in Asia. “Contemporary Art Campus” reflects MGTF’s response to the above-mentioned imperatives. In addition, MGTF has

The future collection should also echo the changing face

established links with institutions such as the Singapore Art

of contemporary art practice in Malaysia and in the region.

Museum, the National University of Singapore Museums,

Presently, several interesting new talents are steering their

Vargas Museum of the University of the Philippines,

careers as a means to engage with cultural and ideological

Soemardja Gallery of Bandung Institute of Technology,

contestation and to negate prescribed values. Others are

the Fukuoka Asian Art Museum and the Queensland

interested in exploring the relationship between knowledge

Art Gallery. It has also sustained its collaboration with

and power and to lament the lost of meaning in their society

the Penang fine art community, NGOs and activists, the

of spectacle. Young talents represent new consumers

National Art Gallery of Malaysia, the Petronas Gallery and

of communication technology, new cultural agents and a

many galleries in Kuala Lumpur, Ipoh, Melaka and Johor

new breed of net generation. In this regard, the collection

Bharu.

Prof. Tan Sri Dato’ Dzulkifli Abdul Razak receiving a donation of Red & Purple Interlude by the Late Ibrahim Hussein from Tan Sri Azman Hashim, Chairman of AmBank Group, in Mei 13, 2008

MGTF’s extensive collaborative record has been extended by the inclusion of the Ministry of Tourism Malaysia. The collaboration with the Ministry in organising the MCAT chapter in Penang aptly called “Sparkles in Penang” is timely, especially in complimenting MGTF’s interest in diversifying into the ‘blue ocean’ of educational, cultural and heritage tourism. In this regards, MGTF and USM are certainly honoured to be working with the Ministry of Tourism Malaysia under the auspice and forward-looking leadership of YB Dato’ Sri Ng Yen Yen, Minister of Tourism Malaysia. MCAT will certainly provide critical momentum in

USM’s ‘garden’ metaphor reinforces the fact that knowledge is diversity in unity and transcends what meets the eye. The term ‘tree of knowledge’ in fact is an ancient one that mirrors on the ‘oneness’ of knowledge in a very interconnected way, at least at the philosophical level. It is all-encompassing and marks the convergence of meaning both in the tangible sense as well as in the intangible sense – the later is often being marginalised.

Penang” as a part of its nation-wide MCAT initiative. USM is also grateful to receive positive support from all the participating galleries and Malaysian visual artists. The collaboration and support are sure signs of more positive sustainable development in regards to the future of contemporary art tourism in Penang.

Prof. Tan Sri Dato Dzulkifli Abdul Razak Vice-Chancellor Universiti Sains Malaysia

substantiating USM Fine Art Collection. Through continuous efforts of substantiating USM Fine Other collaborative efforts, too lengthy to be explicated in

Art Collection, the intangible aspect of knowledge will

this essay, have also been taken to further substantiate

hopefully not be marginalised anymore. As the guardian of

USM Fine Art Collection.

the Collection and as one of the oldest departments in the University, MGTF USM should be acknowledged as one

3. Transformation of a Legacy Into A Global Player of

of the most significant cultural institutions in the State of

Contemporary Art

Penang, Malaysia and the region. Hopefully, it will continue

After about 39 years of existence since the initial idea of

to grow, transform and mature into a global player or leader

establishing a Museum and Gallery in USM was mooted by

that will contribute proactively towards the shaping of a

the Late Hamzah Sendut in 1971, USM Fine Art Collection

sustainable international contemporary art scene. Such a

has stood proudly against the test of time. It has become

stance, will certainly compliment USM transformative drive

an incomparable testament of USM’s commitment in

towards attaining a world-class stature according to its own

preserving and sustaining its own cultural legacy for the

terms and cultural tradition.

future generation. In recollecting USM’s modern and

contemporary art legacy developed over the years, one

4. Parting Note

would be tempted to admit that the Collection represents a

As a closing note, USM is honoured to offer its deepest

unique achievement, considering its presence in the midst

gratitude to YB Dato’ Sri Ng Yen Yen and her highly

of scientific endeavours that are customarily used to define

dedicated team at the Ministry of Tourism Malaysia for

USM as a university.

having a good faith in USM to co-organise “Sparkles in 35

CONTEMPORARY ART CAMPUS Sustaining Relevancy Activities organised by the Muzium & Galeri Tuanku

process re-discovering USM’s very own trans-disciplinary

Fauziah(MGTF) reflect Universiti Sains Malaysia’s

and multi-cultural heritage by reframing its diverse

(USM) continuous rejuvenation and transformative

Collections through its own converging lenses, rather than

mode, especially in charting new territories, advocating

the typical reductionist lenses of the ‘machine-age’ and

sustainability and shifting from defunct paradigm. They

‘industry-factory’ paradigm. In reframing the Collections

employ principles such as portability, audience-centered,

through Malaysia’s own socio-cultural, philosophical

people-defined, choice, modularity, inter-dependence,

and cosmological perspectives, MGTF may rejuvenate

contextual, non-linear, interactivity, simultaneity, multiplicity,

Malaysia’s rich heritage and reinforce the University’s

connectivity, flexibility, convergence and trans-disciplinary.

‘garden’ metaphor.

These principles are not only complimentary to and intrinsically inherent in Malaysia and Southeast Asia’s very

In addition to reframing, MGTF has also been engaged

own trans-disciplinary and cross-cultural heritage, they

in audience research and surveys of various exhibition

are also fundamental in providing an elemental shift of

technologies, including new projection systems such as

consciousness for contemporary art practice in the region.

video reflection, 3D video mapping, motion tracking and many more.

MGTF USM believes that sustainability starts from the very essence of our own consciousness, our mind, always in

The idea of turning USM into a contemporary art campus

a state of awareness, always in presence, always in the

compliments the University’s current transformative,

‘now’, always in the state of ‘being’, thus MGTF’s tagline

re-discovering and re-framing drives. It accentuates the

“BEyond seeINg”

‘garden’ concept of USM, especially in championing a sustainable symbiosis of the arts and sciences. It was also

Several preliminary steps have been initiated to further

inspired by the positive momentum of contemporary art

facilitate the above-mentioned spirit, including reviews

practice and activities in Malaysia for the past few years.

of many studies on the human brain and mind as well as

Undeniably, one of many catalysts of such momentum is

consciousness. In reviewing, MGTF also returns to its own

the emergence and presence of private galleries as well as

unique and diverse collections of traditional, modern and

influential collectors such as Aliya & Farouk Khan.

contemporary art. MGTF has been engaging in a

The Aliya & Farouk Khan Collection (AFC) is fast becoming

an important platform to survey several key issues, routes

one of the most important collections of contemporary

and themes that are pertinent in discussing about Malaysia,

Malaysian art that have emerged since 1990. As a part

especially after 1990.

of MCAT project initiated and funded by the Ministry of Tourism Malaysia, several thematic exhibitions of this seminal Collection have been curated by the indefatigable and talented Sooshie Sulaiman, who happens to be one of the most internationally-acclaimed Malaysian artists herself. The exhibitions can be taken as an upshot of a major publication of the Collection that was launched by the Deputy Prime Minister, Tan Sri Muhyiddin Mohd Yassin in mid 2010. This seminal publication has strategically substantiated the Collection in many ways. It serves as an important milestone for a concerted and massive effort in

By establishing the relevancy, significance and importance of the collected artworks through research, publication, exhibition, teaching, learning and other alternative forms of audience engagement activities, contemporary art practice in Malaysia can also be further placed as one of Malaysia’s treasured gifts for her international visitors. In this regards, the initiation of MCAT is fitting and timely indeed.

documenting and presenting a Collection. It also provides a professional benchmarking for the effort of positioning

The Penang chapter of MCAT entitled “Sparkles in

contemporary Malaysian art as one of the major forces in

Penang” is a massive undertaking that requires a spirit

the regional and global contemporary art practice.

of camaraderie, vibrancy and creative energy amongst several major players and movers of contemporary art

Of course, no single collection can claim absolute

in Penang. The fact that there are thirteen exhibitions

superiority. Similarly, no single collection can stand on its

held concurrently in ten locations in Penang during the

own to claim absolute representation of the diverse forms

month of September is a testimony of such camaraderie,

and varieties of Malaysian contemporary art practice.

vibrancy and creative energy. A special seminar on the

Therefore, it is imperative to acknowledge the need to

need to turn Penang into a sustainable international hub

work inter-dependently in showcasing several critical

for contemporary art will also take place. MGTF and

institutional and private collections in a more collaborative

the School of the Arts USM are indeed honoured to be

manner to compliment the more isolated approach. These

appointed by the Ministry of Tourism to take a leading role

collections, including the USM Fine Art Collection, embody

in this project.

Hasnul J Saidon in front of The Element of Surprise (2008) by Fadzil Othman.

various responses of Malaysian contemporary artists to

postmodern conditions brought about by globalisation, free

The showcase of “Contemporary Art Campus” (CAC)

market capitalism and information technology. They provide

highlights the significance of USM Fine Art Collection. 39

Selected works from the Collection are clustered into seven themes and spread over eight different locations in the USM campus. It necessitates collaborative engagement between MGTF and various departments in USM. In doing so, it further reiterates the fact that MGTF has to work inter-dependently and collaboratively even with people and departments that may have no apparent connection with contemporary art. It demands MGTF to practically apply the principles underlined before.

CAC is also an important part of MGTF’s research project on USM Fine Art Collection. It allows MGTF to gain pertinent data on accessibility, public engagement and enrichment of interpretation, alternative curatorial strategy, exhibition design and technology, exhibition management, branding and audience development.

presented a curatorial challenge as well as opportunities.

several critical reasons, most of the artworks have ended-

MGTF also had to be tactful in approaching each host while

up being placed in secured areas such as conference or

avoiding from appearing too imposing and patronising. The

meeting room, main office, lobby and counter, reading

whole process was rather organic and entails negotiation

space and even enclosed staircase. An audience-response

with the hosts, particularly the Directors and Deans. Other

and visitors’ profile books are placed at each location,

than the Directors and Deans, CAC also hopes to engage

together with a generic synopsis to invite interpretation and

with other stakeholders of each host, including its officers

response.

and supporting staff, academicians, researchers, students, visitors and other relevant parties.

Interestingly, MGTF has already received several candid, if not intriguing responses from several hosts. At the

Central to CAC is its exposition of recent acquisitions of

CAC will certainly bring up several issues and new

With extensive experience in working with various

Women’s Development Research Centre (Kanita), a

USM Fine Art Collection. MGTF approaches acquisition

hypotheses. Amongst them include the existing policy and

communities, MGTF did not expect its hosts to be

visually imposing masterpiece by Joseph Tan received

practice as a critical part of research, teaching and

criteria of acquisition itself (which is traditionally dominated

well-versed with contemporary art, or even the arts in

a different reading. The strong display of American flag

learning. In short, a collection is approached as a

by a ‘white cube’ paradigm), curatorial methodology,

general. The hosts in return, had probably expected to

in the work was read by one of the support staffs as an

knowledge repository, not just a mere showcase meant

arrangement and placement of works, physical setting (how

receive beautiful and decorative artworks meant to make

act of adoring the USA even though the original context

for bragging. One main feature of the recent acquisition

to deal with spaces that were not designed and built as an

their place of work looks nicer. Artworks are normally

of the work was meant as a strong respond towards the

is the focus on digital print, video and new media art, as

art gallery or white cube), physical condition and function

taken as a part of home furnishing and furbishing. Such

atrocities against Asian women by American soldiers. On

well as works that reflects how Malaysian visual artists

of the selected spaces, users’ profile, movement and flow,

expectation is nevertheless common and relate to the

a rather positive note, the Director of the Centre finds her

respond to the ‘future shock,’ so to speak. Naturally, the

accessibility and visibility, lighting (natural light vs lighting

common notion, perception and assumption about art in

own favourite artist and artwork in Chuah Thean Teng’s

theme “Absorbing Future Shock – Video, Digital and New

fixtures), zoning and mapping, security status, different

general. Commonly, art is perceived as something light,

Tanpa Tajuk (1972), which she considers as a ‘classic’.

Media Art” is placed at the Adiwarna Gallery, School of the

levels of exposure, interpretation and response. CAC will

entertaining and beautifying, without any academic or

The Director of Penerbit USM picked Dzulkifli Buyong’s

Arts. Other than reflecting the School’s proactive stance

be an ample platform to compile crucial data in regards to

other forms of practical values. CAC will hopefully induce

masterpiece as his choice to be hanged on the wall of

in engaging with the challenges of the future, the theme

these issues.

the fact that contemporary art can also be employed as

the meeting room. The Head Librarian was very pleased

means to engage with deeper analysis, thinking, reflection,

to have the existing and new library buildings adorned by

meditation, contemplation and expression.

abstract masterpieces from the Collection. On the other

also encompasses one of its research focus and niches

in media art. Consequently, this theme is extensively

Upon endorsement from USM Vice-Chancellor, Prof. Tan

elaborated as an anchor for this catalogue. Other themes

Sri Dato’ Dzlkifli Abdul Razak, CAC began with a process

will be presented in a rather generic manner, mostly due

hand, he appeared rather nervous about hosting the

of surveying, documenting and studying several selected

Thankfully, MGTF and the idea to spread the Collection

more politically and visually challenging three dimensional

to the fact that they will be explicated in MGTF’s future

spaces that scattered across few buildings in the USM

were positively and proactively received. For this, MGTF

artworks under the theme “Social Criticism”.

publication.

campus. This was followed by a process of matching

is very grateful to find welcoming and supportive hosts

the selected spaces with appropriate themes. Not all

for the Collection. Most of the time, MGTF was given a

These are some of the preliminary responses that we at

the spaces were designed or built as an art gallery. This

free hand in deciding on ‘what to place in where’. Due to

MGTF have managed to compile during the installation 41

process of the project. Regardless of whatever responses that may emerge, MGTF believes that CAC will provide a critical opportunity to create new audience for the Collection. In doing so, CAC will hopefully assist MGTF in sustaining the relevancy of the USM Fine Art Collection. As a parting note, and on behalf of MGTF, I would like to extend my gratitude to the staffs from the Ministry of Tourism Malaysia (KL and Penang) for their faith, confidence and support. CAC also reflects MGTFâ&#x20AC;&#x2122;s way of honouring the participating artists, by making their works accessible to the public. Compliments should also be given to all the participating hosts who, under the inspirational leadership of their forward-looking Vice-Chancellor, have endorsed and supported the project enthusiastically. A special credit should be given to all the staff members of MGTF, especially its curators, assistant curators and museum assistants for their professional attitude, efficient performance and tireless strive towards excellence and perfection in making CAC, SIP and MCAT a success. Salam 1Malaysia.

Associate Professor Hasnul J Saidon Director Muzium & Galeri Tuanku Fauziah (MGTF) Universiti Sains Malaysia September 2010.

CONTEMPORARY ART CAMPUS

Absorbing Future Shock: Video, Digital & New Media Art Adiwarna Gallery, School of the Arts, USM

Associate Professor A. Rahman Haji Mohamed Dean

CONTEMPORARY ART CAMPUS Absorbing Future Shock – Video, Digital & New Media Art 1. Trails of Early Experimentations The novelties of information and communication technology

experimentations emerged in the midst of what can be

and the emergence of new media especially after 1990

considered as amongst the peak periods of Malaysian

have provided an important context for the contemporary

modernism, with abstract, water colour, big and pleasing

art practice in Malaysia. Technology has provided a

paintings dominated the local art scene then. One example

platform for global networking, enabling artists to form a

of such experimentations is Ismail Zain’s Digital Collage

web of non-hierarchical relationship or multi-directional

(1988), a solo exhibition consisted of his Macintosh-

link with other artists around the world. Such link has

based digital prints. The exhibition can be taken as the

instigated cross-cultural encounters, creating a more

early trailblazer of electronic art (e-art) in Malaysia. It has

inter-connected or inter-dependent environment for artists

also been acknowledged for introducing new theoretical

to steer their career. They have begun to embrace a set of

frameworks for contemporary art practice, especially

new paradigm, marked by convergence, virtual presence,

in relation to media semiotics, information theory and

hybridity, interactivity and modularity. Currently, websites,

globalisation.

blogs, chatrooms, online videos, youtubes, facebook, virtual galleries, online database, sms and mms provide

Bahaman Hashim and Kamarudzaman Mat Isa (lecturers

free access to myriads of information for artists, especially

at UiTM) also started to use computer technology in the

those of the younger generation.

late 1980s to produce their silkscreen and photographic works. Around the same period, Ray Langenbach (with his

Since the 1990s, several artists have responded by using

students at the Universiti Sains Malaysia/USM) explored

new media technology itself to make their works. Others

the use of video and electronic robotics while Liew Kungyu,

have responded by expressing their feelings and thoughts

who is known for his witty and wry multi-dimensional works,

on the impact of new technology. Art establishments,

exhibited his single-channel video installation entitled

institutions and commercial galleries have also responded

Passage Through Literacy at the National Art Gallery

by organising exhibitions, projects, developing website,

of Malaysia in 1989. It was during the late 80s also that

online tour and database.

expanded painting and multi-arts engagements continued to be revitalised by groups such as the 4 Persepsi (Hasnul

The seed of experimentations with video, electronic and

J Saidon, Taufik Abdullah, Fauzin Mustaffa and Mohd Noor

digital technology was planted in the late 1980s. Such

Mahmud), Centerstage lead by Normah Nordin and Najib

Ismail Zain The Magic Marker (1988) Computer Print 28cm x 20cm Purchased

Nor and Five Arts Center lead by Krishen Jit and Marion 48

D’Cruz.

boundaries. Their interest and sentiment echoed similar

throughout the 90s. Niranjan Rajah on the other hand,

of Malaysia, Malaysian Video Awards (started in 1994)

preference towards installation and experimental

employed the internet as the platform of his online works

organised by the Malaysian Video Awards Council, Sony

approaches in the international art scene then. In doing so,

as well as means to investigate the different paradigm

Video Art Festival (1994) organised by Sony Corporation,

they drove several interesting trajectories during the 90s

between online and offline space. Other than instigating

HYPERview (1997) a solo exhibition of electronic arts by

whilst diversifying (if not deconstructing, albeit temporarily)

several new dimensions in the local visual art practice then,

Hasnul J Saidon, and X’plorasi (1997) organised by the

certain privileged and dominant practices during the late

these three artists then began to be known for their multi-

Faculty Of Applied & Creative Arts, Universiti Malaysia

80s and early 90s.

faceted roles as a lecturer, researcher, writer and curator,

Sarawak (UNIMAS).

amongst many. Hoy Cheong was even actively involved in It was during the 90s also that artists such as Wong Hoy Mohd Noor Mahmud Bunga Pahat (2007) Acrylic on Wood on Canvas 213cm x 91cm Donated by Mohd Noor Mahmud

Early 1990s saw the emergence of experimental works that include site-specific installation, video, performances, plus expansion of issues beyond aesthetic and formalism, such as identity and representation, cultural marginalisation, local politics and the economy. Installation art was spearheaded by several young artists then, such as Wong Hoy Cheong, Liew Kungyu, Zulkifli Yusoff, Tan Chin Kuan, the MATAHATI group and Noor Azizan Paiman. These artists, together with several other students from UiTM (Universiti Teknologi MARA) and MIA (Malaysian Institute of Art) toyed with mixed media and expanded painting, converging multiple fine art disciplines into one expanded installation, experimenting with computers and videos, inserting performative element, revitalising conceptual approach, doing research-intensive work, exerting angst and revisiting expressionism through figurative works. They were interested in researching, testing, challenging, expanding, experimenting, questioning and exploring 50

politics and social works.

Cheong, Hasnul J Saidon and Niranjan Rajah began

UNIMAS had also developed and launched a web portal and online discussion forum called E-Art Asean Online

to experiment with video and computer technology in

The experimentations and explorations of the artists above

in 2000 (now defunct) while its artists were invited to

producing their works, mostly due to their conceptual and

were further enriched by other artists such as Ponirin Amin,

participate in the Screen Culture and Virtual Triennial

multi-disciplinary stance. Wong Hoy Cheong for example,

Zulkifli Yusoff, Zulkifli Che’ Haris, A. Rahman Mohamed,

sections of the 3rd Asia-Pacific Triennial of Contemporary

produced Sook Chin in 1990, an experimental documentary

Faizal Zulkifli, Suhaimi Tohid, Syed Alwi, Lau Mun Leng,

Art (1999), organised by the Queensland Art Gallery,

that was also presented in a form of collaborative

Liew Teck Leong, Low Yii Chin, Masnoor Ramli Mahmud,

Brisbane, Australia. Since then, the Faculty has been

performance at the National Art Gallery of Malaysia.

Azman Ismail, Muhd Faizal Sidik, Ling Siew Woei, John Hii

consistent in encouraging and exhibiting technology-based

Hasnul, who came back to Malaysia in 1993, produced

and Alizam Hassan.

works of its final year students through its annual

several video works during his stay in the USA in the early 1990s and continued to showcase his video art and

Other than video and computer-based art, artists such

collaborative electro-acoustic performances actively

as Chuah Chong Yong employed the use of fax print for his work Pre War Building for Sale:Welcome to the Era

Faizal Zulkifli Road Runner (1996) Video Art 13 mins 34 sec

of the Biggest, the Tallest and the Longest (1999). Other artists had also responded to media technology and the emergence of cyber world. Ahmad Shukri’s Insect Diskettes series II (1997) and Long Thien Shih’s Bar Coded Man (2001) are two examples. Recently, prominent Malaysian artist Zulkifli Yusoff, utilised computer-based process to produce images for his paintings and large-scale installations in his major solo show, Negaraku (2010). Amongst the significant exhibitions that focus on video and digital-based art forms are International Video Art Festival (1990 & 1994), 1st Electronic Art Show (1997) and Flow-Arus (2000) organised by the National Art Gallery

Niranjan Rajah The Failure of Marcel Duchamp (1996) Webwork

CIPTA (Cetusan Inspirasi Pelajar Tahun Akhir) showcase. Its faculty members have also been consistent in exhibiting their technology-based works such as in the recent e-CITRA (2010) exhibition. Other than UNIMAS, 51

USM (Universiti Sains Malaysia) and UPSI (Universiti

Ray for example, produced several significant and critical

projects, with collaborative engagements and networking

Pendidikan Sultan Idris) had jointly organised USM-UPSI

video works in the early 1990s. Towards the late 1990’s,

that often reach out beyond institutional or gallery wall,

Digital Exhibition (2001) in Ipoh. Meanwhile, the Faculty of

the presence of video art as a part of e-art has been further

even beyond the national border towards regional

Creative Multimedia, MMU (Multimedia University), since its

acknowledged by the inclusion of multimedia category in

collaborations. Such collaborations have also expanded the

inception, has also been known to churn out digital works

the prestigious Malaysian Young Contemporaries Awards.

way contemporary art is engaged, especially in reaching

by both its faculty members and students.

out to non-conventional audiences. These collaborations The early history of video art in Malaysia as well as e-art in

have also introduced many fresh, trans-disciplinary and

Other seminal events include an online exhibition in Pekan

general, has been introduced through the 1st Electronic Art

innovative modus operandi, strategies and methodologies

Seni Ipoh in the late 1990s, curated by Niranjan Rajah,

Show held in the National Art Gallery in November 1997,

in organising contemporary art events.

and a series of online projects called Museum Without

curated by Hasnul J Saidon and Niranjan Rajah. It has

Wall, curated by Wong Hoy Cheong. Video was also

been supplemented and further expounded by the initiation

Post 1990s artists who are more conceptual and open-

featured in experimental theater and musical productions

of E-Art Asean Online, an internet-based portal funded by

ended towards their visual art practices such as Niranjan

Universiti Malaysia Sarawak (UNIMAS) in 2000. It was

Rajah (now based in Canada), Hayati Mokhtar, Nadiah

launched and made available in offline or printed version

Bamadhaj (now based in Indonesia), Noor Azizan Paiman,

(a book) by the National Art Gallery, in conjunction with the

Masnoor Ramli, Nur Hanim Mohamed Khairuddin, Yee

launching of an international collaborative exhibition entitled

I-Lann, Vincent Leong and Ahmad Fuad Osman, have

Flow-Arus (2000) between Australian and Malaysian artists,

also shown their video-based works internationally. Video

curated by Zanita Anuar and Wayne Tunnicliff. The portal,

art however, has not been practiced singularly by any

consisted of a database, e-forum, e-journal, web art and

Malaysian artist. It has mostly been used in tandem with

e-link can now be taken as amongst the earliest form of

other mediums.

such as Rama & Sita – New Generation (1996), a theater production directed by Janet Pillai and Charlene Rajendran, Skin Trilogy (1996), a multidimensional art performance directed by Krishen Jit and curated by Wong Hoy Cheong, Jambori Rimba – An Audience-interactive Video with Sound Installation and Concert (1996) by Hasnul J Saidon in collaboration with Barton & Priscillia McLean, Jati (2000) directed by Hamzah Tahir and Antara Semangat (2001) directed by Luiz Algreti. Multi-arts festivals such as Klue (2001) also include video art works by local artists. Perhaps, the most exciting and fertile ground for exposition of artworks that incorporate the use of video and digital technology is the Young Contemporaries Awards, organised by the National Art Gallery of Malaysia once every two years. Youtube-based video festivals as well as several online and community-oriented projects have also emerged for the past few years, spearheaded predominantly by individuals or cross-disciplinary collectives who are interested in exploring the seemingly ‘democratic’ posture and promises of online paradigm.

2. Video Art in Malaysia – An Overview Historically, as a discipline of visual art and as a subject of study, video art in Malaysia is relatively new in comparison to other more traditional forms of fine art practices such as painting, printmaking, sculpture and drawing. Its’ presence throughout the history of fine art practices in Malaysia has been rather sporadic and scattered. Furthermore, other than the National Art Gallery and Universiti Sains Malaysia, institutions or private collectors have not been known to collect video art. Despite such situation, video art in Malaysia emerged years before her neighbouring countries, through Liew Kungyu’s, Passage Through Literacy (1989). For the past two decades, there have been occasional efforts in presenting video as an art form through solo exhibitions, public screenings, festivals and entries in art competitions. Since 1989, several local visual artists with experimental tendencies have dwelled into video as a part of their artistic repertoires. Artists like Ray Langenbach, Wong Hoy Cheong and Liew Kungyu were amongst them. Their video works have also been shown internationally.

community-oriented online initiative for the visual arts in Malaysia. It was unfortunately left to suffer a premature

Amongst the international highlights of video art

online demise due to directional change of its institutional

practice by Malaysian artists include Hasnul J Saidon’s

owner.

Kdek!Kdek!Ong! (1994), an installation with video which was exhibited at the 2nd Asia-Pacific Triennial (1996) in

Fortunately, video art practice in Malaysia after the year

Brisbane, Australia; Wong Hoy Cheong’s Re:Looking

2000 did not suffer similar fate. In fact, it has been featured

(2003), a multidimensional installation which was shown

quite prominently in many exhibitions, competitions,

at the prestigious 50th Venice Biennale (2003) and Hayati

festivals and screenings. Several young artists began to

Mokhtar’s Near Intervisible Lines (2006), a 4 channel

employ video in expressing their ideas and feelings. In

video projection which was shown at the Sydney Biennale

the past few years, video has been an instrumental tool

(2006). Other highlights include Nadiah Bamadhaj’s

for art collectives, cultural activists and groups, alternative

Beyond Recognition (2005) which was screened at the

spaces as well as small scale exhibitions, private

TV-TV, Week 34, Video Art Festival (2006) in Copenhagen,

screenings, experimental performances and community

Denmark and Nur Hanim Mohamed Khairuddin’s se(RANG) 53

in many local video art competitions, including the annual

Liew have also been known for their multi-dimensional

Hasnizam had also collaborated with Khairul A Azlin and

Festival Filem Pelajar (Students Film Festival) organised by

approach in the use of digital video, digital photography and

Hamzah Tahir in producing an experimental performance

FINAS (Filem Nasional). Concurrently, such development

printing. For examples, young artists such as Sharon Chin

called Wayang Virtual in 1997 that combined the traditional

has placed video art at a fluid trans-disciplinary juncture

and Roopesh Sitharan, are also known for their writings

shadow puppet performance with real-time 3D animation

of cinematic art or narrative film, fine art, literature,

and curatorial works. Sharon also runs Arteri, an online

and computer music.

advertising, design, music, sound art and animation. In a

collective that are meant, amongst many, to engage online

way, it necessitates its practitioners to be multi-dimensional

community in Malaysia with contemporary art. Roopesh

Kok Siew Wai, who co-founded SiCKL(Studio in Cheras,

in their approach.

Sitharan has been actively researching and writing on

Kuala Lumpur) and EMACM (Experimental Musicians

several issues pertaining to contemporary art, especially on

and Artists Co-Operative Malaysia) has been active in

new media.

organising, producing and performing experimental video

Younger artists such as Anuar Ayob, Diffan Sina, Fadly Sabran, Fairuz Sulaiman, Fariza Idora Al-Habshi, Harris Wong Hoy Cheong (in collaboration with Arifwaran Shaharuddin for video and Chimera Design for website) Re:Looking (video documentary version) (2003) 27 mins

ga (2005) which was shown at the Nafas – Contemporary Art From the Islamic World (2006/7) in Berlin and Stuttgart, Germany. Hoy Cheong had recently produced and

Roslisham Ismail on the other hand, is known for his

on the other hand, has been active predominantly in

Kamal Sabran, Khairul Azmir Shoib, Kok Siew Wai, Ling

link with Indonesian-based international event called

Germany and Europe and known for his electro-acoustic

Siew Woei, Mohd Ekram Al-Hafiz, Muhammad Colmann

OK Video as well as the SentAp! magazine. Colmann

performances. Both Goh and Siew Wai are also known as

Abdullah, Rini Fauzan, Roopesh Sitharan, Roslisham

and Ekram are a part of a collective known as Pixel

the proponent of highly experimental, raw, improvised and

Ismail, Saiful Razman, Sharon Chin, Suzi Sulaiman,

while Anuar Ayob, Tengku Azhari and Rini Fauzan, all

collaborative sound art.

Tengku Azhari Tengku Azizan, Ting Ting Hock and TC

lecturing at UNIMAS, USM and UNISEL (Universiti Industri

presented a video work during his residency in conjunction with the Fukuoka Triennials (2010) in Fukuoka, Japan, while Hasnul J Saidon and Niranjan Rajah held a two-man show, Relocations (2007) coordinated and curated by Roopesh Sitharan in Singapore as a partner exhibition of the ISEA 2007 (International Symposium of Electronic Arts). Other artists, such as Masnoor Ramli Mahmud has been relatively prolific in churning out video art and installation throughout his career. Video art from Malaysia in short, has been featured quite prominently in both local and international platforms. Video art in Malaysia post 2000 may perhaps be an interesting and engaging subject of further in depth and comprehensive studies, both historically and theoretically. It has also found its place under ‘experimental’ category 54

and sound projects for the past five years. Goh Lee Kwang

Abadi, Helena Song, Ily Farhana Norhayat, John Hii,

Nur Hanim Mohamed Khairuddin se(RANG)ga (2005) 11 mins 10 sec

Selangor) respectively, are known for their video and sound

Kamal, together with Nur Hanim Mohamed Khairuddin

installations. Harris Abadi, as the most recent addition,

lead a group called Space Gambus Experiment (SGE)

had recently exhibited his highly inventive video mapping

that has been prolific for the past few years in performing

installation in the Outer-Inter exhibition (2010) at the hip

improvised sound performances in several premises.

360.

Kamal Sabran had also produced and performed a collaborative experimental performance of live acoustic

Other than digital video art, artists such as Hasnizam

with computer music composition and multiple video

Wahid, Goh Lee Kwang, Kok Siew Wai, Kamal Sabran and

projections based on sounds from the outer space, at the

Fadly Sabran are also known for their trans-disciplinary

National Planetarium of Malaysia. The performance, called

electro-acoustic and experimental sound performances.

Sonic Cosmic (2006) was a result of Zamalah Karyawan Tamu – a unique and newly-established ‘art meets science’

Hasnizam Wahid for example, has been performing and

residency program pioneered, sponsored and organised

presenting his electro-acoustic works mostly outside

by the Agency Angkasa Negara (ANGKASA), Ministry

Malaysia. He had also collaborated with Hasnul J Saidon

of Science and Technology Malaysia. Kamal’s younger

and Mohd Hafiz Askiak in establishing the eclectic EAG

brother Fadly, is currently one of the members of another

UNIMAS (Electro-acoustic Group, now defunct) in 1997

experimental group called SoSound. He is also known for

that converged gamelan with electronic and rock music.

the use of digital video in his installation works. 55

Despite its seemingly marginal presence, plus the dominance of more established forms of contemporary art such as painting, video art is still kicking, especially amongst the young cyber generation.

Kamal Sabran Sonic Cosmic (2006)

in Penang and the northern region of Malaysia. By doing so, MGTF has allowed itself to expand its operational strategies especially in exploring non-conventional methods of engaging its audiences with its diverse collections. Such collaborations with several alternative fronts have also expanded the category of MGTF’s audiences. MGTF believes in working and learning in an inter-dependent way.

Post-colon – A Video Anthology is a series of video shorts

Title

: se(RANG)ga

based on the artist’s cross-cultural experiences during his

Artist

: Nur Hanim Mohamed Khairuddin

3 year stay in the USA. This introspective video looks into

Year

: 2005

the artist’s own displacement of his ethnicity, nationality,

Duration

: 11:10

historical and cultural background as well as personal

The works comments on the power of global media in

memories, within the context of his host country USA and

demonizing Islam and echoes the growing distaste for

the spectacle of mass media.

media imperialism and how the hegemony of global media capitalizes on conflicts to achieve economic and political domination. It also makes a wry comment about fabricated reality, which seems to affirm the post modernist’s proposition that we live within the sway of

This screening will add another significant milestone for

mythology conjured for us by the mass media, movies and

MGTF’s effort in exposing and sharing USM Video Art

advertisements.

Collection with the rest of the world. 4.2 The Transient Nature of Space, Memory and History

4. The Screening 3. Collecting and Researching Video Art The screening of video art in AFS will provide a window

4.1 The Politics of Displacement and (Mis)

: Re:Looking (video documentary version)

Title

: Anxiety – A Video Anthology

Artist

: Anuar Ayob

Some of the works have become a part of this Collection,

Year

: 2005

while few others are kept on a loan basis. It has to be noted

Duration

: 18:00

Year

: 2003

that the screening is limited to screen-based (or single-

The work consists of five short experimental videos that

Duration

: 27:00

channel) works only (or a single-channel adaptation of

relate several Malay proverbs to anxiety that the artist

Note

: Originally presented in a form of multi-

installation video pieces).

experienced during his stay in the USA. It delves into

dimensional installation, other than a website

the impact of American foreign policies on Muslims,

Re:Looking challenges our usual perception of given

It has to be noted also that USM is the only institution in

globalisation and its war against terrorism. The work uses

national history and collective memory. In deconstructing

Malaysia (not to mention, university) that substantially

media semiotics, metaphors and deconstructive collage

the official narrative of Malaysian history, Hoy Cheong

to create a series of personal responses towards such

meticulously infuses the work with layers of intertwined

domineering policies.

political and socio-historical issues related to colonialism,

for further studies of video art practice in Malaysia, via the Video Art Collection of Universiti Sains Malaysia (USM).

collects video art as a part of its larger collection practice

Title

Synopsis representation

through its Muzium & Galeri Tuanku Fauziah.

Title

MGTF has also been active in working with several individuals, alternative collectives as well as diverse communities

Artist

: Hasnul J Saidon

Year

: 1993

Duration

: 40:30

: Post-colon – A Series of Video Shorts

: Wong Hoy Cheong (in collaboration with Arifwaran Shaharuddin for video and Chimera Design for website)

post-colonialism, identity, racism, power relationships, migration and empire making. It features a rewritten history, proposes that Malaysia had conquered the AustroHungarian Empire. The video contains fictitious historical 57

record, doctored archival photographs with Austrian and

Title

: Not Talking To A Brick Wall

Malaysian historians taking part in a fictitious documentary

Artist

: Nadiah Bamadhaj

video discussing the conquest and its implication on modern

Year

: 2006

or post-colonial Austria and Malaysia.

Duration

: 5:34

The house in this video is located in Geylang, Singapore and was built by the artist’s great grandfather, Omar Bamadhaj, in the late 1800. Three generations of Bamadhajs lived in this house and an entire generation Title

: Penawar

Artist

: Hayati Mokhtar

Year

: 2007

Duration

: 19:50

Note

: Created for installation of single-

channel projection onto wall, in a

continuous loop

This video work records the clearing-out and closing-up of Title

: Places

Artist

: Tengku Azhari Tengku Azizan

Year

: 2006

Duration

: 24:39

Places is a conceptual video that re-questions the sense of locality and social presence in our (often times politicallyconstructed and economics-driven) material reality. For those ‘thinking type’ who like the idea of sound-scape, this piece is for you.

a house in Ayer Itam, Penang. The house, Penawar, built in 1930 for a wealthy businessman and auctioneer C.M Hashim, served as a family home and remained occupied until the death of his second wife, Puan Sri Fatimah in 2006. By viewing the house within a wider historical context its, importance becomes more evident. Such buildings not only act as a repository of an undeniable public legacy be it an unpalatable one i.e., our colonial past - but, also, they crystallise the sheer haste with which so many of our towns

was born here. This house was sold to a collective of Singaporeans by the Bamadhaj family in the 1980s. This Title

: Making Nights

Artist

: Sharon Chin

Year

: 2006

Duration

: 17:00

The video is based on the constellations of stars that are visible above the skies of 3 cities – Kuala Lumpur, Bangkok and Jerusalem – at 10 pm on the first night of Ramadhan month in 2006. It was made by placing a mobile phone video camera in a shoe box with the lid shut. By punching holes in the cardboard, light was admitted into the box, which registered as points of light (or ‘stars’) by the camera; hence ‘making night’. The simplicity of the action is

work is inspired by a collection of old family photographs that focus around the site, and tales of the patriarch Omar’s emotional distance from his many grandchildren, one of whom is the artist’s father. This video attempts to express her frustration at the inaccessibility of memory in both photograph and site, of emotional warmth between the generations of her family and of the understanding of what it means to be one of Singapore’s Arab families. The structure of the house still exist, but the ownership of memory, site and identity is now lost. 4.3 Revisiting Existentialist Tendency

juxtaposed against the suggestion of an infinitely wide and complex, yet unifying, cosmos.

and cities have been transformed by development. Might not their disappearance mean that we will lose, not only a clear sense of direction, but also, ultimately, a coherent sense of who we are? Penawar, interestingly, means a cure or antidote for poison.

Title

: Too Much Not Enough

Those who are weak have mostly surrendered.” This work

Title

: How To Be Bruce

Artist

: Ahmad Fuad Osman

depicts a story of a struggling visual artist whose life is

Artist

: Vincent Leong

Year

: 2006

marked by a tragic twist of irony and paradox.

Year

: 2004

Duration

: 5:30

Duration

: 7:00

The work presents two contrasting scenes, one shows the

The original footage of How To Be Bruce - a video of

scenes of dogs fighting and the other the scenes of a body

animated graphics, was taken from Way of the Dragon

being showered or washed. The artist seems to remark that

(1972) starring Bruce Lee. The film marked the starting

there are ‘too much’ carnal violence and savagery around

point of a new genre in cinema - Martial Arts.

us, only to be countered by too little (not much) spiritual

In the closing sequences, the fight scene between

recuperation. The video may perform as a crude satire of our confrontational impulse to dominate and rampant desire to consume. While brute and savage strengths are sometimes justified as means to control, subdue and dominate, the need for spiritual recuperation increasingly becomes more pertinent or imperative.

Title

: Pot Luck

Artist

: TC Liew

Year

: 2007

Duration

: 4:00

The video is based on documentation of the artist’s audience-participative public performance in Georgetown, Penang. In the performance, members of the audience were encouraged to burn joysticks as a means to bring luck, cleanse and rejuvenate themselves. On a personal level,

Title

: Darah & Daging (Blood and Flesh)

Artist

: Kamal Sabran

Year

: 2005

Duration

: 5:22

This video piece was inspired by Kamal’s ritualistic return to his Malay Kampung house. Kamal fuses his longing for his mother’s kampung cooking (represented by a series of close-up video recording of his mother preparing/cutting a fish) with his expressive interpretation of life and death as well as human consumption (perhaps greed and violence

Bruce Lee and Chuck Norris at the Coliseum in Rome is considered to be Lee’s finest. This scene is not only significant but also resonates with layers of meanings as it sets up Norris to be defeated by Lee in one of the greatest cultural monuments of the West, historically an arena for combat. How To Be Bruce is a 7 minute digitally animated video, which distills human fury from a historically and culturally iconic event into an instantly recognisable, universal

too).

and contemporary language of symbols. In this video,

4.4 Pop Fiction, Parody and Witty Social Commentaries

signifiers of human actions and expressions, anatomical

a choreography of colored dots and arrows become the tensions and the eternal conflict of good and evil. All

the performance was also meant as a recuperation and

the remains from the fight sequences of the film is the

cleansing ritual for the artist, other than the state of Penang.

decontextualized soundtrack.

Title

: The Last Sin

About a year after the performance, the state witnessed a

Artist

: Fadly Sabran

political transition from Barisan Nasional to the DAP-lead

Year

: 2008

Pakatan Rakyat.

Duration

: 15:9

In his note, the artist writes, “mainly in Malaysia, for those who are living as a visual artist, life is full of challenges. Even though the valuation of the art scene is very subjective, those who do not have the strength to sustain should think twice before deciding to be a visual artist. 60

Title

: Balang

Sky, New Land)

Artist

: Muhammad Colmann Abdullah

Artist

: Roopesh Sitharan

Year

: 2010

Year

: 2006

Duration

: 3:41

Duration

: 5:50

Balang is a metaphorical narration that perhaps touches on

Title

: Puthiya Vanam, Puthiya Bumi (New

the mass media in ‘messing’ our brain.

the affinity between nature and woman.

Based on a soundtrack of a popular song by popular Tamil actor MGR, Roopesh wittily infuses what seems to be a low-tech and home-made travelogue video with cliché choreography and stereotypical camera language of Tamil movie to make a seemingly video satire about the promise of a new land. The scenes depicted in the video is ironically Title

: Mereka!Merdeka!Mereka!

Artist

: Noor Azizan Paiman

Year

: 2003

Duration

: 9:06

Semi-‘mockumentary’ video piece in a typical raw, direct and mischievous Paiman’s trademark approach towards

the city of San Francisco USA where the artist stayed during his MA stint. The main actor/singer moves between one scene to another as he sings out the lyric that seems to match each depicted scene. Beyond the parody and satire, Roopesh is making a wry commentary on the notion of

Title

: Road Runner

migration and the promise of a new life.

Artist

: Faizal Zulkifli

Year

: 1996

Duration

: 13:34

the notion of ‘merdeka’ or independence and the way it is celebrated (and deconstructed perhaps) by ‘mereka’

Road Runner is a parody of ‘Bas Mini’, a mini bus service

(them?). Is it ‘mereka’ with a ‘d’ of ‘merdeka’ without a ‘d’?

which was known in the 80s and 90s as one of Kuala

Title

: Beyond Seeing

Lumpur’s (KL) street menace. By employing the visual

Artist

: Shamsul Ikhmal Mansori, Hasnul

language of video game, Faizal invites the audience to

participate in a ride of terror around KL.

Year

: 2010

Duration

: 2:14

Jamal Saidon, Goh Lee Kwang

A homage to Datuk Syed Ahmad Jamal and Dr. Chong Hon Yin, two separate individuals that are brought together by their affinity towards the stars & universe. Title

: Mess-media

Artist

: Ekram AlHafis

Year

: 2010

Duration

: 2:41

This video reflects Ekram’s interpretation of the impact of 62

REFERENCES Books : • Sitharan, Roopesh (2008) Relocations – Electronic Art of Hasnul J Saidon & Niranjan Rajah, Penang : Muzium & Galeri Tuanku Fauziah USM & 12 Artspace • Yap, June (2008) MATAHATI – For Your Pleassure, Kuala Lumpur : Petronas Gallery • Anu, J (2007) Bumi Manusia : Journey Through Nusantara, Kuala Lumpur : Petronas Gallery • Jamal, Syed Ahmad (ed) (2007), The Encyclopedia of Malaysia : Crafts and The Visual Arts, Didier Millet, Singapore : Didier Miller. • Harun, Rahimie & Khairuddin, Nur Hanim (eds) (2004) Takung, Kuala Lumpur : National Art Gallery • Piyadasa, Redza (2002) Masterpieces From The National Art Gallery, Kuala Lumpur : National Art Gallery • Saidon, Hasnul J & Rajah, Niranjan (2000) E-Art ASEAN Online, Kuala Lumpur : National Art Gallery & UNIMAS • Piyadasa, Redza(1999) Rupa Malaysia, Kuala Lumpur : National Art Gallery • Saidon, Hasnul J & Rajah, Niranjan (1997) Pameran Seni Elektronik Pertama / 1st. Electronic Art Show, Kuala Lumpur : National Art Gallery • (1988) Ismail Zain : Digital Collage, Kuala Lumpur Essays in Books, Journals, Catalogues, Magazines & Other Periodicals : • Roopesh Sitharan, ‘Looking At Video Over Painting, And Hopefully Beyond Hijab’ in SentAp!, No2/08, 2010. • Simon Soon, ‘Notes on Art and Web’ in SentAp!, No2/08, 2010. • Hasnul J Saidon, ‘MTV @ TV Melayu’, USM-ABN AMRO Arts & Cultural Center, Penang, 2006 • _____________, ‘In The Name of (Borrowed) Time’ in Malaysian Young Contemporaries, National Art Gallery, Kuala Lumpur, 2004 • _____________, ‘Cabaran Praktis Seni Elektronik Dalam Era Maklumat’ in Wacana Seni, Penerbit USM, Pulau Pinang, 2003 • Michelle Antoinette, ‘Different Visions : Contemporary Malaysian Art and Exhibition in the 1990s and Beyond’ in Art & Social Change : Contemporary Art in Asia & Pacific, Canbera, 2003 • Noryani Ismail, ‘Digital Arts Can Stir Your Soul’ in MyMultimedia, Jan-Feb- March 2003 • Hasnul J Saidon, ‘Postmodern Encounters : Young Contemporaries 2002’ in Malaysian Young Contemporaries, National Art Gallery, Kuala Lumpur, 2002 • Noryani Ismail, ‘The High Touch of Digital Fine Art’ in Jaring Internet Magazine, October 2001 • Hasnul J Saidon & Niranjan Rajah, ‘The Evolution of Electronic Art in Malaysia’ in Art Asia Pacific, Vol 7 No 27 2000 • Zanita Anuar, ‘ Ebb and Flow : Observations on the cognitive tide’ in Flow- Arus, National Art Gallery, Kuala Lumpur, 2000 • Hasnul J Saidon, “Pengenalan Seni Video” in E-Art Asean Online. National Art Gallery, Kuala Lumpur, 2000 • Hasnul J Saidon, “Prasembah 2000 – Epilog Untuk Abad ke 20” in E-Art Asean Online. National Art Gallery, Kuala Lumpur, 2000 • Hasnul J Saidon, “Electro-acoustic Group UNIMAS” in E-Art Asean Online. National Art Gallery, Kuala Lumpur, 2000 • Niranjan Rajah, ‘New Media Arts From UNIMAS’ in The 3rd. Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, 1999 • _____________, ‘Crossing Over : the entry of internet art and electronic

art from Asia into the international mainstream’ in Beyond the Future : Papers from the Conference of the 3rd. Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, 1999 • _____________, ‘Slow Download! The Internet as the Medium for fine arts’ in The Third Text – Third World Perspective on Contemporary Art & Culture, Summer 1999 • Heather Barton, ‘The Aniconic and Digital Image’ in Realtime Onscreen, Sydney, 1998 • Hasnul J Saidon, “UNIMAS Creates – Computer-related Experiments in Art & Technology Studios” in Leonardo – Journal of Art & Science, MIT Press, USA, 1998. • ______________, ‘Innovation in a Digital Space – Nurturing the Spirit of Experimentation Through Courses in Electronic Arts’ in UNIMAS Today, Kota Samarahan, 1997. • _____________, HYPErview, National Art Gallery, Kuala Lumpur, 1997 • Niranjan Rajah,‘Art Education in a Climate of Convergence’ in CIPTA – Cetusan Inspirasi Pelajar Tahun Akhir, UNIMAS, Kota Samaharan, 1996 • Hasnul J Saidon, ‘Images of Jambori Rimba’ in Jambori Rimba – A Multimedia Concert and An Audience-interactive Video, Musical Installation, UNIMAS, Kota Samarahan, 1996 • ______________, ‘Experimental Video’ in British Council Screening Programme, Kuala Lumpur, 1995. • Ray Langenbach, ‘Malaysia’s Video Quarantine’, in Afterimage (USA), April 1991 • Ismail Zain, ‘Modernism and Self-critical Tendency’ in 4 Perceptions, National Art Gallery & Centerstage Performing Arts, Kuala Lumpur, 1989 • Ismail Zain, ‘Ucapan Nada Idea’ in Seminar Seni dan Teknologi’ , School of the Arts, USM, Penang, 1978 Essays online : • Haupt & Binder, Pat, ‘Wong Hoy Cheong, Re:Looking. Interview with the Malaysian artist’, at http://www.universes-in-universe.org/Islam/eng/2004/09/ wong/index-html • Hayati Mokhtar’ http://www.universes-in-universe.org/eng/intartdata/artists/ asia/mys/mokhtar • http://www.uploaddownload.org/ Essays in Newspapers : • Intan Maizura, ‘Hayati Mokhtar – Images of Identity’ in New Straits Times, 22 July 2001 • Jamuddin Idris, ‘Seni Elektronik Ruang Penting Generasi Baru’ in Berita Harian, 31 Mei 2000 • Hasmi Hashim, ‘Pameran Seni Multimedia – Arus Petanda Realiti Baru’ in Berita Harian, 22 April 2000. • Veronica Shamugalingham, ‘Celebrating Fusion of Art & Technology’ in The Star, 16 April 2000 • Azman Ismail, ‘Konsep Seni Digital’ in Utusan Malaysia, 15 April 2000 • Hasnul J Saidon, ‘Dekonstruksi Mitos Rambo’ in Berita Harian, 2 Oktober 2000 • _____________, ‘Kemelut Generasi Skrin’ in Berita Harian, 28 Ogos 2000 • _____________, ‘Menyelami Seni Siber Siew Woei’ in Berita Harian, 25 Ogos 2000 • _____________, ‘Seni Tampak Dalam Era Maklumat’ in Berita Harian, 7 Julai 2000 • _____________, ‘Dalang Pinggiran Di belakang Skrin’ in Berita Harian, 6

Julai 2000 • _____________, ‘Berdialog Dengan Perca Moden’ in Berita Harian, 28 Jun 2000 • Zanita Anuar, ‘Menghitung Hari Muka Seni Tampak’ in Berita Harian, 26 Oktober 1999 • Salina Khalid, ‘High Tech Art Exhibition’ in The Star, 2 December 1997 • Ooi Kok Chuen, ‘More Bite with Virtual Art’ in New Straits Times, November 1997 • Tekya Atwel, ‘Making New Art From History’ in Sun Magazine, 5 Jun 1997 • Salina Khalid, ‘Electronic Moving Into the Art Scene’ in The Star, 27 April 1997 • Amir Muhammad, ‘Making Computers Works for Art’ in New Straits Times, 1994 • Chee Sulin, ‘Future Art’ in Sun Magazine, April 1997 • Michell Woo, ‘The Art of IT’ in The Sun Magazine, 10 April 1997 • Ooi Kok Chuen, ‘Electronic Artist’ in New Straits Times, 6 March 1997

• International Video Festival, National Art Gallery, Kuala Lumpur, 1994 • International Video Festival, National Art Gallery, Kuala Lumpur, 1990 Video works : A list of all video works by Malaysian artists is currently being compiled

Paper Presentations : • Hasnul J Saidon, ‘Cabaran Pembangunan Seni Elektronik Dalam Era Maklumat’ in Konvensyen Pendidikan Seni Visual Kebangsaan, Kuala Lumpur, 2000 • ______________, ‘E-Art ASEAN Online’ in Symposium on Online Learning, UNIMAS Kota Samarahan, 2000 • ______________, ‘E-Art ASEAN Online’ in IDEA Seminar Series, UNIMAS Kota Samarahan, 1999 • ______________, ‘An Overview of HYPErview’ in Crossing Boundaries – 9th. International Conference of Asia Pacific Confederation for Arts Education, Singapore, 1999 • ______________, ‘Luminous XXXX – Video Art Online, Offline & In Between the Lines” in Malaysian Video Awards Workshop & Seminars, PWTC Kuala Lumpur, 1998 • ______________, “Converging Art & Technology – UNIMAS’s Experience” in ALAMI – Science Inspires Art Camp, Langkawi, 1998. • ______________, “From Mass to Multi-Media” in Program Syarahan Umum, National Art Gallery, Kuala Lumpur, 1997. • ______________, “Art in the Age of Information Technology” in Public Lecture Programme, Petronas Gallery, Kuala Lumpur, 1997. • ______________, ‘Art in the age of Information Technology’ in Petronas Public Lecture Program, Kuala Lumpur, 1997 • ______________, ‘Experimental Video’ in British Council Screening & Talk Program, Kuala Lumpur 1995 Exhibition and Screening Catalogues : • MJVAX – Malaysia-Japan Video Art Exchange, National Art Gallery, Kuala Lumpur, 2010 • Screening note, Malaysian Video Awards, Kuala Lumpur, 2001 & 2002 • Identiti – Inilah Kami, National Art Gallery, Kuala Lumpur, 2002 • Pameran Beyond Paradise, National Art Gallery, 2002 • Anti-Terrain oleh Peter Callas, Galeri Petronas, Kuala Lumpur, 2002 • KLUE Urbanscape, Grappa Soho, Kuala Lumpur, 2002 • Antara Semangat, National Art Gallery, Kuala Lumpur, 2001 • CIPTA exhibition catalogue, UNIMAS, Kota Samarahan (yearly since 1999) • MATAHATI PL, Petronas Gallery, Kuala Lumpur, 1999 • Gema: Resonance, National Art Gallery, Kuala Lumpur, 1998. • Jambori Rimba – A Multmedia Concert and an Audience-Interactive Video/ Musical Installation, Panggung Eksperimen, UNIMAS, 1996.

Liew Ting Chuang The Returning (Silent Dialogue) (2010) White Antique Chair Assemblage With Broken Woods, Ropes and String Variable Dimension On Loan

Azmin Hussein Red Create (2000) Printage & Acrylic on Wood With Vintage Bottles 25.4cm X 20.3cm Donated by Hasnul J Saidon

Liew Ting Chuang The More We Get Together (2008) Marker, Acrylic, Gesso, Aerosol, Paint on Ready made Wooden Hammer, Metal Case 27.5cm x 19cm x 27.5cm Purchased

Fadly Sabran The Anthropoid Genetic (2009) Steel, Rubber, Aluminium, Metal, Electronic Board, Flash Light, Mini TV, Video and Sound 61cm x 61cm x 122cm Purchased

Syafiq Aliâ&#x20AC;&#x2122;am Flying Machine after Leonardo (2009) Metal, Stainless Steel, Motion Sensor, Hose Tube, Mechanical Parts and Resin 101cm x 172cm x 95cm Purchased

Khairul Azmir Soib@Meme Kau Mau Kau Tahu (2008) Mixed Media (A Box) 23cmx15cmx7cm Purchased

Abd Latiff Padzali Drown, Accessories Series II (2009) Ready Made Object, Bandage Wire Mesh, Plaster of Paris on Mannequin Variable Dimension Purchased

Masnoor Ramli Mahmud Independence (2004) 4 Channels Video Installation 4 mins 13 sec Purchased

Nur Hanim Mohamed Khairuddin Tudung-tudung (2007) 2 Channels Video Installation Flags (9 mins 45 sec) Faces (3 mins 1 sec) Purchased

Haris Abadi Abdul Rahim Techno-Grounded (2009) Single Channel Video Projection on 3D Wall Piece 122cm x 92cm Purchased

Al-Khuzairie Ali In Progress #1 (2009) Terracotta, Steel, Concrete, Wood and Electrical Component 101cm x 35cm x 35cm Purchased

Umibaizurah Mahir Sitting With The Genii #27 (2009) Mixed Media 143cm x 33cm x 33cm Purchased

Ruzzeki Harris Invulnerable (2009) Mixed Media On Metal Sheet 224cm x 159cm Purchased

Ahmad Fuad Osman The Hair Piece/Peace (2004) Video Art 16 mins Purchased ‘Some(one)’ (2006) Video Art 12 mins Purchased Too Much (Not Enough) (2006) Video Art 5 mins 30 sec Purchased

Abd Latiff Padzali Man and Spider (2007) Mixed Media Variable Dimension Purchased

Rini Fauzan Mohamed Zuhairi Think Negatif (2004) Mixed Media (Installation Art) 62.2cm x 91.4cm x 88.9cm Purchased

Syafiq Aliâ&#x20AC;&#x2122;am Tentacles (2009) Stainless Steel, Electronic Loser, Direct Power Motor, Industrial Mechanical Parts and Resin 70cm x 70cm x 20cm Purchased

Rini Fauzan Mohamed Zuhairi Study of Fortune Tella (2004) Acrylic and Graphite 75cm x 50cm Purchased

Hayati Mokhtar Penawar (2009) 2 Channels Video Installation 19 mins 50 sec Purchased

Haris Abadi Abdul Rahim Read The Wingdings (2009) Single Channel Video Projected on 3D Setting Variable Dimension Purchased

Hasnul J Saidon Dakap (2010) Video Projection on Mixed Media Painting Video Loop On Loan

Paul Kohl Mini Bike (2005) Digital Print on Awagami Paper 53.3cm x 66cm Donated

Yee I-Lann Horizon Series: Fencing Ed. 7/8 (2003) Black and White Digital Print on Kodak Professional Paper 45.5cm x 91.6cm Purchased

K. Azril Ismail Morning (2009) Photography 102cm x 152cm Purchased

Tan Hui Koon Pure Fat Crazy Corn Party (2006) Digital Print and Mouse Trap 27.9cm x 19.1cm x 27.9cm x 40.6cm (9 pcs) Purchased

Ismail Zain Al Kesah (1988) Computer Print 20cm x 28cm Purchased

Ismail Zain The Magic Marker (1988) Computer Print 28cm x 20cm Purchased

Ismail Zain Vincent (1988) Computer Print 28cm x 20cm Purchased

Reading…’Women’ Women’s Development Research Centre USM

Professor Datin Rashidah Shuib Director

CONTEMPORARY ART CAMPUS Reading…’Women’ Much can be learnt from women, which in most cases, are framed, conditioned and signified by religious, cultural,

Patrick Ng Kah Onn Menjual Tembaga Di Benares (1963) Ink 63cm x 73cm Purchased

social and political views. In the case of early modern art history of Malaysia, women were predominantly interpreted and portrayed according to their ‘by default’ marginal and passive positions in relation to a rather ‘male-centric’ reading. Some may propose that the reading had prompted a representation of women as the ‘exotic others’. It reflects romantic longing to rediscover and celebrate a sense of feminine identity from a colonial and modernist position, disembodied from their cultural rooting. Are Western modernist (or even post-modernist) discourses neutral or value-free? The placement of ‘women’ from the USM Fine Art Collection at Kanita intends to question such by-default adherence to a singular centrality in regards to reading women as cultural and social texts. Women can be read through women’s view point, as much as from other vantage points. The placement may induce multi-dimensional readings, multicentrality, connectivity, flexibility and fluidity in reading, constructing and representing narratives and meanings about women. Thus, it may destabilise the notion of ‘being on the margin’ or ‘otherness’, and defuse easy dichotomies in reading and responding to women through art. Male centricity and easy dichotomies may not have a strong hold in the contemporary art practice today. In many

Chuah Siew Teng Mother Love (2005) Oil Paint 62 cm x 45 cm Donated by Chuah Siew Teng

forms of Eastern traditions for examples, all things are said 92

to spring from the bowels of the mother earth, live on earth and eventually return to it. Nevertheless, despite post-colonial and contemporary awareness, such otherness may still prevail. Many forms of academic discourses and representation (or ‘mis’representation) of women today are embedded with multiple forms of binary oppositions such as modernity vs religion and tradition, or local values vs globalisation. What if ‘women’ as the ‘objects’ of gaze became the subjects who were doing the reading? What if women were taken as the center and the rest of the world (with its male-centric, Western notion and cliché representation) as their margin? This exposition reflects a convergence of academic or analytical methodology (from MGTF as the guardian of the Collection) with intuitive or reflective approach (from the ‘stakeholders’ of Kanita as the ‘readers’). It will hopefully remind us of how women as cultural and social texts can be read in many ways to unveil how certain political, economic, social and cultural ideologies as well as religious rituals are passed down, practiced, reinforced, stabilised, naturalised, deified, empowered, romanticised and represented. It may also reiterate the notion that one’s instrument (and method) of observation, analysis and discourse may not always be ‘neutral’; that it is integral in determining the outcome of Joan Marie Kelly Kumari (2007) Oil on Canvas 123cm x 123cm Donated by Joan Marie Kelly

meanings surrounding representation of women through modern and contemporary art.

Chuah Thean Teng Tanpa Tajuk (1972) Batik 72cm x 55cm Purchased

Robert Crock Women-Series Jawa (1972) Photography 20cm x 35cm Purchased

Mastura Abdul Rahman Doll in an Interior (1999) Graphite on Paper 22cm x 32cm Purchased

Eng Hwee Chu Black Moon Drawing 1 (1997) Pencil on Paper 34cm x 50cm Purchased

Dzulkifli Buyong Menyisir Rambut (1962) Pastel 93cm x 73cm Purchased

Khoo Sui Hoe Gadis Memegang Sejambak Bunga (1967) Oil Paint 97cm x 97cm Purchased

Nur Hanim Mohamed Khairuddin b.o.m. equipment (2005) Print on T/Shirt 137cm x 149cm Donated by Hasnul J Saidon

Reading…’Women’ Penerbit USM

100

Professor Dato’ Md. Salleh Yaapar Director

101

Mojgan Aslani Digital Illustration of Shadow Spinner (Character & Space) (2010) Monotype 30cm x 30cm each Donated by Mojgan Aslani

Mohd. Hoessein Enas Kakak dan Adik (1959) Pastel 63cm x 78cm Purchased

102

103

Chuah Thean Teng Burung Dalam Sangkar Batik 35cm x 40cm Donated by Persatuan Pelukis Malaysia

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Abstraction / Social Criticism / The Semiotic of the Body Hamzah Sendut Library USM

Mr. Mohd Pisol Ghadzali 106

Chief Librarian

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CONTEMPORARY ART CAMPUS

traced in some of the seminal works of Syed Ahmad Jamal, Latiff Mohidin, Yeoh Jin Leng and many more. Younger

Abstraction / Social Criticism / The Semiotic of the

generation of artists such as Fathullah Luqman Yusuff

Body

and Rahmat Harun continue the expressive and intuitive

The Hamzah Sendut Library USM has been given the

tradition of abstract works.

honour to host the largest numbers of artworks from the USM Fine Art Collection. These artworks are placed under

Several other artists such as Lee Joo For, Latiff Mohidin,

three thematic clusters – abstraction, social criticism and

Sharifah Fatimah Syed Zubir, Fauzan Omar and Tan Hong

the semiotic of the body. The themes are meant for easy

Yin express the poetic, lyrical and spiritual dimension of

guide. In actuality, these artworks can be clustered in many

abstraction through overlapping organic forms. Others such

different overlapping ways or frameworks.

as Lim Eng Hooi, Chong Kam Kaw, Joseph Tan and Mohd Fadzil Othman employ a geometrical side of abstraction.

The large numbers of placement is a gesture of homage to

There are also artists who approach abstraction as an

the Library which was the first host of the Collection during

extension of tradition, especially in regards to the more

its initial phase in the late 70s. In fact, the current MGTF

decorative aspect of Malay-Islamic impulse. Artworks by

building used to be the premise of USM’s first library in the

the Late Ismail Zain, Mohd Akif Emir, Mohd Noor Mahmud

late 60s.

and Fauzin Mustaffa represent such impulse, other than their interest in experimenting and exploring mixed

Abstract artworks in the USM Fine Art Collection can be

materials and new methodologies.

taken as amongst the most historically significant in the

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region. They predominantly reflect both the cerebral and

Abstract works reflect the romantic underpinnings and

emotive response towards the inner dimension of human

highlight ideas of artistic uniqueness, vitalism, directness,

psyche, mostly taking inspiration from nature. Organic

immediacy and a creative sub-consciousness. They

forms derived from landscape are also commonly featured

epitomise the inner and subjective side of humans. Despite

to highlight the emotional and psychological relationship

resistance and even criticism towards the ‘Greenbergian

between man and nature. They were rendered in several

modernist paradigm’ by amongst the more experimental

different manners, including cubistic and fragmented

and conceptually-inclined younger contemporary artists

manner, as well as expressive and even geometrical

from the post 1990 generation, the synthesis of emotive

way. Several works epitomise a synthesis of modernist

expressionist idiom with formalist sensibility has been

expression with local subjects. Vitality, vibrancy and

extensively subscribed by many other artists of the

dynamic growth are several intuitive themes that can be

following generations. 109

Other younger artists are known for their inclination towards

Abdul Wahab a.k.a Buden to name a few, represent this

The future shock of the 1990’s in Malaysia was marked

post-formalist expressionism, a slightly softer or sober

interest.

amongst many, by a sudden pressure to change. It has

combination of surrealist, pop, lyrical and romantic version

also brought changing lifestyles and unveil critical issues

of abstract, neo-realist and neo-expressionist styles. They

The sentiments and working strategies of artists especially

related to the politics of representation, identity, culture,

use an eclectic combination of human figure, landscape,

the young ones have been generally informed by post-

ethnicity, religion and gender in Malaysia and the Southeast

townscape, objects, signs and symbols as subject matters.

modern irony and paradox. The irony and paradox have

Asian region.

Artists such as Ahmad Shukri Mohamed, Hamidi Hadi and

been marked by post-modern raves where loudness,

Daud Rahim seem to emulate this tendency.

irony, parody, sarcasm, cynicism, satire, pun, intervention,

In Malaysia, the term ‘issues based art’ (IBA) has been

subversion, protest and mockery have been mostly

coined to explain artworks with more pronounced political

Many contemporary artists of the younger generation

favoured. Pastiche, appropriation and deconstruction have

and social concerns. Contemporary works done by many

display a tendency towards a more angst-ridden form of

also been employed as working strategies.

Malaysian artists and others from the Southeast Asian

expressionism. Their expressionist impulse is mostly driven

region since the early 1990s have also been marked by IBA

by loud and dark existentialist rage and angst. The tone

Generally, the term postmodern has been used to explain

as well. Repercussions of globalisation and sustainability

is mostly bold, immediate and carries a sense of urgency.

and identify some of the key changes and repercussions

of the environment, have also been used as issues of

At the other end of the emotive spectrum are artists that

of globalisation, free market capitalism and ICT revolution.

concern.

feature the more subtle yet deeply disturbing psychological

In many ways, it has been employed to explain some

drama through their works, mostly employing international

of the new routes in the Malaysian contemporary art

Generally, these artworks feature multiple engagements of

neo-expressionist style and using human figure as a central

practice after 1990. The term, other than signifying a break

the artists with several key issues or themes. In expressing

subject-matter. Their styles can sometimes be eclectic,

from the framework of modernist art historical narration,

their thoughts and feelings, they have become the epitome

a mix bag of surrealism, dada and pop. This includes

also signifies several paradigmatic shifts in the way

of modern and postmodern encounters that reverberate

Ahmad Fuad Osman, Bayu Utomo Radjikin, Masnoor Ramli

contemporary art is approached. Postmodernism itself,

with clashing voices, contradictions, suspicions, skepticism,

Mahmud and Shooshie Sulaiman.

is a lengthy if not paradoxical subject to be discussed

angst, paradoxes, cynicism, ironies and all the typical

here. Furthermore, it can be argued that most of the art

markings of a rapidly changed post-industrial, media and

There also artists who are politically-oriented and display

works, despite their postmodern posture and appropriation

market-driven society.

keen interest in expressing their own versions of social

of deconstructive stance, have mostly been ironically

criticism through a mixed bag of ‘dadaist’ absurdity,

explained within the context of modernist ‘mythifying’

witty conceptualism, ponderous literalism, indiscriminate

impulse. In fact, postmodern traits, upon reaching a sign

appropriation, random deconstruction and a riots of

of hegemonic or dominating presence, may eventually be

mockery, satire, parody and cynicism. Artworks by Zulkifli

deconstructed and contested.

Yusoff, Noor Azizan Paiman, Maizul Effendy, Saiful Abdul Kadir, Elias Yamani, Muhd Sarip A Rahman, Samsudin 110

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Latiff Mohidin Langkawi Senja Wood Structure 81cm x 180cm Purchased

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Châ&#x20AC;&#x2122;ng Huck Teng Frustration (2007) Acrylic On Canvas 122cm x 122cm Purchased

Yeoh Jin Leng Rockforms I (1965) Oil Paint 104cm x 81cm Purchased

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Rahmat Harun Cakar Kasih (2000) Mixed Media 71cm x 101cm Donated by Hasnul Jamal Saidon

Sabri Idrus Siri Lorek-Lorek (2004) Mixed Media 81cm x 152cm Donated by Hasnul J Saidon

Latiff Mohidin Pago-Pago (1965) Oil Paint 58cm x 78cm Purchased

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Syed Ahmad Jamal Tenaga (1967) Oil Paint 177cm x 177cm Purchased

Hamidi Abd. Hadi Tanpa Tajuk (2007) Industrial Paint on Canvas 144cm x 144cm Donated by Hasnul J Saidon

Tan Hon Yin Saiz Permukaan 2 No 2 (1981) Acrylic 88cm x 119cm Purchased

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Lee Joo For Configuration 1 (1996) Oil Painting 40cm x 60cm Donated by Datoâ&#x20AC;&#x2122; Dr. Tan Chee Kuan

Nirmala Dutt Shanmughalingam Lubang Maut (1980) Silk Screen and Acryllic 121cm x 121cm Purchased

Redza Piyadasa To Be Completed (1978) Wood + Acrylic 66cm x 134cm Purchased

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Lee Kian Seng One Original Lithograph (1978) Lithograph Technique Purchased

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Ramli Mahmud Dirimu Antara Dua Kelahiran (1987) Mixed Media 172cm x 182cm Purchased

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Muhd Sarip Abd Rahman I Sound Like Stupid If I Speak English (2009) Mixed Media on Canvas 182cm x 91cm Purchased

Noor Azizan Rahman Paiman Tanpa Tajuk (2007) Mixed Media 58cm x 81cm Donated by Hasnul J Saidon

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Shooshie Sulaiman Sketch for Nature Even Stranger Than Death (1998) Ink on Paper 29.5cm x 21cm Purchased

Ali Rahmad (Mabuha) Malam Membiru (1983) Oil Paint 129cm x 88cm Donated by Ali Rahmad

Shooshie Sulaiman Sketch for In Memory of Jung & Kraeplin for Kosuth and Flynt and for …… with thanks (1998) Ink on Paper 21cm x 29.5cm Purchased

Mohd Daud Abd. Rahim 7 images in 2 hours (2002) Charcoal 149cm x 137cm Donated by Hasnul J Saidon

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Haslin Ismail The Door (2008) Mixed Media & Collage On Canvas 90cm x 123cm Purchased

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Samsudin Abdul Wahab Pahlawan Matahari Bersepatu Merah (2007) Lino Cut 91cm x 122cm Purchased

Masnoor Ramli Mahmud Study for Truth â&#x20AC;&#x201C; Festival 2K (1999) Mixed Media on Paper 54.5cm x 39.5cm Purchased

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Ahmad Khalid Yusof Alif Ba Ta (1972) Acrylic 106cm x 137cm Purchased

Fauzin Mustaffa Composition (1993) Mixed Media 12cm x 12cm Donated by Hasnul J Saidon

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Ismail Mohd. Zain Ku Bunuh Cinta (1972) Silk + Oil Paint 91cm x 121cm Purchased

Mohd Noor Mahmud Bunga Pahat (2007) Acrylic on Wood on Canvas 213cm x 91cm Donated by Mohd Noor Mahmud Mohd Akif Emir Percantuman (1987) Mixed Media 162cm x 127cm Purchased

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Elias Yamani Ismail Metropolis (2008) Lightbox Purchased

Tengku Sabri Ibrahim

Inside Map (1997)

Ink on Paper

80cm x 89cm

Purchased

Joseph Tan Lukisan Bersiri II No. 3 (1972) Oil Paint 152cm x 213cm Purchased

Lim Eng Hooi Mars Burnt Raw Sv 3 (1981) Emulsion 207cm x 204cm Purchased

Mohd Fadzil Othman The Element of Surprise (2008) Mixed Media 213cm x 243cm Donated by Mohd Fadzil Othman

Choong Kam Kow Thru Recede (1972) Emulsion Paint + Enamel Paint 91cm x 152cm Purchased

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Mohd. Hoessein Enas Cucu (1966) Pastel 55cm x 68cm Purchased

Bayu Utomo Radjikin Taut (2005) Print 11cm x 13cm Donated by Rahime Harun

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Khalid Ibrahim Aku Sudah Cukup (1983) Batik 105cm x 85cm Purchased

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Patrick Ng Kah Onn Jamini Roy (1963) Ink 86cm x 68cm Purchased

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Dr. Nurulain Abdullah Bayanuddin Director

Animal Kingdom / Nature Heals USM Medical Centre (Pusat Sejahtera)

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CONTEMPORARY ART CAMPUS Animal Kingdom / Nature Heals

Others employ picturesque images of nature such as

The use of nature, including animals as subject-matters

landscape, plants, water and rock forms as signs, symbols

in artworks has also been historically attributed in many

and metaphors for the healing power of nature. Many share

traditions to the feminine energy, the Ying, shakti power or

a common empathy towards nature and animal, perhaps

cosmic energy, the dynosian impulse, and the homeland,

implying a more universal point of return. They provide a

mother-earth or mother-nature. Such usage has also

lyrical index for the need to return to nature as a prelude

been taken as the embodiment of semangat or chi or

for us to learn from the diverse and rich tapestry of spiritual

inherent cosmic life force as manifested through myriads of

and cultural heritage. Such heritage is richly infused with

tangible form by visual artists. Nature and animal kingdom

spiritual inspiration derived from nature. Nature in return,

have been integral in many forms of Eastern cosmology,

provides a more universal sense of common belonging,

including their innate potential as a source of healing.

return and sustainability. It is ecologically intertwined or connected to us.

Several artists use natural medium to interpret and express their affiliation with nature. In doing so, they echo

The placement of artworks that feature nature and animal

a similar homage to natural forms. Clay as a chosen

kingdom in the USM Wellness Centre (Pusat Sejahtera

material for example, can be taken as a visual metaphor.

USM) is rather fitting in this regards. They provide a

It represents a fundamental equation between the earth

complimentary counterpoint to the notion of healing. They

and human spiritual experience. Wood and the use of

relate more to the intangible aspect of healing, the thinking

images of trees and plants are generally motivated by a

and emotional dimensions. In doing so, these precious

desire for integration with natureâ&#x20AC;&#x2122;s endless processes of

artworks from the USM Fine Art Collection will hopefully

transformation and rejuvenation. Other than reflecting an

remain relevant, especially in embodying the spirit of

understanding of local landscape and history, pictorial

sustainability at USM.

representation of nature and the animal kingdom seems to celebrate the spirit of change, growth and development. It functions as an alluring reminder for us to always return to our â&#x20AC;&#x2DC;rootâ&#x20AC;&#x2122;. For several artists, the reminder is expressed subtly through formalistic flair in returning to natural forms as a basis of reference.

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Chai Chuan Jin Flowers (2004) Water Colour 56cm x 76cm Donated by Chai Chuan Jin

Mohd Shaparel Salleh Tari Rimba Belum (2006) Acryllic 137cm x 102cm Purchased

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Syed Salleh Mustaffa Dari Lembah Terpendam (1981) Oil Paint 144cm x 96cm Purchased

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Fauzan Omar Diversity & Unity Series (1990) Lino Print 55cm x 45cm Donated by Tuan Hj. Taha Ismail

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Juhari Said Jantan (2005) Wood Print 93cm x 150cm On Loan

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Juhari Said Menarik Kerbau (2005) Wood Print 93cm x 150cm On Loan

Juhari Said Carabau (Kerbau) (2005) Wood Print 93cm x 150cm On Loan

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Nirmala Dutt Shanmughalingam Tsunami 04-05 XXIII (2005) Acrylic on Canvas 102cm x 96cm Donated by Nirmala Dutt Shanmughalingam

Nirmala Dutt Shanmughalingam Tsunami 04-05 VI (2005) Acrylic on Canvas 102cm x 96cm Donated by Nirmala Dutt Shanmughalingam

Chuah Thean Teng Tanpa Tajuk (1972) Batik 58cm x 73cm Donated by Persatuan Pelukis Malaysia

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The Sublime Pusat Islam USM

Associate Professor Nasirun Hj. Mohd Saleh Director

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CONTEMPORARY ART CAMPUS The Sublime “The sublime” represents artists’ response to the spiritual aspect of living experience. Within the multiple narratives of Malaysian art history, the interest in Eastern tradition and mysticism, as well as the tendency to return to spirituality and Malay-Islamic elements can be traced in the works of artists such as Patrick Ng Kah Onn, Latiff Mohidin, Anthony Lau, Chong Kam Kaw, Redza Piyadasa, Sheikh Omar Basaree, Sulaiman Esa, Khatijah Sanusi, Ruzaika Omar Basaree, Sharifah Fatimah Syed Zubir, Fatimah Chik and Jeganathan Ramachandran to name a few. In certain cases, such interest overlaps with the tendency to negate Western aesthetics and critique sole dependency on modernist discourses of art history. It also represents the need to instill a more localised dimension to the practice of modern and contemporary art, or the importance of revisiting Malaysia’s (and Asia’s) rich multicultural traditions. Several scholars even argue that this interest can also be taken as preludes to postmodern revaluation (or negation) of Western modernism based on both local and regional terms. From an Islamic point of view, art is taken as a combination of wisdom and science. According to Seyyed Hoessein Nasr, the synthesis of art and science is evident in Islamic traditional civilisation because both art and science are encompassed by beauty. He maintains that sacred art is the heart of religion and that Islamic art is the heart of 162

Hj. Mohd. Wang Jian Wen Asma ul Husna (2002) Calligraphy 45cm x 93cm Purchased

Hj. Mohd. Wang Jian Wen Surah al Ikhlas (2002) Calligraphy 45cm x 93cm Purchased

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Sheikh Omar Basaree Surah Al - Baqarah Glass + Paint + Paper 76cm x 78cm Purchased

Islam. Beauty, as stated by Titus Burckhardt, is taken as inherent in Islam. Art is then accepted as a manifestation of the inner dimension of Islam that can lead humans to the chamber of Divine Revelation. The concept of beauty, inner energy, synchronised quantum field, harmony, equilibrium and sustainability has been expressed through many forms of architectural design, calligraphic art (khat) and traditional products. In Islam, the main source of inspiration is of course, the Quran itself. Several prominent contemporary artists have been known to refer to the Quran (verses in it) as their specific source of inspiration, while others use visual elements of Islamic art as their visual sources of reference. There are also artists who feature highly organic and natural forms as their means of spiritual return while several others employ the use of mathematical equation to create infinite combination of Islamic patterns. Some would argue that these patterns emulate the intangible working of quantum field, in its harmonious state. The placement of several artworks in the Pusat Islam USM may perhaps return us to the fact that art and science have always been symbiotically intertwined in a sustainable ecology of the spirit, body and mind of Islam.

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Sheikh Omar Basaree Surah Naml 30 Glass + Paint + Paper 63cm x 66cm Purchased

Elias Ishak Perlindungan Yang Maha Perkasa (1987) Plaster 27cm x 40cm Purchased

Elias Ishak Asma Al-Husna (1987) Plaster 27cm x 35cm Purchased Mohd Fariz Shariffuddin I am the observer who pictures the reality and the hidden hand writings (2007) Wood Carving Donated by Mohd Fariz Shariffuddin

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Built Environment School of Housing, Building & Planning USM Professor Ir. Dr. Mahyuddin Ramli Dean

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CONTEMPORARY ART CAMPUS

and tried to capture them in their artworks.

fate of a much sustainable approach to the process of designing our dwelling space? What will happen to the

Built Environment

Architecture is an excellent example of the convergence

many traditions of our built heritage? Is there a place for

Building is not just a physical presence, but also a built

between the arts and sciences. It encompasses both

our historical landmarks in the future? Without several

environment. It has always been a popular choice of

fields and requires the use of both the left and right brain.

historical buildings that have been used to define us as a

subject matter for many artists. It is therefore not surprising

It is a platform in which a whole brain system and multi-

Nation collectively, what kind of shared heritage can we

that the field of architecture has always enjoyed a close

dimensional approaches are required to practice it. In

pass to our future generation?

affinity with fine art. Both shares a special bond with the

many ways, an architect can also be read as an ‘artist’

notion of form in space, and how both can exist as a

who express his/her cross-disciplinary understanding of

The placement of artworks that feature several different

natural order as well as a man-made construct or built

the economics, social, cultural, political, aesthetic and

forms of built environment in the School of Housing,

environment. Such environment not only defines our

even religious needs of his or her clients and stakeholders

Building and Planning USM will hopefully trigger some of

dwelling space, but also our lifestyle or the way we live.

through a functional structure. It is therefore not surprising

these pertinent questions.

to discover that there are several contemporary artists who In many traditions, a particular built environment is taken

came from an architectural background.

as a manifestation of a belief system, as exemplified by the use of Feng Shui, Vatsu Sastra and Tajul Muluk. They

Most contemporary artists feature built environment to

provide a window to peek into the secrets of sustaining a

reflect the socio-cultural and economic dimensions of a

balance symbiosis between the spirit, mind and body, as

particular society. Beyond the romantic notion of beauty

far as spatial construct is concerned. They also provide

or the aesthetics of a built structure, they also portray the

guidance to the way how form and space should be

harsh and sometimes humbling reality of everyday life

arranged in a balance and harmonious synchrony to attain

for common folks. Other than featuring serene domestic

a sustainable living condition.

and rural scenes, several artists tend to capture our fast changing(or disappearing) natural and cultural landscape.

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In many traditions, a space is not to be owned (colonised?)

They comment on how some of us might have greedily

or mechanically-controlled, but shared and sustained

turned our natural landscape into an urban environment

inter-connectively in spiritual, mental and physical senses.

meant merely as a bragging showcase of visual ‘spectacle’.

Many religious buildings such as mosque and temples

In some cases, such built environment connotes the

reflect such traditions. A building therefore, is not merely a

importance of impression, brand presence, positioning,

physical structure, but also manifests the inner dimension

business acumen and strategic planning as the deciding

of a particular spiritual tradition. Many artists have been

factors, especially in regards to political, social, and

inspired by the inner and intangible dimensions of buildings

economic survival of the stakeholders. What will be the 171

Tan Choon Ghee Pintu Gerbang (1979) Water Colour 83cm x 71cm Purchased

Seah Kim Joo Pura Puri, Ubud Bali (1962) Ink 63cm x 48cm Purchased

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Haron Mokhtar Siri Komposisi Pahang I (1987) Acrylic 86cm x 127cm Purchased

Haron Mokhtar Siri Komposisi Pahang II (1987) Acrylic 86cm x 127cm Purchased

Pheh It Hao Jalan Kapitan Keling I (2007) Water Colour 74cm x 53cm Purchased

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Chong Hon Fatt Clock Tower, Penang (2000) Oil Paint 15 cm X 12 cm Donated by Chong Hon Fatt

Ismail Kadir Memory of Morning Glory (2003) Water Colour 187cm x 259cm On Loan Kuo Ju Ping Mending Nets (1950’s) Water Colour 33cm x 27cm Donated by Dato’ Dr. Tan Chee Kuan

Ch’ng Kian Kiean Acheh Mosque 02 (2005) Graphite 27cm x 38cm Purchased

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Socio-Cultural Index USAINS, Eureka Complex, USM

Datoâ&#x20AC;&#x2122; Dr. Gan Ee Kiang Managing Director

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legacy left by the operational logic of industrial paradigm. Progress, development and success are highly equated by

Socio-cultural Index

tangible material gains and numerical indexes.

Modern and contemporary artworks can be referred to as significant texts for cultural studies. They provide a window

What will be the fate of our traditional society, or cultural

to peek into the socio-cultural dimension of a particular

lifestyle and heritage, or even the people who practice

people, including their lifestyle, ritual, work ethic, cultural

them as expressed through some of the artworks, as we

practice, shared heritage, common ideology and most

embrace such paradigm?

importantly religious belief. They are the embodiment of human relationship that gives form to a particular society.

Ironically, it is in such ‘objective’ society that we may

Beyond visual appearances and formalistic reading, such

also witness many forms of illogical crashes or system

artworks can also be appreciated for their ability to assist

failure so-to-speak. Malpractices, corruption, cracks and

us in understanding our society and whoever that we

crashes of human structures, landslides, flashflood, social

normally take as ‘the others’.

deviants (baby dumpers, snatch thefts, mat rempit etc), human aggression (sometimes forgiven as being simply

Placing these artworks in the U-SAINS building provides

‘competitive’) and many more have become common

a critical counter point for the space. The space and the

occurrences in such society. Today, friendship or human

Eureka Building may be taken as an apt reminder of the

relationship in general, can be easily swallowed by the

fact that we are living in a country that is anxious to reach

need to be highly perceptive towards the forces of the

its ‘vision 2020’; of our sometimes over-eagerness to

market. Instead of simply being a friend or a society and

subscribe to an urban and objective lifestyle as dictated by

valuing our friendship and society, we may start to look

the ebbs and flow of free market liberalism, globalisation

at each other as a ‘commodity’ striving for a ‘competitive

(read Western) and the novelties of information and

market value’. Friendship and society (even between

communication technology. In such hastiness, even

nations) in today’s age of ‘glocalisation’ can also be very

lifestyle itself can be ‘objectively’ perceived as a form of

clinical. Even the term ‘friend’ and ‘neighbours’ have

industry and a money making business. Some of us would

sometimes being elevated to ‘professional networks’,

aspire to emulate the ways of a post-industrial society –

equated within the framework of ‘promotional, marketing

contemporary, liberal, efficient, professional, high-tech,

and branding strategy’, and the need to expand our ‘profit

trendy, hip and don’t forget – materially rich. It is a society

margin’.

Dzulkifli Buyong Meniup Jatuh (1964) Pastel 68cm x 88cm Purchased

that is supposed to operate on a highly specialised, systematic, organised, rational and objective system - a 182

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In the midst of all these, what will happen to our spiritual belief, socio-cultural lifestyle, our heritage, our tradition? Having these artworks around our midst will hopefully remind us of such question. In fact, there are many examples that reflect the silent desire of many people and societies to return to and embrace the more intangible aspects of living. Reconnection with nature, sustainability, ecology, biodiversity, the animal kingdom, heritage, the arts and lifestyle that is spiritually-rooted or relate more to the subjective dimension of human mind and emotion, are some manifestations of such intangible yearning. Perhaps, the exposition at U-SAINS can be taken as another manifestation of this self-balancing yearning.

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Md Sani Md Dom Pantai Berserah (1982) Oil Paint 63cm x 53cm Purchased Lee Joo For Membanting Padi (1958) Oil Paint 53cm x 66cm Purchased

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Shafie Hassan Siri Warisan Rebab (1986) Water Colour 86cm x 63cm Purchased

Jailani Abu Hassan Alam Benda (1983) Oil Paint 35cm x 50cm Purchased

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Raja Azhar Idris Kurungan dan Kebebasan (1976) Print 15cm x 22cm Purchased

Redza Piyadasa Keluarga Baba (1982) Collage 68cm x 48cm Purchased

Azman Yusoff Penarik Beca (1986) Water Colour 50cm x 71cm Purchased

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PENANG ART TOURISM TRAIL

Penang International Print Exhibition (PIPE) 2010 Balai Seni Lukis Pulau Pinang PIPE is an amalgamation of printmaking art that cut across boundaries. Literally, it reflects a crossing of geographical boundary. Fundamentally, it epitomises a crossing of ideas, innovation and exploration beyond the traditional convention of printmaking art. PIPE is participated by artists from 20 countries including Malaysia, Indonesia, Thailand, China, England, Ireland, German, the USA, Poland, Estonia, New Zealand, Australia, Argentina, Mexico, India, Pakistan, South Africa, Japan and many more.

Santanu Chakraborty “GOOD OR BAD …. KING” (2010) Lithography 18.5cm x 15.5cm

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Beba Delelis Espinas XXX (2009) Photo Intaglio 30cm x 20cm

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Fritha Langerman Colophon (2009) Linocut 50cm x 66cm

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PIPE 2010: Tera Muda Galeri 27, School of the Arts, USM ’Tera Muda’ is a printmaking art exhibition in conjunction with the 2nd International Printmaking Exhibition held at the Penang State Art Gallery.This exhibition consists of a participation from printmaking students from several local universities and private collages namely from Uitm,USM,UPSI and Desein Academy of Art.The theme ‘tera muda’ reflects the significance of young artists in contributing towards the art of printmaking.

Siti Norizan Ibrahim Henna I (2010) Etching Aquatint on Paper 28cm x 20cm

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Norashikin bt Abdullah Speed of Movement I (2010) Mixed Media on Paper 78cm x 103cm

Norhasniza bt Keliwon Life Track I (2010) Silk Screen on Board 274cm x 91cm

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PIPE 2010: Ketumbukan, Seni Cetak Alternatif Malaysia Muzium & Galeri Tuanku Fauziah, USM This exhibition will represent alternative printmaking artworks from more than 20 local artists. The nature of these alternative printmaking artworks is varied and complex. It consists in a form of site specific, installation pieces and mixed or integrated media. The unconventional form of these printmaking pieces signifies the new attitude and path that Malaysian contemporary printmakers undertake. Besides that attitude and nature, this exhibition also marking the new phase of development in Malaysian printmaking practices and thought.

Mohd Jamil Mat Isa 69 (2010) Rubber Dye & Collage on Canvas 90cm x 90cm

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Low Khay Hooi Untitled (2010) Mixed Media 41cm x 61cm

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Chew Teng Beng Love U: We Forgive U (2010) Papercut 76cm x 101cm

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Solo Print Making by Juhari Said entitled “BEFORE” Galeri Seni Mutiara Juhari Said’s Solo exhibition entitled “Before” features several of his prints created before and after his travel to Japan. The Baju Kurung and Kilimanjaro Series are the best examples of works that reflect his travelling experience and changed perception towards printmaking, colours and medium. Printmaking enthusiasts will also have the opportunity to view some of his works produced between 1991 to 2008.

Juhari Said Rio (1994) Woodcut 52cm x 38cm

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Juhari Said Cawan Unggu dan Baju Kurung (1992) Linocut 48cm x 57cm

Juhari Said Balik dari Pasar (1992) Linocut 57cm x 48cm

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Group Exhibition by Asean Artists Galeri Seni Mutiara “Enchanting Bali” features Goh Beng Kwan (Singapore), Muhammad Rojana-Udomsat, Thanakorn Sila Boonrat, Sutawat Chuaynum (Thailand) Sen Pao, D. Tjandra Kirana (Indonesia), Koeh Sia Yong, Leo Hee Tong (Singapore), Fong Kim Sing, Heng Eow Lin and Tew Nai Tong (Malaysia)

Koeh Sia Yong Bali Dancer Oil Painting 76cm x 61cm

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Satawat Chuaynum The Colours of Civilisation Acrylic on Canvas 70cm x 90cm

Sen Pao Wayang Performance Acrylic on Canvas 60cm x 50cm

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Vibrant Art Showcase Equator Academy of Art These showcase represents the best of young mindsâ&#x20AC;&#x2122; perceptions of life and the Malaysian environmental influences especially found in Penang. Their world consists of the Malaysian heritage typically of Penang; modern conveniences exemplified by malls; modern travel and communication; and the balance of cultivated land with the natural beauty of hills and beaches. Their works reflect their interpretations in terms of forms and colour. Each piece of work shows individualism from the same stimuli that we normally take for granted. We need to see for ourselves the results of the thinking and potential behind young minds with their expressions in terms of innovations and creativities.

Tan Fook Kenh Thaipusam (2010) Photography 27cm x 40cm

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Tan Boon Han Untitled (2010) Oil Painting 81cm x 101cm

Teh Pei Yong Self-expression (2010) Adobe Photoshop 41cm x 29.7cm

Teng Poh Vee 2D Color Studies (2010) Poster Color 25cm x 25cm

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Heritage Penang II - Paintings, Drawings & Sketches by Local and International Artists Galeri Art Point Art exhibition is not just a mere glamorous party but is an important point of contact for intellectual audience, art enthusiasts and students. “Heritage Penang” is an art exhibition that reminds people of the significance of art as a reflection of the cultural life of people. This awareness is necessary for the reappraisal of the significant contribution of the artists whose art reflects the quintessence of Penang …The art speaks to viewers why Penang become a world heritage site. Familiar sights and the unique lifestyles of the people of Penang painted by local and international artists are on display. The artists are: Abdul Rashid bin Abdul Razak, Tan Chiang Kiong, Suchart Vongthong(Dr.), Yuen Chee Ling (Dr.), Kuo Ju Ping, Lee Weng Fatt, Neoh Hang Peng, Pheh It Hao, Prof. Dr. Zakaria Ali,Prof. Liu Wen San, Tan Lye Hoe, Tan Choon Ghee, Teh Siew Joo, Toya (Lim Khoon Hock), Yeong Seak Ling and Yeong Ning, Ooi Chee Kheng, Loke Hung Thor, Dato Chuah Thean Teng , Chen Jiqun. “Heritage Penang” is a continuing exhibition series. Related events like cultural performances, educational art workshops, art forum and discussions will be hold at the same venue at Galeri Art Point , 46 & 48 Jalan Chow Thye

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Yeong Seak Ling Malaysia Blue Sky Series (2006) Oil on Canvas 97cm x 97cm

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Yuen Chee Ling Medium: Chap Goh Meh II- Nyonya series (2008) Oil on Canvas 53cm x62cm Yeong Seak Ling Kampung Life (Baby Cot) (2009) Oil on Canvas 122cm x122cm

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Penang Malay Art Gallery Solo Exhibition by Mr. A.Rashid

A. Rashid Razak Watie Di Atas Batu (1999) Oil on Canvas 102cm x 152cm

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A. Rashid Razak Mahsuri (2009) Oil on Canvas 102cm x 152cm A. Rashid Razak Anak Jehai (2006) Oil on Canvas 121cm x 142cm

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Gallery Artists Alpha Utara Gallery

Khoo Sui Hoe Distance Call (2006) Oil on Canvas 100cm x 120cm

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James Sum Orange Scape (2007) Oil on Canvas 71cm x 91cm

Do Kem Pa Joy of Life II (2005) Oil on Canvas 135cm x 110cm

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Fifi Châ&#x20AC;&#x2122;ng Spring (2010) Arcylic 56cm x 76cm

Flame of Flowers Ido Gallery Flame of Flowers is a series of acrylic works depicting self evolution in our journey of life. Flowers are a reflection of Mother Natureâ&#x20AC;&#x2122;s intrinsic beauty, passion, vulnerability and yet strength because a flower remains in its glorious elegance at all times. Jewellary Designer turned Artist; Cheong Mei Fong combines her passion in her acrylic works depicting reflection of light and colours found in gemstones. Her passion continues with her love to teach and dedication to bring out the best in her students, encouraging them to rediscover and evolve in their paintings. With her guidance, her students and Cheong Mei Fong will show case their unique and spontaneous expression of self evolution in this abstract series - Flame of Flowers.

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Khor Chia Leng rd 3 Party (2010) Arcylic 30cm x 30cm

Serena Cheah Garden in Heart (2010) Arcylic 36cm x 45cm

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Solo Show by Loo Foh Sang and Mohd Khizal Saat Peter Liu Art Gallery Solo show by 2 artists Loo Foh Sang and Mohammad Khizal Saat showcases a body of works which place emphasis on the new approach in making art, namely printmaking. Each print technique is a carefully thought creation and posseses a rhythmic flow of image, colour and composition.

Mohd Khizal Saat hujan asid Media Transfer Image and Collage on Paper (2010) 63cm x 50cm

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Mohd Khizal Saat menitis ke bumi (2010) Transfer Image on Paper 63cm x 50cm

Loh Foh Sang Pasar Pagi (2010) Silk Screen 60cm x 47cm

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Intermission Volume 1 Art & Design Exhibition Gallery @ KDU

Drawing and Illustration Diploma in Creative Media Design/Interior Design March 2010

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Interior Design Spatial Design March 2010

1MALAYSIA CONTEMPORARY ART TOURISM Sparkles In Penang (SIP) THE TEAM 1. Ramzi Abu Yazid Senior Deputy Director Jaime Yeoh Director, Motour Penang Office Ministry of Tourism Malaysia Mohd Sani Sham Ahmad Director, Tourism Malaysia Penang 2. Hasnul J Saidon Project Director and Chief Researcher/Writer/Editor 3. Afzanizam Mohd Ali Curator & Chief Designer 4. Nor Laila Abd Rozak @ Razak Curator & Coordinator of Seminar, Research & Publication 5. Nurul Ashikin Shuib Curator & Head of Publicity & Public Relation Adlan Redzuan Azizi Yahya Promotion & Publicity 6. Mohd Firdaus Khairuddin Curator & Head of Logistics, Physical Installation & Technical Set-up 7. Safinawati Samsudin & Nur Hafizah Abd. Aziz Assistant Curators & Coordinators of Research, Record & Documentation 8. Nor Mohammad Abd Rahim & Aizuan Azmi Assistant Curators & Coordinators of Exhibition Installation 240

ACKNOWLEDGEMENTS Y.B. Dato’ Sri Dr. Ng Yen Yen Minister of Tourism Malaysia 9. Shamsul Ikhmal Mansori Assistant Curator & Coordinator of Video/Photo/ Multimedia Production 10. Rohayah Sanapi Administrative Assistant & Coordinator of Finance 11. Radhiyah Abu Bakar & Faridah Mohd Hashim Administrative Assistants 12. Muhammad Husni Abd Latiff Museum Assistant & Coordinator of Technical Set-up

Dato’ Ong Hong Peng Secretary-General, Ministry of Tourism Malaysia Ministry of Tourism Malaysia Tourism Malaysia, Penang All participating artists All participating hosts in USM All participating galleries in Penang The Media The viewing public

13. Noordin Ban, Izrul Abd Aziz & Yazdi Yaacop Museum & Exhibition Assistants 14. Salim Ibrahim Museum Assistant and Designer 15. Rosli Hamzah Technician & Carpenter 16. Noor Rashid Sabidi Electrician 17. Salmiah Mohamad & Ravi a/l Vansamy General Assistants 18.Nurul Aida Mohamed Noor, EE Sum Peng, Mohd Shafee Abdul Hamid, Mohd Isma Nizam Jamaludin, Zulhani Zulkifli, Hjh. Roslina Idris, Mohd Rafis Hakimi Jusoh General Assistants 19. All gallery’s representatives 241