‘ve( )rēd e
1 February - 28 February 2010 Muzium & Galeri Tuanku Fauziah, Universiti Sains Malaysia Pengarah Projek & Penyunting / Project Director & Editor Hasnul Jamal Saidon Kurator / Curators Fawazie, Dayana, Sarip, Chun Woei Penyumbang Esei / Essay Contributors Fawazie Dayana Sarip Chun Woei
Muzium & Galeri Tuanku Fauziah, Universiti Sains Malaysia, Pulau Pinang Telefon/Telephone: 04 6533888 samb/ext-3261/4789/2137/4786/4787/4788 Faks/Fax: 04 6563531 Emel/Email: dir_muzium@notes.usm.my Laman web/Website: http://www.mgtf.usm.my http://mgtfusmpenang.blogspot.com www.tagged.com/mgtf www.twitter.com/mgtf www.youtube.com/mgtf
Konsep Rekabentuk / Design Concept Chun Woei Pembantu Kuratorial / Curatorial Assistants Afzanizam Mohd Ali, Mohd Firdaus Khairuddin, Aizuan Azmi, Pembantu Teknikal / Technical Assistants Shamsul Ikhmal Mansori, Noordin Ban, Rosli Hamzah, Muhammad Noor Rashid Shabidi Pembantu Penerbitan / Publication Assistants Pembantu Kewangan / Financial Assistant Rohaya Sanapi Promosi & Publisiti / Promotion & Publicity Nurul Ashikin Shuib, Azizi Yahya, Adlan Redzuan, Salim Ibrahim Sokongan Umum / General Support Radhiyah Abu Bakar, Salmiah Mohamad, Faridah Hashim, Ravi Vansamy Pameran Atas Talian / Online Exhibition http://mgtf.usm.my/exhibit/php
ISBN 978-967-10008-0-9 1. Universiti Sains Malaysia. Muzium dan Galeri Tuanku Fauziah--Catalogs. 2. Art museums--Catalogs. 3. Art museums--Exhibitions. I. Hasnul Jamal Saidon, 1965-. II. Universiti Sains Malaysia. Muzium dan Galeri Tuanku Fauziah. III. Title. 708.595113 ©2010 Hasnul J Saidon, Muzium & Galeri Tuanku Fauziah. Semua hak cipta adalah terpelihara. Sebarang bahagian di dalam buku ini tidak boleh diterbitkan semula kecuali untuk tujuan kajian dan kritikan dalam bentuk atau dengan sebarang cara tanpa izin penulis atau penerbit.
Perkembangan terkini dalam seni dan rekabentuk telah menghasilkan pelbagai kaedah produksi yang dipacu oleh usahasama antara pelukis dan pereka. Usahasama sebegini berkisar sekitar kaedah-kaedah penyatuan eksperimental dan media produksi. 've( )rēd adalah sebuah pameran yang membicarakan hasil penyatuan dan usahasama empat orang pelajar pasca-siswazah di bawah seliaan Prof. Madya Fauzan Omar dan penasihatan kuratorial Prof. Madya Hasnul J Saidon. Pameran ini memaparkan catan media campuran oleh Sarip, cetakan kayu oleh Fawazie, cetakan fotografi digital oleh Dayana dan rekabentuk grafik 3D oleh Chun Woei. e
've( )rēd dieja sebegini sebagai cara sebutan yang tepat. Ia mencadangkan kepelbagaian jenis, pilihan dan citarasa. e
Fawazie, Dayana, Sarip & Chun Woei Pusat Pengajian Seni 2010
The current development in art and design has produced a vast array of production methods, propelled by collaborations between artists and designers. Such collaborations revolve around converging experimental methods and production media. 've( )rēd is an exhibition that discusses the result of such convergence and collaboration by four post-graduate students under the supervision of Associate Professor Fauzan Omar and the curatorial advisory of Associate Professor Hasnul J Saidon. The exhibition features mixed media paintings by Sarip, woodcut prints by Fawazie, digital photography by Dayana and 3D graphic design by Chun Woei. e
've( )rēd is spelled in this way as a correct pronounciation of ‘Varied’ that connotes many types, different choices or a potpouri of flavours. e
Fawazie, Dayana, Sarip & Chun Woei School of the Arts 2010
Kefahaman budaya terhadap teks tidak boleh terus kekal dengan sesuatu teks, tetapi perlu tertumpu pada proses yang berkait dengan penzahiran makna oleh para pembaca (Barker dan Galasinski:2001:ms 7) Cultural understanding of texts cannot remain with the text but must concern itself with the processes involved in the realization of meaning by readers (Barker and Galasinki:2001:p7)
KANDUNGAN / CONTENTS Cetakan Kayu / Woodcut Prints - Fawazie
13
Fotografi Digital / Digital Photography - Dayana
21
Catan Media Campuran / Mixed Media Paintings - Sarip
29
Rekabentuk Grafik 3D / 3D Graphic Design - Chun Woei
39
Director’s Note - Hasnul J Saidon
47
8
Sesi perbincangan dengan Prof. Madya Fauzan Omar Discussion session with Assoc. Prof. Fauzan Omar
9
10
Gambar kumpulan dalam studio pasca-siswazah Group photo in the post-graduate studio
11
e e 12
FAWAZIE
13
CETAKAN KAYU / WOODCUT PRINTS Menggabungkan seni alternatif dengan cerita-cerita rakyat tempatan, pengkarya berharap untuk memberi nafas baru kepada perkembangan amalan seni cetak Malaysia. Combining the art of alternative print with local folklores, the artist hopes to give a new breath to the development of Malaysia’s printmaking practice.
14
Title: Konflik II Medium: Wood Engraving on Canvas Size: 61cm x 46cm Year: 2008
15
Cetakan alternatif dalam penghasilan siri karya ÒNaga Tasik ChiniÓ menggambarkan tentang mitos Melayu yang kian hampir luput ditelan zaman. Kajian ini amat penting dilakukan oleh saya bagi mengangkat mitos tinggalan Melayu yang gah di bibir masyarakat setempat pada suatu ketika dahulu. Penulisan yang terpampang di dada media massa menceritakan tentang kelenyapan mitos ini secara perlahan-lahan menguatkan lagi hasrat saya untuk mentafsir mitos ini. Tinjauan Utusan Malaysia baru-baru ini mendapati lagenda dan mitos Tasik Chini tidak sehebat dengan apa yang disaksikan di tasik itu pada masa ini. Saya menghargai mitos khazanah Negara ini dengan cara tersendiri iaitu mentafsir mitos ini dengan pemahaman tersendiri. Untuk menjayakan pentafsiran ini, saya telah mencari satu perantaraan seni yang agak rapat dengan alam yakni seni cetakan kayu. Saya mewujudkan satu transformasi seni cetakan melalui medium dan teknik yang pelbagai disamping ingin meluaskan definisi seni cetak dalam konteks amalan seni kontemporari. Jika saya hanya menumpukan untuk menghasilkan cetakan tradisional, tiada apa yang dapat disumbangkan dalam memperjuangkan seni cetakan di Negara ini. Penggunaan bahan dari alam semulajadi dan proses pembuatan dalam menghasilkan siri karya menguatkan lagi maksud tersirat yang ingin disampaikan. Gabungan antara interpretasi mitos dengan cetakan alternatif ini sedikit sebanyak memberi nafas baru terhadap perkembangan seni cetak Negara yang jauh ditinggalkan oleh bidang catan mahupun arca.
Fawazie
16
Using alternative print to produce a series of artworks that visualise the myth of “Naga Tasik Chini” (Lake Chini’s Dragon), I try to revitalise a Malay myth that is fast disappearing with the passing of time. I feel that it is important to revive the enchanting Malay folklores that were once been fairly spoken of by the local community. With today’s media saying that these folklores are slowly being forgotten by the new generation, I became more driven to enliven them. I document these priceless myths by interpreting each story distinctively based on my personal understanding. To achieve this visualisation, I had sought for relevant methods to prosecute the ideas and later discovered one dealing fairly close with our Mother Nature, that is the art of woodcut printmaking. I attempted to transform printmaking through various mediums and techniques, while simultaneously expanded the definition of printmaking within the context of contemporary art practice. I felt that I would not do much contribution to the field of printmaking if I only focus on producing prints through conventional way. Utilising materials from the natural world to produce prints will not only help audiences to relate to the myths, but also to better visualise messages that the story connotes. By combining the art of alternative print with local folklores, I hope to give a new breath to the development of this country’s printmaking practice, which is lagging far behind painting and sculpture.
Title: Alone..... Medium: Wood Engraving on Canvas Size: 30cm x 23cm Year: 2009
17
Title: Gumum II Medium: Wood Engraving on Canvas Size: 120cm x 240cm Year: 2010
18
Title: Kebebasan Medium: Wood Engraving on Paper Size: 45cm x 95cm Year: 2009
19
Title: Konflik Medium: Wood Engraving on Canvas Size: 46cm x 30cm Year: 2008
20
DAYANA
21
FOTOGRAFI DIGITAL / DIGITAL PHOTOGRAPHY Pengkarya mempersembahkan koleksi memori dan imejan menerusi paparan visual yang surreal dan menyeramkan. Penerokaan minda sebegini adalah berkait rapat dengan tidur, mimpi ngeri dan persoalan fenomenologi tentang realiti. The artist presents a collection of memories and images through dark, surreal and sometimes ghostly visuals. This exploration of the mind is closely linked to dreams, nightmares and phenomenological questions of reality.
22
Title: Quietus I Medium: Digital Print on Canvas Size: 91cm x 122cm Year: 2009
23
Karya-karya ini merupakan suatu penjelajahan minda dan juga kenangan saya berdasarkan penglihatan, pendengaran mahupun perasaan sepanjang mengalami gangguan tidur yang juga dikenali sebagai Sleep Paralysis. Keadaan ini telah berlanjutan sejak 11 tahun yang lepas, menjadikannya suatu norma dan juga sebahagian daripada diri saya. Kajian ini juga bertujuan untuk menggambarkan kejadian yang seakan-akan mimpi ngeri dan juga persoalan fenomenologi realiti. Di sini penggunaan teknik fotografi dan pengimejan digital bagi mendokumentasi dan memanipulasi imej-imej yang sering menghantui diri saya digunapakai bagi melahirkan satu karya seni. Karya-karya yang dihasilkan bukanlah gambaran tepat tentang pengalaman saya - kebanyakkannya merakamkan suasana bunyi, perasaan dan kederiaan. Gambaran elemen-elemen ini adalah berdasarkan imaginasi dan bagaimana meluahkannya menerusi fotografi dan imejan. Penjelajahan alam tidur ini akan menemukan kita dengan suatu alam yang luar biasa yang merangkumi alam imaginasi para penghuninya dan atmosfera surreal yang menghantui psike kita pada waktu malam.
Dayana
24
This current body of work implores and explores the my recollection of the hallucinations seen, heard, felt and sensed during my encounter with a sleeping disorder, known as Sleep Paralysis. Having experienced the condition for the past 11 years, it has become a common part of the my life and personal self - a collection of memories and images - dark, surreal and sometimes ghostly. This exploration of the mind is closely linked to dreams, nightmares and phenomenological questions of reality. Using photography and digital manipulation as a tool to express and create images, it is my wish to visualise the recollections based on what was experienced. The artworks produced are not necessarily the exact visions of the nights - sometimes just sounds, feelings and senses. The portrayals of these elements are then subjected to the imagination, on how to express using photographs and images. This exploration of sleep paralysis through imagery will lead us into a voyage through the currents, the creatures and the surreal atmospheres that inhabit our psyche at night.
Title: Almost Medium: Digital Print on Canvas Size: 91cm x 122cm Year: 2009
25
Research Sketches (2010)
26
Title: Your One-Stop Death Motel Medium: Digital Print on Kodak Photo Paper Size: 84cm x 60cm Year: 2008
27
Title: We Will Laugh at Gilded Butterflies Medium: Digital Print on Canvas Size: 91cm x 122cm Year: 2008
28
SARIP
29
CATAN MEDIA CAMPURAN / MIXED-MEDIA PAINTINGS Dengan pemikiran yang masih mentah, kanak-kanak memiliki kecenderungan untuk meniru sikap watak-watak kartun. Mungkin ada yang berpendapat bahawa hal ini tidak penting, namun masanya sudah tiba untuk pihak-pihak berkaitan mengambil tindakan bagi memastikan keselamatan dan menyediakan generasi muda dengan persekitaran membesar yang lestari. Being cognitively immature, children possess a tendency to imitate the behavior of cartoon characters. One might say that this is a matter of less importance, but the time has come for relevant parties to take actions to ensure the safety and to serve the young generation with a conducive and sustainable growing environment.
30
Title: anakin SARIPwalker Medium: Mixed Media on Canvas Size: 122cm x 152cm Year: 2005
Dewasa ini banyak faktor yang membawa kepada perubahan terhadap perkembangan mental kanak-kanak. Ini bukan hanya melibatkan sikap dan tatacara pergaulan mereka, namun lebih kepada perubahan drastik yang menjurus kepada pengalaman diri dari faktor seni secara langsung ataupun tidak. Ramai cendekiawan hari ini termasuklah dari luar dan dalam negara memberi ulasan mengenai perkara ini dan ada yang menyatakan faktor seni seperti karektor ÒSUPER HEROÓ yang dipaparkan di dada akhbar, buku-buku cereka, media dan juga internet memberi kesan yang positif dan negatif. Persoalannya, adakah pengaruh ini akan mengubah segala tingkahlaku dan akan sebati dengan kanak-kanak atau ia hanya untuk jangkamasa yang pendek sahaja? Mungkinkah tingkahlaku itu akan menyebabkan kanak-kanak berkenaan menjadi individu yang gemar kepada keganasan kelak? Dalam hubungan ini, masalah akan timbul sekiranya ada kanak-kanak tidak dapat membezakan antara realiti dan juga fantasi. Walaupun banyak kes yang dilaporkan membabitkan tingkahlaku kanak-kanak tersebut, namun kanak-kanak hari ini masih lagi didedahkan dan meniru watak yang ditonton. Sikap kanak-kanak yang gemar meniru dan kematangan dalam pemikirannya tidak ada lagi (cognitively immatured) memudahkan kanak-kanak terpengaruh dengan tingkahlaku tersebut. Mungkin ada menganggap hal ini sebagai isu terpinggir tetapi sudah sampai masanya bagi pelbagai pihak menangani dan mengambil langkah yang terbaik bagi keselamatan dan menyediakan generasi muda dengan persekitaran membesar yang kondusif dan lestari. Secara keseluruhannya, tidak dinafikan bahawa hiburan berbentuk kartun mempunyai nilai-nilai yang positif dan negatif tetapi itu semua bergantung kepada sejauh mana ibubapa memainkan peranan terhadap anak mereka dan sejauh mana anak-anak diberi pendedahan tentang maklumat tersebut secara menyeluruh.
Sarip
32
In today’s world, there are many contributing factors to the changes in our children’s mental development. It does not only involve their social interactions and attitudes, but also drastic change that points towards their personal experience with the arts, directly or not. A number of scholars today, both local and international, have commented on this matter and concluded that factors such as the “SUPER HERO” characters that are abundance on pages of present-day newspapers, fictional books, the media and also the internet have their own pros and cons. The question is, will their influence affect and embed permanently in our children’s minds, or will they stay for only a short run - like a certain phase they are going through? Perhaps this would result in children resorting to terrorism and violence later? In this context, the problem would arise if a child fails to distinguish between fantasy and reality. Even though there are many cases reportedly involving children with these behavioral problems, children today however are still widely exposed to “Super Hero” culture, resulting with them imitating the characters seen. Being cognitively immature, they possess a tendency to imitate the behaviors of cartoon characters. One might say this is a matter of less importance, but the time has come for relevant parties to take actions to ensure the safety and to serve the young generation with a conducive and sustainable growing environment. Notwithstanding the fact that cartoons may have some positive entertainment values, they may also cause many negative impacts on children. Everything points back to how far parents play their roles in bringing up, educate and prepare their children comprehensivelly.
Title: mr. conceptJUAL Medium: Mixed Media on Canvas Size: 152cm x 183cm Year: 2009
34
Title: I sound like stupid if I speak english! Medium: Mixed Media on Canvas Size: 122cm x 244cm Year: 2009
36
Title: mr. guided dictator Medium: Mixed Media on Canvas Size: 153cm x 275cm Year: 2005
37
Title: art of clones Medium: Mixed Media on Canvas Size: 122cm x 122cm Year: 2007
CHUN WOEI
39
REKABENTUK GRAFIK 3D / 3D GRAPHIC DESIGN Ikon memberi kesan kepada gaya hidup masa kini. Kita memakai dan melanggan benda-benda yang sebenarnya telah mempengaruhi di peringkat ikonik. Pengaruh sebeginilah yang telah mencetuskan ilham untuk BOXIE. Boxies adalah watak-watak yang direkacipta untuk memantulkan budaya, tradisi dan gaya hidup orang Malaysia. Mereka adalah watak-watak ringkas yang boleh dihayati sebagai permainan mudah-lipat. Icons affect everyone’s lifestyle today. We wear and consume things that have actually influenced us on iconic level. It is this influence that has sparked the idea of BOXIE. Boxies are characters designed to reflect on culture, tradition and lifestyle of Malaysian people. They are simple characters that can be enjoyed as easy-to-fold paper toys.
40
Title: Ah Ling the CheongSam boxie Medium: Digital Print on Paper Size: 11cm x 17cm x 3cm Year: 2010
41
Apabila bercakap mengenai zaman kini, populariti telah mempengaruhi segalanya termasuklah diri dan cara hidup masyarakat sekarang. Pengaruh ini lebih dikenali sebagai budaya POP. Ia merupakan zaman ikon dimana semua orang bersaing untuk mendapatkan kehormatan dan kedudukan tertinggi dalam masyarakat atau komuniti. Ikon merupakan sesuatu yang mempengaruhi gaya hidup masyarakat kini. Ia telah mempengaruhi cara pemakaian dan tatacara konsumsi seseorang di peringkat ikonik. Pengaruh ini telah mencetuskan idea bagi menghasilkan BOXIES. Boxies menceritakan tentang budaya, tradisi dan gaya hidup masa kini. Boxies ini bersifat ringkas yang boleh dihayati sebagai satu permainan kertas yang mudah-lipat. Ingatkah kita ketika zaman kotak-kotak karton yang dilukis dan dipakai sebagai satu kostum bertemakan pahlawan-pahlawan yang muncul dalam siri televisyen awal pagi Sabtu? Boxies meupakan satu kostum buatan tangan hasil daripada kotak-kotak terpakai yang pernah digunakan untuk menyimpan buah, televisyen dan permainan vcr. Kotak-kotak terpakai ini bukan sekadar kotak. Saya telah menukarkannya menjadi satu permainan 3 dimensi, secara automatiknya menjadi teman kepada kita. Dalam penghasilan boxies ini, penggunaan kertas dikekalkan bagi mengekalkan ketulenan ide sebenar. Penggunaan warna dan reka corak yang diperlihatkan pada boxies ini adalah untuk menonjolkan keindividuan yang kemudiannya boleh membentuk satu komuniti. Di sini, tiap-tiap satu COMMUNITY OF BOXIES menutur bahasa dan satu gaya hidup tersendiri.
Chun Woei
42
When we are talking about today’s life, we talk about people and how their lifestyles are affected by the popularity of everything, called POP culture. It is also referred to as an icon age where everything is fighting to gain the top spot as a dominant icon in everyday’s life. Icon is what affecting everyone’s lifestyle today. We wear and we consume things that have influenced us on iconic level. It is this influence that prompted the idea of BOXIE. Boxies are characters designed to reflect on culture, tradition and lifestyle. They are simple characters that can be enjoyed as easy-to-fold paper toys. Remember those cartoon boxes, drawn and painted as a low budget costume that we wore on our heads to be some kind of super heroes who appeared for few hours on Saturday morning TV? Boxies are a translation of our childhood handmade costumes, that were made out of used boxes that were once used to keep fruits in the market, to pack TVs and vcr players. They are not just boxes. They are something that I haved turned into 3D paper toys, which are not just toys, but companions. At the same time we try to stay true to the original idea of using paper as the medium of creation. Colors and personalised design enhance individuality which may later help to form a community. A COMMUNITY OF BOXIES speaks a language and a lifestyle of its own.
Title: Sketches of other boxies Medium: Ink on Paper Size: 14cm x 20cm Year: 2009
43
Title: The Grass Cutter boxie Medium: Digital Print on Paper Size: 11cm x 17cm x 3cm Year: 2010
Title: Ali the Mamak boxie Medium: Digital Print on Paper Size: 11cm x 17cm x 3cm Year: 2010
Title: Ril the Satay boxie Medium: Digital Print on Paper Size: 11cm x 17cm x 3cm Year: 2010
DIRECTOR’S NOTE An art gallery is traditionally and customarily read as a showcase site, meant for a rather ‘one-way’ or linear transmission of knowledge from the gallery to its visitors. Looking from outside the modern art paradigm and reading gallery and curatorial practice from the perspective of cultural studies, such linear approach has somehow created a ‘regulated’ way of how artworks should be presented and represented. Such ‘regulation’ can be taken as a ‘language’ of its own, with discourse strongly embedded with modernist ideology of artistic production and consumption. Therefore, it is not surprising to witness how most galleries today have been incorporated into the larger contexts of market economy and high-end (elitist) cultural consumers of global economy. Notwithstanding the forces of the economy, an art gallery should also be taken as a critical site for knowledge production, especially in regards to a university gallery. Placing an art gallery within such context requires a shift in its curatorial approach. Such approach requires an art gallery to sometimes deconstruct its own ‘elitist’ operational and curatorial language from ‘showcasing’ and ‘bragging’ to ‘discussing’ and ‘researching’.
Varied is therefore presented in a hybrid form of finished works, studies, sketches, notes and studio setting. Such approach is meant to add multiple layers of pedagogic means and interpretive engagements, especially within the context of a sustainable learning and teaching environment.
The exhibition is thus taken as a discursive site for open forum and discourse. Other than deconstructing the ‘white-cube’ paradigm of a passive gallery or museum setting, such approach places artistic production and presentation as means of inclusive intellectual inquiries, knowledge production and value sharing.
Beyond mere showcase of post-graduate works, ‘varied’ also functions as a platform for research, evaluation and assessment. Far from being an end-product-oriented, it is approached as a crucial method of data collection and analysis, especially those pertaining to creative processes, curatorial methodologies and audience or public engagements.
‘varied’ is therefore instrumental in augmenting USM’s drive in converging the arts with scientific methods of inquries towards a sustainable learning experience.
Assoc. Prof. Hasnul J Saidon Director Muzium & Galeri Tuanku Fauziah, USM
e e 12