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ART EXHIBITION

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>AEM3 DEFIES ODD, A BIGGER SUCCESS >PERTANDINGAN SENI TAMPAK TERBUKA JOHOR 2009

Editor

inc.

THE year‐end is before us, and soon. We have been so busy with our host of activities in the Balai and outside with our friends and partners in promoting and developing art, as well as in overseas programmes, that we hardly noticed. But there is never a moment of ennui. The Balai staff members should be commended for their tireless efforts in seeing to the success of all our programmes and activities, in making all our gallery spaces active and exciting all the year round. Even as the annexe building is coming up, we try to find creative uses for our existing spaces like the rebranding of the Reka Gallery as a space for design and emerging visual arts exhibitions. It has been a hectic year with the biggest challenge being the blockbuster Syed Ahmad Jamal : ARTIST exhibition where new standards and exhibition parameters are set. We had three major foreign exhibitions involving Croatia, Cuba and South Korea, and November was a triple‐header with our joint involvement in the Third Art Expo Malaysia, The 5th Asian Museum Curator’s Conference and the 24th Asian International Art Exhibition, which were both an unqualified success. These are in line with our policy to support in various forms constructive, meaningful and impactful activities outside of the Balai not only in promoting and creating greater awareness of art, but also raising the bar in art development and showcasing Malaysia as an arts and cultural hub. All these, and more, are covered in this issue of . We also drop in at the galleries and fringe spaces to check out the versatile ceramic artist Umibaizurah Mahir and the enigmatic Aswad Ameir, and what‐do‐you‐know a newly opened Art Lives Gallery and the Li Chi Mao Art Centre in Malacca! Then, to hoot, Bennylita Nasuty Ramlee makes the Re‐Cover Artist page. We end the year with the enBLOC exhibition, a fine visual documentation of heritage technology in printing blocks, video and batik textiles and a unique Creativity and Innovation Camp in Penang entitled CreaNova. Even as we unravel the loose ends and close the book for the year, we are already busy preparing for the major programmes of the next year, including a six‐month itinerary for Malaysia’s participation in the World Expo in Shanghai from May to October, and the Malaysia Week arts and cultural fest in Paris. We are constantly fine‐tuning the components and contents of to make it more inclusive, reflective and informative besides it being more accessible to all. To all we wish you a Salam Maal Hijrahm, Merry Christmas and a Happy New Year 2010.

C O N T E N T S

FEATURES

24th Asian International Art Exhibition: Manifesting Diversity in Asian Contemporary Art

SHARINGS

08 14 10

The Mind and Art Li Chi Mao

RE-COVER ARTIST

11 12 15 18 19

7 14 16

Bennylita Nasuty Ramlee

EXHIBITION REVIEWS Contemporary Croatia Drawing Presented to the World 3rd Art Expo Malaysia: AEM3 Defies Odd, A Bigger SuccesS Hybrid: Umibaizurah Mahir Solo Exhibition The AIAE has comes of age Pertandingan Seni Tampak Terbuka Johor 2009

HIGHLIGHTS Malaysia Open Auction Point Blank Lukisan Potret DiRaja Dalam Proses

OPPORTUNITIES 18 USA by Designers

BSLN Programmes and Activities

BSLN PUBLICATION

WHAT’S ON

PUBLISHER

Balai Seni Lukis Negara National Art Gallery Malaysia Ministry of Information, Communication and Culture Malaysia No 2. Jalan Temerloh Off Jalan Tun Razak 53200 Kuala Lumpur MALAYSIA P : 603 4026 7000 F : 603 4025 4987

Dr. Mohamed Najib Ahmad Dawa Editor-In-Chief

w w w. a r t g a l l e r y. g o v. m y l EDITOR-IN-CHIEF Dr. Mohamed Najib Ahmad Dawa l MANAGING EDITOR Ch’ng Huck Theng l EDITORS Zanita Anuar & Ooi Kok Chuen l DEPUTY EDITOR l Wening Cheah & Hashimah Nyok l CONTRIBUTORS / WRITERS Dr. Choong Kam Kow, Edwin Ooi, Tatjana Carey-Maruna, Zainol Abidin B Ahmad Shariff (ZABAS), Hasnul J Saidon, Suraya Warden and Ooi Kok Chuen l DESIGN Nuzaihan Mustapa & Shamizar Rahim l PHOTOGRAPHY Muhamad Akmal Hakim and Mohd Fitri Abd Rahman l can be accessed at www.artgallery.gov.my/senikini Any feedback and comment please email to us at: wening@artgallery.gov.my The publisher, National Art Gallery Malaysia, holds the copyright of all editorial content. SENIKINI (ISSN : 1985-7233) is published six times a year by National Art Gallery Malaysia.

Abstrak 1950an Koleksi Najib Dawa (Awang Isa)

GALERI GALLERY

REKA

1 2 .1 2 . 2009 22. 02. 2010 Balai Seni Lukis Negara National Art Gallery Malaysia

Pameran adalah sebuah wadah persembahan batik yang teristimewa. Dalam mendirikan sebuah pameran batik sebagai pengisian kepada Kuala Lumpur International Batik Week 2009, Kementerian Penerangan Komunikasi dan Kebudayaan melalui Balai Seni Lukis Negara (BSLN) terpanggil untuk mengambil peranan selaku peneraju pembangunan seni visual Negara untuk mencetus inspirasi kreativiti dan inovasi menerusi kesinambungan tradisi. Kali ini ianya dizahirkan menerusi pameran pengenalan semula terhadap blok batik dengan menyerlahkan ciri reka bentuk dan teknologi seni batik itu sendiri. Ungkapan sebegini adalah unik dan penting supaya suatu bidang seni budaya diwartakan ilmu teknologinya khususnya proses dan skema pengolahan bentuk diterangkan dan didokumentasikan. BSLN juga akan menyumbang dan memperkayakan pengkalan data budaya dengan berkongsi data motif blok yang dikumpulkan sehingga 500 blok dari institusi dan para kolektor, Kelantan dan Pulau Pinang termasuk Institut Kraf Negara, Galeri Yahong dan Lyanne Batik. Kesatuan hasrat semua pihak yang mendokong cita murni dalam menzahirkan kesinambungan seni dan budaya sebegini amat dihargai dan diharap akan dimanfaatkan berterusan buat generasi masa hadapan.

is a unique batik exhibition. This exhibition is poised to complement the Kuala Lumpur International Batik Week 2009, of which the Ministry of Information, Communication and Culture is a patron of and is represented by the Balai Seni Lukis Negara(BSLN). The BSLN, an institution responsible for the development of visual arts in this nation aspires in this showcase to inspire creativity and innovation while celebrating the continuity of our cultural traditions. This is realised in this refreshing exhibition and installation of batik block,or batik stamps. The display highlights the design and technology of batik as an artform. The presentation revivifies the unique traditional scheme and process in batik that should be continuously appreciated, documented and elevated to a wider audience. BSLN will also share over 500 block motifs made available through the kind sharing by collectors from Kelantan to Pulau Pinang including the Institut Kraf Negara, Lyanne Batik and Yahong Gallery, in the form of a database so it may be accessed by others. This is indeed a commendable collective effort that must continue to enrich the creative individuals of the future generations.

Perbadanan Muzium Kelantan

Features

ASIAN INTERNATIONAL ART EXHIBITION

Manifesting Diversity In Asian Contemporary Art - National Art Gallery 20.11.2009 - 31.01.2010

THE

24th Asian International Art Exhibition (AIAE) now being held at the National Art Gallery saw the highest attendance of participants on opening day with some 125 artists and delegates present on November 20. The grand opening was officiated by Senator Heng Seai Kie, the Deputy Minister of Information, Communication and Culture. A total of 208 works are on display over two gallery spaces. They are from China (20 works), Hong Kong (15 works), Indonesia (10 works), Japan (20 works), South Korea (20 works), Macau (10 works), the Philippines (9 works), Singapore (10 works), Taiwan (20 works), Thailand (10 works), Vietnam (19 works) and host country Malaysia (45 works). Besides paintings of various media, there are prints, sculptures, installations, animation, video and new media presentations.

l by Dr. Choong Kam Kow

With the theme, Asia@Asia: Manifesting Diversity, the 24th AIAE held a three-day cultural activity from November 20 and it included a forum held on November 21. The forum discussed at great length the influences on art by the inevitable changes of cultural practices, social structures and ways of life of the diversified Asia in the process of globalization in the Information Age. The topics were Artistic Issue in Asian Consciousness and Asian Nations (Prof. Zou Yuejin, China), A Reappraisal of East Meets West (Eddie Lui, Hong Kong), Art Medium Discourse in Indonesian Contemporary Art (A. Rikrik Kusmara, Indonesia), Ordinary Objects And Beyond (Prof. Lee Na Kyung, South Korea), Art And Society In the Midst of Globalization (Ma. Victoria Ambie Abano, the Philippines). The delegates were also taken on visits to Galeri Petronas, art galleries in Starhill, cultural sites and the 3rd International Art Expo Malaysia held at the Matrade Exhibition and Convention Centre. This year’s theme is aimed at promoting Asian contemporary art through the expression of diversified cultural characteristics and social conditions of the various participating countries. It is also to foster artistic exchanges and cultural understanding among the participating countries. In line with the theme, the styles and approaches of works vary from country to country reflecting a cross-section of art practices. The AIAE managed under the Federation of Asian Artists (FAA) was first held in Seoul, South Korea, in 1985. It was later held annually in Japan, Taiwan and other member countries by rotation. In the past 24 years, the AIAE has developed from strength to strength and is now regarded as an important international art exhibition making significant contributions towards the development of contemporary art of Asia and the promotion of artistic exchanges among the participating countries. The visual thinking and expression of the FAA artists have over the years continued to evolve and mature in encouraging directions. Each year, new approaches and styles of visual expression emerge as a result of self exploration and interaction with fellow artists. With the collaboration of the FAA Malaysia Committee, the National Art Gallery has successfully hosted the 5th and 13th AIAE in 1990 and 1998 respectively. Malaysia has taken part in the AIAE since 1988. As a major art exhibition in Asia, the 24th AIAE has attracted and received many important works by leading artists from the participating countries. From China, they are Zuo zhengyao (Secret of the King - ink & colour on paper), Tian Ye (Scenary Series 31 - oil on canvas) and Shi Jiangguo (Sisters - ink & colour on paper). The Chinese submission is dominated by oil, acrylic and ink/colour paintings reflecting contemporary

CHINA-Liang Chang Sheng, Elysium World No. 5, Propylene on canvas, 156 x 56cm, 2008

MALAYSIA - Juhari Said, OKIR No:30, Wood and oil, 102 x 53 x 8cm, 2009

visual languages and formal approaches. The work by Tian Ye shows great innovation by introducing invented new signs into the signposts commonly found in Tian An Men Square and elsewhere in China. From Hong Kong, they are Eddie Lui (Going Forward - mixed media), Steven Lam Woon-Cheong (Peach Blossom - mixed media) and Rosanna Li with her seated plump ceramic figurines (The New Prayers – stoneware), each engaged in playing with digital communication devices, looking casual and amusing. The Hong Kong presentation reflects the general post “return” consciousness in the new pursuit of visual art which shows an increased influence of Chinese contemporary art. The Indonesian artists led by Setiawan Sabana put up objects dominated by installation, animation and paintings. Setiawan has aptly presented the installation in such a way that it provokes the viewers to ponder, wonder and imagine about his implied message. The leading artists from Japan are Norito Udagawa (Heart - oil & tempera) who still indulges in grinding and fixing his own tempera colour, Motoharu Furumoto (Backyard 0953 - digital print) and Yoko Mitsuyuki (World of Blue IV - oil). The Japanese submission represents a cross-section of the Kyushu approach in art practice which is closely associated with the Fukuoka Asian Art Museum.

Features

PHILIPPINES - Salida, Untitled, Acrylic mixed technique on canvas, 91.5 x 152.5cm, 2009

The dominating feature in the Korean submission is hardedge and minimalism which reflects a great deal of intellectual thinking and formal precision. The leading artists are Kim Bong Tae (Dancing Box 2008 acrylic), Ryu Hee Young (2008 V - oil), Lee Na Kyung (Landscape With Red Paper Flower - oil ) and Kim Tae Ho (Internal Rhythm 2008-28 - acrylic on canvas). Kim Tae Ho‘s canvas built up with acrylic layers by layers, is so structurally constructed and precisely rendered with colours that it offers great visual sensations to the viewers. From Macau, they are Tong Jiang Ying (Lettering on Colour Block - ink) and Tong Chong (Kiting -mixed media). After a decade of Macau’s return to China , the influence of mainland China artists on the Macau contemporary art is obvious. From the Philippines, they are Ramon Orlina (Adam & Eva in Paradise - glass), Ben Cabrera (Anxiety - acrylic) and Virgillio Aviado (Parthenogenesis - acrylic). The Philippines presentation mirrors the strength and characteristics of a very significant cross–section of contemporary art there. From Singapore, they are Goh Beng Kwan (Golden Land

HONG KONG Rosanna Li, The New Prayer, Stoneware, 18 x 20 x 50cm, 2009

KOREA - Kim Tae-Ho, Internal Rhythm 2008-28, Acrylic on canvas,131 x 131cm, 2008

- acrylic), Lin Choon Jin (Over The Reed - ink) and Leo Hee Tong (Waiting by the Bay acrylic). The presentation aptly reflects the multiplicity of approaches as the central core of artistic engagement originated from the Modern Art Society of Singapore since the 1960s. The leading artists from Taiwan are Koo Chung Kuang, (Twelve Big Persimmons - oil), Lee Shi Chi (Ink taker - ink on paper), Dino Tsai (Bar Coding - oil) and Liu Xian Zhong (Living Large – oil on canvas). The Taiwan submission is diversified in subject matter and styles of expression which is seen as a reflection of the visual engagements and approaches of the third and fourth generation artists. From Thailand, they are Thongchai Rakpathum (Aesthettic No. 27 - acrylic), Wittawon Niwattichai (Dear Moon Series - oil), Chalernsak Radanachan (Celestial Black Wave - oil) and Prathak Pragivinitjpan (The Conversation of Body and Mind – wood sculpture). The works are well executed and reflect Thai sensibility and manifestations. Thongchai has moved further to combine geometric shapes with his predominant free and organic forms created through marbling techniques. Wittamon’s Bag series is intriguing with feminine overtones.

MALAYSIA - Sabating Ev Baron Kampiau, Beads, Acrylic on canvas, 150 x 150cm, 2009

Said (Okir No. 30 – wood & oil), Kelvin Chap Kok Leong (S-Eleven 3 - mixed media), Long Thien Shih (Let’s Joy Together – acrylic), Mad Anuar Ismail (Pahlawan No. 4 – steel sculpture), Normah Nordin (Nose Pulled by the Ox – installation), Raphael Scott Ahbeng (Bidi Landscape – acrylic), Tajuddin Ismail (Passage 2, 3, 4 - charcoal & pastel), Zulkifli Yusoff (Sedangkan Lidah Lagi Tergigit installation). The range of artists and artworks displayed manifests the diversity of Malaysian art. The exhibition ends on January 31, 2010.

The Vietnamese leading artists are Nguyen Xuan Tiep, Dang Anh Tuan (Mask - oil) and Tran Dinh Khuong (Long Bien Bridge - lacquer on wood). There are lacquer works by four artists and this has given additional artistic flavour to the show. Malaysia has invited 73 artists comprising senior, mid-career and emerging artists of whom 45 have accepted to take part. The notable ones include Bayu Utomo Radjikin (Intintyx – acrylic), Awang Damit Ahmad (Iraga Garis Mega - mixed media), Hasnul Saidon (Want Malaysia? – collaborated installation with a team of students), Juhari

MALAYSIA - Choong Kam Kow, Fit for Life - XI (Taiji), Acrylic on canvas, 122 x 152cm, 2009

MALAYSIA - Long Thien Shih, Let’s Joy Together, Acrylic on canvas, 176 x 134cm, 2009 Images courtersy : AIAE

Features

TAIWAN - Koo Chung-Kuang, Twelve Big Persimmons, Oil on canvas, 130 x 97cm, 2009

JAPAN - Udagawa Norito, Heart, 112 x 145.5cm

ART FORUM Asis@Asia: Manifesting Diversity In conjunction with the 24th AIAE, an art forum entitled Asia @ Asia : Manifesting Diversity was held at the National Art Gallery on 21 November 2009. The forum discussed at great length the influences on art by the inevitable changes of cultural practices, social structures and ways of life of the diversified Asia in the process of globalization within the information age. Six representative speakers from participating countries presented their views on the current state of visual art in their respective countries. Listed below are the papers presented in the art forum :

Topic

Speaker

Country

Keynote Address

Dr. Mohamad Najib Mohamad Dawa

Malaysia

Artistic Issue in Asian Consciousness and Asian Nations

Prof. Zou Yuejin

China

A Reappraisal of East Meets West

Mr. Eddie Lui

Hong Kong

Art Medium Discourse in Indonesian Contemporary Art

Mr. A,Rikrik Kusmara

Indonesia

Ordinary Objects And Beyond

Prof. Lee Na Kyung

Korea

Ma. Victoria ‘Ambie Abano

Philippines

Art And Society In the Midst of Globalization

CHINA- Tian Ye, Scenery Series 31, Oil and propylene on canvas, 161 x 132 cm, 2008

The presentation of papers was very much enhanced and enliven by slide shows of art works from the presenters’ countries.

“Let us balance the ASIAN JOLTS by taking stock of : 1. And ensure that there will be sustained discourse on Asian visual art where we an further encourage and advance art scholarship in Asian art. 2. There should be critical assessment of the mounting influence of Asian contemporary art in the dissemination of national identities’. 3. The changing identities and multiple roles in the art system and the art industry. 4. The questioned not asked by us is introduction of technology into art and our life despite their importance, Naisbitt. John.2006 “….. is the consequences of our relationship with technology are not given much consideration. It is our most unexamined relationship. With the advent of a new technology, questions need to be asked : - What will be enchanted? - What will be diminished? - What will be replaced? “

- Dr. Mohamed Najib Ahmad Dawa

>>COLLECTING IS A PASSION one would say an addiction and the only cure is more...>>

MALAYSIAN OPEN AUCTION & FASHION GALA

We invite you to savour... Auction& Fashion Gala February 2010

ENQUIRIES AND TABLE RESERVATIONS Shidah / Wening T >>603 4026 7000<< E >>rashidah@artgallery.gov.my wening@artgallery.gov.my<< >>KUALA LUMPUR NATIONAL ART GALLERY 2 JALAN TEMERLOH OFF JALAN TUN RAZAK 53200 KUALA LUMPUR<<

Art Auction Viewing 2 February 2010

sharing Exhibiton review

When

you first encounter Phillip Wong’s “The Human Mind”, it is an outdoor sculpture of aluminium strips entwining and coalescing to form a human figure. In its rather abstract figurative form and striking use of a single tone of red, you wonder what the artist is trying to tell the viewer. At first you don’t really get it but with further exploration of the series, you begin to understand. “The Human Mind”, Phillip Wong’s latest series is his contribution to this year’s Starhill Art Festival. With a concise theme, “Passions”, the organiser had chosen to focus on three-dimensional contemporary art, and according to the flyers, the first time it has done so. Combining two-dimensional and threedimensional media, Phillip in his work seeks to explore the human mind and its effect on the human condition. It is interesting that he has chosen this rather cerebral topic but not surprising considering that contemporary art or its predecessor “modern art” has its basis in the exploration of human emotions and condition represented in art. The exploration of the human mind in art is not new. Art historians suggested it started with the Dadaists, developing into the Surrealist movement with its most famous practitioner Salvador Dali. Influenced by Freudian theories on the unconscious, significance of dreams, and giving meaning to apparently incongruous thought-associations and seemingly illogical free associative ideas, artists of the movement created highly imaginative works of art. Incidentally, one of its practitioners, Rene Magritte, had named her painting “The Human Condition 1” - the very same topic Phillip has chosen to explore in this series. In this series, Phillip has created a series of small and larger scale paintings culminating in an interactive installation piece called “The Brain”. In his small paintings, we see individually attached Miro-isque aluminium strip figures, producing a high-relief effect. Miro coincidentally is also a leading figure in the Surrealist movement. He was the first to give his paintings non-figurative meanings, developing a form of lyrical abstraction, that is at once groundbreaking and very recognisable. In Phillip’s larger paintings, 12 in total, the viewer is introduced to the thought processes of the artist in creating this series. In each of the small and large paintings, there is an impression of translucence when you first look at them. The use of special paints on wood, a rather uncommon choice of backing medium, created this unique effect. Compared to his previous “Daun Series” which were mainly painted on perspex, it is interesting to note the change of material and technique employed by the artist. Perhaps an evolution or maturity on the artist’s part after many years working in the same medium? Moving from his smaller pieces to the larger ones, the viewer gets a feeling that the artist has looked back in history

The Mind and art l by Edwin Ooi

to create these paintings. Elements of Surrealism and Cubism are interspersed with his own artistic flavouring. In Phillip’s smaller pieces, you get a sense of his child-like expression in the figures backed by very bold colours. As viewers look at this series, the association of the pieces with the series title “The Human Mind”, particularly the smaller paintings, is not immediately obvious. However, as you move to the larger paintings; you begin to see representations of the brain, starting from the use of straight lines and a limited palette of a single colour tone to a more organic abstract representation of the human brain painted in a multitude of colours. From this point, the viewer starts to sense the connection of the paintings and its title. When you walk past the multitudes of brain-like images, you come to a rather familiar image of a room. Entitled the “Artist Room”, it is drawn out in lines. At first, you wonder where you had seen it before but realise later that the painting could be a variation of Vincent Van Gogh’s The Artist’s Room at Arles (1888). The original which is at the Van Gogh Museum in Amsterdam is painted in Van Gogh’s typical expressive and psychological choice of colours, but Phillip has simplified the world famous image into lines and a single colour tone. You ponder what an image of an artist’s bedroom has to do with the human mind. But those familiar with Van Gogh’s life will know that he had searched for the substance and hidden meaning of objects. This in a way, is reflected in Phillip’s own searching in his latest series, specifically on the link between the mind and the human condition. Exploring further, the viewer ends his tour of Phillip’s series in his large interactive installation piece called “The Brain”. The installation itself is a no-brainer (pun intended) as it consists of two large images of the brain constructed again of aluminium strips. What is perhaps novel is that Phillip asks us to walk through a simply-constructed room of vertical strips of red and white fabric, in which the viewer discovers a painting of a heart. The heart is in turn linked to the two brains outside the room via aluminium strips formed to look like heart pulses typically seen on a heart monitor. Coming out from the room, the viewer is

09 asked to link the relationship between emotions and human attributes shown on the two brains by using the strings provided. With this final act, the viewer realises what this series is all about.

It is perhaps with this statement, that Phillip intends to evolve from a more commercial artist to one willing to push the envelope and make viewers think about life and its meaning when they look at art. A good start certainly. And certainly something greatly needed in such times when materialism, commercialism and disregard for basic human decency are prevalent.

Although the writer is of the view that the installation piece may have been better executed, particularly the visual impact of the emotions and attributes printed on the two brains, and the construction of the “red room”, nonetheless, this series is indeed weightier in its theme and focus. Quite different from what Phillip had been doing in the past as an artist. Bill Evans, one of the most introspective postwar jazz pianists was reported to have said “My creed for art in general is that it should enrich the soul; it should teach spirituality by showing a person a portion of himself that he would not discover otherwise. It’s easy to rediscover a part of yourself, but through art you can be shown a part of yourself you never knew existed. That’s the real mission of art. The artist has to

Newest Gallery in KL Art

LOVE is

Beautiful

A group exhibition by Wendy Chua, Yvonne Ou Yong, Bridget Lee Sook Heng and Tan Guat Ling

Lives@Planegg Studio It all began from our unexpected encounter with Juliana Mok-Hayn (gallery owner & founder). Since we are still new in the art scene, it is not easy to find a gallery who is willing to exhibit our works. We were touched by Juliana’s passion in supporting new and emerging artists. When we got to know each other better and shared our works of art together, we all agreed that nothing in life is more significant than love. It is love that makes our life beautiful. Thus, Love Is Beautiful is born.

‘Love Is Beautiful’ group art exhibition 28 November - 31 December 2009 Main Venue : Art Lives @ Planegg Studio 37-2 Jalan 23/70A, Desa Sri Hartamas, 50480 Kuala Lumpur

Tan Guat Ling, God’s Gift 5, Acrylic mixed media, 30cm x 30cm

Bridget Lee Sook Heng, Crimson, Oil on canvas, 30.5cm x 30.5cm

tan guat ling

bridget lee sook heng

Art & Design lecturer and Artist

Born1968 in Ipoh

“This series is about my pregnancy. My pregnancy was a blessing from God as I was having difficulty conceiving after many years of marriage. It was during this time that I felt very happy and I decided to record my thoughts and emotions in my paintings as I believe my son is truly a gift from God. Its was exactly this series of work that has inspire me to continue to pursue my passion in Art.”

With mental images, imagination and at times memories, garden theme is set to portray and capture the essence of creating force and energy in nature. Plants often signify grow, procreation and life cycle. Flowers are admired for its beauty, variety and uniqueness. As I exploring and develop my work; colors often take the center stage and set the mood for each painting. Repeated motifs of plants and flowers in variation give forms to the paintings. Each painting is strike to achieve its expression and allow something new to take place. It is exciting to experiment and to see fluidity of colors, lines and organic forms interrelated and intertwined, merging and coming into being.” “I would like to express this wonderful journey of faith in my artwork that embraces essence of growth, beauty, creative energy, light, fragrance ………discovery.”

Wendy Chua, Woman Flower, Oil on canvas, 91cm x 91cm

Yvinne Ou Yong, (Detail) Time to Embrance, Acrylic mixed media, 91cm x 61cm

Wendy Chua

Yvonne Ou Yong

“My goal is to express my feelings and emotions primarily through the texture of my paint. Some say my work is realism with a tinge of impressionist. I would just say it is a symphony of brush strokes, colours and imagination.” It was the time living in Europe that exposed Wendy to a wide spectrum of arts forms, from sculptures and paintings to performing art. She was particularly attracted to the powerful brush strokes of Van Gogh and the breathtaking beauty of Monet’s impressionist interpretation of landscape.

Born and raised in Kuala Lumpur, Yvonne Ou Yong left for London to pursue art education in Chelsea College of Art & Design (The London Institute). Upon returning to her homeland in 1999, she has been lecturing in KBU International College ever since. In 2005, Yvonne ventured into studio painting on a professional level.

Inspired by nature, her latest series around the flower theme is an expression of her hopes and love for humanities and in celebrating life – the joy, the struggle, the breakthrough and the growth.

“My work reflects a journey through phases of life. This journey is my collective experiences that happen every single moment of the day. Through these experiences, I seek to culminate an intuitive communion with the natural world, which is the very essence of my work.

Exhibition hours : 11am – 7pm Mondays - Saturdays Tel : +03 6203 5223, Mobile : +6012 224 7209 Supporting Venue : Hayn’s Pizzeria 64, Jalan 27/70A, Desa Sri Hartamas 50480 Kuala Lumpur Opens : 9am - 10pm daily Sundays 11am - 10pm Tel : 1-300-82-3000, Mobile : +6012 224 7209

sharing

As of the writing of this article, there are already many strings linking the various emotions and attributes between the brains. And it is interesting to note the associations viewers have made. The writer reckons that it is perhaps this inter-relationship [or correlation] which Phillip aims to achieve. By interacting with his work, we think about the mind, why we behave in a certain manner and ultimately, its impact on the human condition.

find something within himself that’s universal and which he can put into terms that are communicable to other people. The magic of it is that art can communicate this to a person without his realising it. Enrichment, that’s the function of art”.

re-cOVER ARTIST

Love towards drawings and doodling always growing whether in static or motion. Subconsciously; ‘What the Hoot’ series, was made under the moonlight (and sometimes using torchlight under my blanket), using dots and lines of ink on paper that flashback my full of laughter childhood; and fill it with sound of music of Broadway Circus’s song. Each of the owls comes with a name and story behind it. Normally, they are people around me that touch my heart, mind and soul in my childhood as I grow up. I am here to share a little gift from my little heart from GOD with you, and you and you, in this universe. That’s it. - Bennylita Nasuty Ramlee

BENNYLITA NASUTY RAMLEE (also know as Ben)

Hi,

I am Bennylita, and you may call me Ben. I am originally from Alor Setar, Kedah, Malaysia, and was born in December 1974. By heart, I am a self-taught visual artist/designer and make arty-crafty print ads, multimedia and film for as long as I can remember. I am a trainedprofessional-Multimedia Consultant/Producer with more than 10 years of experiences in various kinds of multimedia and web portal application development and training with government agencies, corporations, universities and individuals. I have a mixture of formal education in Film Video Production from National Arts Academy(2008) and Computer Science from National University of Malaysia (2002) and Multimedia from Northern University of Malaysia (1999). Twice, I received offers to continue my studies in Fine Arts, ITM (now known as UITM-University of Technology Mara, Malaysia) in early 1990s but I was unable to do so due to lack of motivation from my surroundings. But I never regret that I did not pursue formally in Fine Arts but Multimedia. I participated in various multimedia and film exhibitions and screenings frequently, mainly in Kuala Lumpur and my film was also screened in Jakarta, Indonesia. Busy with my studies and developing career after university made me feel unhappy with my own self and start to find what I lack in life here and there. Back in 2002, I realised that I always describe my hobby as drawing and painting even though I have left it for more than 10 years. Since then, I believe that my quest is to draw and paint happily ever after. Making short films is an ultimate passion to see my arts and crafts on moving celluloid.

Early 2009, I actively participated in selected Art & Craft Bazaar such as Pipit Wonderful Market, Arts For Grabs, Laman Budaya, Creative Mafia of Bijou Bazaar and Urbanscapes. In November 2009, ‘ZIG ZAG ZOO’, is my 1st Art Exhibition at the National Zoo Malaysia and Pelita Hati House of Arts for Art Expo Malaysia 2009, Matrade Tower. At the moment, I live in Kuala Lumpur and manage my own multimedia production and consultation company and independent record label, named Pekanmaya. Owl and MagicalTreehouse is ‘anything arts and handmade crafts but not gossip project’ created by me, inspired by owl, moon, fairies, dragon, Bigfoot, little people, mermaid, scarecrows, carousel, circus, tree house and rainbow. On a virtual basis, you can find me at http:// owlandmagicaltreehouse.blogspot.com or email me at ben.ramlee@yahoo.com.

“The multi-talented filmmaker Bennylita Nasuty Ramlee is essentially a line-person, whose works capture the essence of human frailties by highlighting their owllike eyes. With dots, crosshatchings and curlicues, she camouflages the faces of people with beaks and feathers, becoming part caricature, part portraiture. With the colour red as filler, these characters embody any given idea in a flash: anger, love, assertion, withdrawal, tenderness, indifference. Still, they are playful, unobtrusive, easy to identify. Even when they expose their breasts or underwear, they mean to tickle and entertain.“ Professor Dr. Zakaria Ali Fakulti Seni dan Muzik Universiti Pendidikan Sultan Idris

features

“Contemporary Croatian Drawing” Presented To the World l by Tatjana Carev-Maruna

The

exhibition emphasises a vital factor of today’s art scene – the cultural diversity and pluralism to which the Republic of Croatia is fully committed. It is precisely this diversity that opens up possibilities for inter-cultural dialogue, and visual arts with their universal language of tolerance and mutual respect make cultural co-operation and programme exchange possible. This is a touring exhibition comprising 140 works of 70 contemporary Croatian artists. It represents the finest works of different generations of artists, including young and up-and-coming artists, and various trends in modern visual artworks of the 20th and 21st century. The exhibition shows on a broader scale the dynamics of Croatian contemporary art scene, the complexity and diversity of approach and technique, as well as the richness of artistic expression in Croatia. Nine of these seventy artists participated in official selection at the Venice Biennale in the past. Three of them - Matko Vekić, Nikola Koydl and Zoltan Novak have just presented Croatian art at Venice Biennale this year (June – November 2009). “Contemporary Croatian Drawing” began its extensive tour in 2005. It has travelled through Jordan, Egypt, China, Hong Kong, a number of European countries, South America and South Africa; to date it has been shown in over twenty countries. The interest shown by various countries in hosting this exhibition was enormous and it confirmed that such projects directly contribute to bringing cultures of European and non-European countries closer together.

REVIEW Personally as an artist, I find the ‘Contemporary Croatian Drawing’ exhibition a most exciting and refreshing, if not the most eye-opening and inspiring art exhibition I’ve seen locally in the last couple of years.. For someone who has not had much opportunity, as it is with many Malaysian artists, to travel to Europe, I find it thoroughly fascinating to be feasted here in Malaysia with so many fine and admirable artworks by so many artists from a region comparatively unfamiliar to many of us. To many Malaysian artists it is an exceptionally wonderful offering. To art students especially, the exhibition offers a rare opportunity to view many examples of fine original modernist and contemporary drawings from anywhere.The drawings on show, whether preparatory drawings or finished artworks in their own right, are a diversity of splendid creative expressions in 2-dimensions to derive artistic inspirations from, and not just a mere sampling of draughtsmanship by Croatian artists. Going by the many very impressive sample of drawings, one wonders what the other artistic products of the artists are like. Perhaps another time. And accompanied perhaps by a lecture or forum on Croatian art and culture that includes participating artists, to further heighten our appreciation of the art, and to increase bilateral cultural understanding. The path ahead is wondrous. ‘Present-day Croatian drawing is obviously more than strong enough to assert itself as a convincing protagonist on the international art scene.’, to amend what is written by Tonko Maroevic.

Hrvoje Sercar, Eyes of St. Stephen, drawing, 75 x 55.5cm

The exhibition are divided into 6 separate entities: 1. Metamorphosis of the body 2. Figures in space 3. Suggestion of depth 4. Challenge of colour 5. Traces of gesture 6. Structures

ZABAS (Zainol Abidin B Ahmad Shariff) Artist (former Director, Galeri Petronas, Kuala Lumpur, and lecturer in art and art history, Universiti Sains Malaysia).

The exhibition was staged at the National Art Gallery Malaysia from 9 to 31 October 2009, and the Muzium & Galeri Seni Tuanku Fauziah, Universiti Sains Malaysia in Penang, from 11 Nov to 11 Dec 2009. The catalogue and exhibition emphasise the cultural diversity and pluralism to which the Republic of Croatia is fully committed. It is precisely this diversity that opens up possibilities for inter-cultural dialogue. Cultural exchange is a precondition to a deeper mutual understanding between our two countries. The visual arts with their universal language of tolerance and mutual respect make cultural co-operation and programme exchange possible.

Nevenka Arbanas, Patchwork Drawing I, drawing, 100 x 70cm

The Embassy of the Republic of Croatia believes that this cultural event will prove a true confirmation of many Malaysians and their wish to get to know Croatian visual art scene better and also to open new space for cooperation and exchange of many more cultural projects between our two multicultural countries - Croatia and Malaysia. Ms Tatjana Carev-Maruna, MSc Minister Counsellor Embassy of the Republic of Croatia Kuala Lumpur tatjana.carev-maruna@mvpei.hr

Nives Kavuric-Kurtovic, From The Open Deep, drawing, 100 x 70cm

Dalibor Jelavic, Big bang (the Space Theatre), drawing, 91 x 65cm

Creative industry

AEM03 General Impression

3rd Art Expo Malaysia AEM3 defies odd, a bigger success l by Ooi Kok Chuen

THE

just-ended 3rd Art Expo Malaysia has marked new territory in contemporary art showcase from the East and West, striking a balance between commerce and entertainment. Still a free-admission Expo, it attracted not only connoisseurs and collectors but also students and families getting accustomed not only to art in Malaysia but also the vast beyond. Also involved in a bigger way this year are those in the peripheral services like transportation, packing/ packaging, security systems and insurance. The big buzz in the Art Expo was the sale of Malaysian Syed Thajudeen’s Springmood triptych for RM250,000 which a Malaysian businessman bought with a view to presenting to his daughter, who is immortalised in the 183cm x 450cm oil on canvas.The price was short of the 2008 record of RM300,000 for a Lim Kim Hai painting last year. Another artist who breached the RM200,000 mark was Indonesia’s S.P. Hidayat wielding his long palette knife like a samurai sword in his daily demonstration over five days of the Art Expo at Singapore’s Linda Art Gallery booth. Linda Gallery (Singapore) also represented China’s Jiang Shou and Deng Xinli. Indeed, galleries have gone beyond national confines, as three other Singaporean galleries did. Tembusu Gallery also had Malaysian Yeo Eng Hin besides Singaporean sculptor Lim Leong Seng; Jasmine Gallery (MAD Museum of Art and Design) had China artist Song Wei and Heng Artland featured artists from China, France, Bangladesh and Mongolia. Indonesia’s Koong Gallery represented only a Malaysian and Canadian artist, while South Korean gallery Simyo also plugged Vietnamese artists and Samanvai Gallery (India) also showcased a Portuguese artist. Malaysia’s Metro Gallery had Indonesian Huang Fong while Richard Koh Fine Arts catered exclusively to Indonesian, China and Thai artists. The Expo, organised jointly by the Art Expo Malaysia Sdn Bhd and the National Art Gallery, also saw the advent of digital art in a big way with the mega video presentation of Miao Xiao Chun’s Microcosm, which drew huge crowd and delightful reviews for its grand adaptation of Hieronymus Bosch’s The Garden of Earthly Delights, with its spin on the Fall of Man, temptation and damnation. Also on show were five other of China’s hot e-artists. Also from China were the accomplished works in various genres of 19 professors from Beijing’s Central Academy of Fine Arts. These two China-originated events were to celebrate Malaysia’s 35 years of diplomatic relations with the former Bamboo Curtain and now global economic powerhouse.

The large paintings at the House of Matahati booth

This year’s Art Expo had attracted some 43 galleries from 15 countries namely China, Hong Kong, Hungary, India, Indonesia, Japan, Malaysia, Myanmar, the Philippines, Singapore, South Korea, Spain, Switzerland, Taiwan and Thailand. But the artists involved were also from Bangladesh, Vietnam, Mongolia, Portugal, Canada and France. The Grandmasters Tribute Pavilion was devoted to educationist-artist Cheah Yew Saik, who had recuperated from a prostate operation in time for the Expo. Cheah, who will be 70 this December, founded and headed the Kuala Lumpur College of Art from 1968 to 2002.

The Sutra Gallery gallery booth with Syed Thajudden’s top-selling painting

Myanmar art made a big splash through ACD Gallery and Myint Soe’s Summit Art, while India also made a stronger presence with Samanvai and Kolkata-based Janus Art Gallery which had among others, Kalyan Mukherjee and Srabani Sarkar with their rural-to-urban narratives. For the third consecutive year, ATR (Art To Rent) Gallery showcased the fast-emerging Spanish sculptor Jesus Curia, this time with three other promising artists -Guillermo Oyaguez, Jacinto Moros and Carmen Pombo. Also a three-time partipant was the Hungarian father-and-son team of Zoltan and Daniel Ludwig. Swiss artist Gao Qing Fang slipped in her Hong Kong Return to Motherland series.

ZHANG XIAOTAO, Mist, 34’06’’, Animation, 2008

Noda Contemporary’s top draw was the

FENG MENGBO, Q2008, 10’42’’, Video Multimedia, 2008

On the Malaysian side, there was a good cross-section of artists across generations, gender, styles and media with the leading local galleries supporting in a big way. Also the alternative spaces of House of Matahati with its cult founders Bayu Utomo Radjikin, Ahmad Fuad Osman, Ahmad Shukri Mohamed, Hamir Soib, Masnoor Ramli Mohamed, and the Annexe Gallery of Kuala Lumpur’s Central Market were represented. Two US-based artists Eng Tay and Khoo Sui-Hoe were even represented at two booths.

Exhibition REVIEW

Japanese Patterning Pop icon Yayoi Kusama, 80, and Ken Matsuyama while if nothing else, Ong-arj Loeamornpagsin (Number 1 Gallery, Thailand) spooked vistors with his grotesque man-nimal.. The Philippines’ Galerie Joaquin presented figurative artists Jaspher Penuliar and Eufemio Rasco with their “bondage” themes, and the folksy Jovan Benito besides the glass sculptor Ramon Orlina, while Indonesia’s H Gallery had red-ticket items in the Balinese Nyoman Gunarsa.

TAN LIQIN, Digital Bloodless, 10’00’’. Animation,2003-2008 To purchase Art Expo Malaysia 2009 catalogue, please contact +603 or email to <info.artexpomalaysia.com>.

77283677

You can look for more information at www.artexpomalaysia.com

In terms of generations, it was a delightful spread with octogenarian Datuk Syed Ahmad Jamal, Tew Nai Tong, Dato Sharifah Fatimah Zubir, Raza Azhar Idris (with his batik glass-plate sculptures), Husin Hourmain and the younger set of Haslin Ismail, Ruzzeki Harris, Khairul “Meme” Azmir Soib (RA Fine Arts), Lim Keh Soon, Eiffel Chong (Annexe Gallery), Raduan Man, Diana Ibrahim (Three Hundred Sixty), Roslisham ‘Ise” Ismail and Liew Kwai Fei (Suitcase of Stuff, an irreverent portable exhibition by the online art magazine, arteri). Making rare appearances were the wildlife artist Jaafar Taib, batik artist Ismail Mat Hussin and the portrait specialist Samjis Mat Jan in the Metro Fine Art booth, which also had Indonesian Huang Fong, dubbed the monochromatic Le Mayeur, besides caricaturist Stephen Menon. The artists from South Korea’s International Art Cooperative Organisation led by their indefatigable Alvin Lee Bung-Lyol, who is also the Asian Watercolour Confederation secretary-general, again made an impactful presence. Outstanding among this group were Alvin Lee with his global-warming message, still-life (Kim Hyung-In), mixed media “macrame” (Kim Mi-Soon), patterning (Sohn Young-Eun), playful sand-encrusted with picture (Son Sun-Ok) and rough-hewn nudes (Yoon Seonyoung) The National Art Gallery promoted its Malaysia Open ‘09 exhibition cum auction showing a sampling of works by Ismail Hashim, Tajuddin Ismail, K. Thangarajoo, Chong Hon Fatt, Sylvia Lee-Goh and Peter Liew. The Malaysian Art Idols: New Directions/Different Voices highlight curated by Ooi Kok Chuen featured icons Abdul Multhalib Musa, Chan Kok Hooi, Fauzin Mustafa, I-Lann Yee, Kelvin Chap Kok Leong, Kow Leong Kiang and Ramlan Abdullah.

special-needs artists was a revelation in terms of skills and insightful expressions. Lotus displayed cut-out components of two of its signature cars. As the Art Expo brought in some of the finest expressions of artists from all over the world, it is notable that a group of artists from the northern states made a daytrip to the Art Expo as well as to see the Asian International Art Exhibition ongoing at the National Art Gallery, while Dasein Art Academy must be credited for taking three busloads of their teaching staff and students to the Expo. You wonder what the other art educational institutions were doing. The organisers had an early scare when the Matrade Exhibition and Convention Centre (MECC) venue leaked at four places, but luckily makeshift roofs were erected, while the multiple exits presented a security nightmare.

A painting by Yayoi Kusama at the Noda Contemporary booth

Deputy Trade and Industry Minister Datuk Mukhriz Tun Dr Mahathir was the guest-ofhonour in the VIP Night, while Tourism Minister Dato Sri Dr Ng Yen Yen, who was represented by the deputy secretary-general Dr Junaida Lee Abdullah, did the opening honours. The 3rd International Art Expo Malaysia was under the patronage of the Raja Puan Muda of Perlis Tuanku Hajjah Lailatul Shahreen Akashah Khalil.

Other highlights included the 1Malaysia painted styrofoam mosaic while the HeArt Group of enterprising

VIP Night: One for the album

A segment of Miao Xiao Chun’s video art, Microcosm

Exhibition Exhibitonhighlights review

Li Chi Mao, My Heart is in Malacca, ink painting

Li Chi Mao l by Ooi Kok Chuen

THE Yang di-Pertua Negeri of Malacca Tun Datuk Seri Utama Mohd Khalil Yaakob sprang a surprise on everyone when he launched the Li Chi Mao Art House last October 8. He conferred on the Taiwanese artist-calligrapher “ambassador” a Honorary Citizen of Malacca. For Professor Li Chi Mao, 84, it was a fitting tribute to his brace of accolades from all over the world. In 1987, the City of San Francisco honoured him by naming November 29th as ‘Li Chi Mao Day’ in the United States, and he has had grand solo exhibitions all over the world at the special invitation of dignitaries like the Shaik Rashid of Bahrain and the wife of the Prince of Jordan. He has been awarded by, among others, the then President of Taiwan Chiang Kai-shek (1973), Taiwan’s Council of Cultural Affairs, Taiwan’s Ministry of National Defence and the National Literature and Arts Prize, Taiwan in 1982. The Li Chi Mao Art House in Malacca is the only dedicated centre of museum-quality works of the artist-calligrapher outside his home base of Taiwan, where he is considered a national treasure. Li has a museum under his name in the Hsing Wu College in Taiwan established in October 1999 and is also the head of the Carrie Chang Fine Arts Centre in the Tamkang University. It all began when Li, who was accorded a Tribute Pavilion for Living Legend Artist at the 1st International Art Expo Malaysia in 2007, held another major show at

the Soka-Gakkai Building in Kuala Lumpur. He then decided to donate a tranche of some 85 Chinese brushworks and calligraphy to Vincent Sim Tiak Choo, the Art Expo Malaysia Sdn Bhd managing director. Sim, 65, set up a trustees committee and decided to convert his gallery in Malacca into a museum of sorts for Li Chi Mao, so that his works can be publicly displayed to art enthusiasts in the region who may not have the opportunity to go to Taiwan to see his works. It will also be a resource centre of his works and for Chinese brush paintings and calligraphy in general. His subjects run a fantastic gamut of people and animals, horse hustlers, buffalo girl and ghostcatcher Zhong Qui. They are about the ordinary people in ordinary pursuits and situations, whether they be in the outbacks, market and in Malaysia, kampung. Never constrained and monotonous, he is known for his refined technique of dextrous strokes, ink tonal fluidity and quirky spontaineity.

Aswad Ameir :

“X”

5 Dec - 28 Dec 2009 @ Galeri Chandan

Born in Woyang County, Anhuei Province, China, Li studied under the famous Lu Hua-shih in his hometown before the tumult in China forced his moving to Taiwan in 1949. There, he studied in the art department at the College of Political Warfare. His achievements are varied. He is in many ways like our Datuk Syed Ahmad Jamal. He is also an art educationist, scholar and an art ambassador, having invited exhibitions in Taiwan, the United States, South Korea, Japan, Costa Rica, Belgium, Jordan, Turkey, Spain, West Germany, Belarussia, Australia, New Zealand and Bahrain. He was also the founder of the Artists’ Village in Jodong, Hsinchu, Taiwan. He has also been adviser/chairman of several organisations like the Chinese Confucianism Association in Taiwan and judge of several competitions and has done charitable work through his art besides giving off scholarships in his name for Dankook University in Seoul in South Korea.

Through ‘X’ viewer could spot peculiar scraps of visual imageries that resemble the likes of Lenny Kravitz, Banksy, Erno Rubik, The Doors, Bob Dylan and even possibly John F. Kennedy, Andy Warhol and Roy Orbison. Most of the viewers would be inclined to communicate nothing more than the surface. However, for a fortunate few, these visual references speak back, transpire into a mental movie; maybe with Los Bravos’ Black is Black as soundtrack.   X showcases a collage of appropriated or ‘stolen’ images, remixed and re-spawned by Aswad Ameir. It speaks of ‘creative’ punks, pirates, remixers, urban wars that pushed legal, social and industrial boundaries above and under - ground. Not dissimilar to the dynamism and often anarchic gestures of contemporary artists.  This collection of images seems to have provided Aswad with a renewed resource of power, liberty and his very own personal dialect. At times, Aswad appears to be speaking in codes, relevant and comprehensible only to those they are addressed to. There are no clear narratives to his images and as audiences, it is as if we are forced to second-guess then construct whatever meanings we will of them.   X is an unknown, an enigma.

The Li Chi Mao Art House is at 11 Lorong Hang Jebat, Malacca.

Point Blank House of matahati

The artist-run space, House of MATAHATI (HOM), launched an exciting exhibition titled *Point Blank*. It featured artworks by Izaddin Matrahah, Noor Azizan Rahman Paiman a.k.a.Paiman, and Aznan Omar. The exhibition saw the three artists - all lecturers at UiTM’s Seri Iskandar campus in Perak - come together with works that are definitive of their respective styles. The group exhibition treated audiences to mixed media works by Aznan Omar, colourful expressionist paintings by Izaddin Matrahah, and, Paiman’s signatory caricature and text pieces. *Point Blank*’s premise is to consider how art academicians continue their practice within an environment that is increasingly dependent on capitalist tendencies and stellar names.

This is the gallery’s step towards making art more accessible to the public. “We want to encourage dialogue,” says artist and co-Director of HOM, Bayu Utomo Radjikin. “The topic we have chosen, ‘SENI + INSTITUSI = APA NAK JADI’ or ‘ART + INSTITUTIONS = WHAT WILL HAPPEN’ is highly relevant. We are now in the twenty-first century and we need to analyse the role of art institutions in the country. Are they still a viable body? What roles do private galleries and independentlyrun spaces play? Where does this leave artists and art practitioners? In conjunction with the exhibition, a forum was held with Hasnul Jamal Saidon, the director of the Tuanku Fauziah Museum and Gallery in Penang, as moderator.

Point Blank was held at the House of Matahati (HOM), 6A Jalan Cempaka 16, Taman Cempaka, 68000 Ampang, Selangor, from November 21 to December 12, 2009. For more information, visit houseofmatahati.blogspot.com. Gallery Manager - Mimie +603 9285 6004 / +6012 373 6004 houseofmatahati@gmail.com

HYBRID - Umibaizurah l by Suraya Warden

Sitting with the genii stoneware, decal, bell, timber block, and wooden stool, 148 x 33 x 33 cm, 2008/2009

Middle Level Something different here, the Hands Up series. These are the saddest toys of the lot, fixed in a state of performance atop their delivery crates. The plinth idea is super-sweet, with barcodes, arrows, silhouettes, ‘*fragile’*and all. It’s easy to get more excited about these crates than the ceramics themselves, though the toys are very strong. It’s all in the details of each doll – puffy softness, toes turned inward, hands forcibly thumbsup, all puppetry and innocence. And then for their horror, something protruding from each stomach, out the top of the head and from the shoulder blades, like child-specific chakras. Suddenly I’m a kid again and my fear of clowns is setting in. On this level is also the Delivery series where the viewer will wonder more deeply about the toy connection. Most easily described as ‘rabbits on wheels’, these are instantly interesting and fun.

Sitting with the genii #6 - stoneware, decal, bell, timber block, and wooden stool, 147 x 33 x 33 cm, 2008/2009

Upper Level Culminating the toy themed exhibition with a kind of laboratory vibe, the upper level shows the *Road Runner* series as sets of three in clear boxes. These are baby-doll heads fused with bulbous forms, appendages that go nowhere, and wheels. All functionality is lost outside of movement, with dignity nowhere in sight. Only one poor doll is allowed to keep a humanistic set of legs, but the line is blurred as to whether they are hideous or not in this context.

One

of Malaysia’s higher profile artists pulls off her first solo with a rickety weirdness that won this reviewer over. HYBRID, held at Wei Ling Gallery, is divided into three sections and could not have been better exhibited – it is a tiny space considering the number of works included in this display. Umibaizurah Mahir (Umi) is showing ceramics, mutated toy forms, a progression from explorations made by the artist earlier in her career. Though there are perhaps a few too many on show there is seemingly no end to possibilities when creating hybrids, and by the end of my visit I had sort of become a fan of that concept. As usual, it was execution that finally swayed my opinion – while Umi’s mindset is a pleasant mystery to some, her skill is obvious, and her choices for decoration and ornamentation agreeable. The ‘soft’ toys in the *Hands Up*series have stitching, and puckering and dimples from over-stuffing. Few can dislike this type of manipulation of materials - seen so often elsewhere in sculpture - it wins hearts every time. Also winning hearts are Umi’s teddy-bear-based sculptures on the bottom level, sitting with their feet dangling, palms pressed flat by their sides as they look up and out at you. But they have funnels and piping for appendages, painted windows for eyes, and long necks of accordion tubing that render them dark, strange and useless to provide the companionship we are accustomed to from cuddly toys.

All in all, it is a show with depth from a very interesting and important local figure, worth visiting to experience your gut-response to the Hybrids, which may be one of fear, pity, or even laughter.

Lower Level It’s a confronting emotion when you are trying hard to trust and love things that you know must surely deserve it but have their dark side right out there in front of you.

Sitting with the genii #8- stoneware, decal, bell, timber block, and wooden stool, 142 x 33 x 33 cm, 2008/2009

BSLN menjangkakan CREA NOVA dilaksanakan dalam 5 fasa :

LATARBELAKANG Inisiatif untuk mengadakan program bersama antara MPC dan Balai Seni Lukis Negara (BSLN) ini adalah hasil perbincangan awal idea dari KP BSLN, Dr Mohamed Najib Ahmad Dawa selaku ahli jawatankuasa Panel Inovasi dan Kreativiti bersama Pengerusi jawatankuasa Panel Inovasi dan Kreativiti Professor Tan Sri Dato’ Dzulkifli Abdul Razak yang telah bermula sejak awal tahun 2009. CREA NOVA adalah istilah gabungan kreativiti dan innovasi yang didefinisikan sebagai “A creativity driven strategy to ascend above normalcy so as to cultivate the visionary among Malaysians.” Ia adalah penzahiran hasrat negara selaras dengan tahun 2010 disambut sebagai tahun Inovasi dan Kreativiti Malaysia. Selain membina suasana daya saing yang positif dikalangan masyarakat kreatif, program ini turut diselitkan sebagai salah satu daripada acara yang akan menyatukan komuniti ke arah pencapaian kecemerlangan.

PELAN PELAKSANAAN

1 Pencarian idea CREA NOVA (Dis 2009 - Feb 2010) 2 Penilaian idea CREA NOVA (Mac 2010 - April 2010)

Projek ini memberi ruang bagi pertukaran idea di kalangan komuniti kreatif pelbagai latar belakang.

PROGRAM BSLN bercadang untuk melaksanakan bengkel percambahan buah fikir mengenai CREA NOVA bermula Disember 2009 ini berlandaskan elemen berikut:

Hasil percambahan idea tidak termaktub kepada produk akhir yang ketara (tangible) semata-mata, tetapi juga yang tidak ketara (intangible) Proses ditekankan dan sifat terpenting adalah ketekunan, keberanian berfikir dan semangat inovasi.

3 Pentafsiran idea ke strategi (Mei 2010 - Jun 2010) 4 Pelaksanaan idea CREA NOVA (Julai - Aug 2010) 5 Meneraju CREA NOVA (Sept 2010) Dengan ini BSLN akan menerajui Fasa 1 bersama MPC di mana akan diadakan kem kreativiti / bengkel / makmal kreativiti yang dihadiri oleh 20 - 25 orang peserta jemputan dan dibimbing oleh 3 - 4 orang pemimpin kem.

Crea

nOVA 21-23 .12 .09

Exhibition REVIEW

Mahir solo exhibition at Wei-Ling Gallery

In the end I choose one though, he’s got an aeroplane growth out of his head, albeit a cute cartoon-style one, and he’s painted in black, purple and gold, all Renaissance and roses. He’s probably everybody’s favourite. Then there’s the cow with the loveheart. I mean, what’s not to love about a red heart on an upturned palm? But just when I fear that this is what these works come down to; a tour of the toy factory, finding an affiliation, picking a favourite, wondering if you would take one home if you could, I realise I’ve been sucked deep into the analogy. I can either stay ‘in’ and enjoy the exhibition or I can pick a favourite and leave to meet the gang for dinner. I go upstairs.

highlightsreview Exhibiton

Lukisan PotrEt DiRaja Dalam Proses

Balairong Seri Istana Besar Seri Menanti, Negeri Sembilan

Pelukis potret terkenal Malaysia, Samjis Mat Jan telah dipilih untuk melukis potret baginda dan permaisuri, manakala M. Aminudin Othman pula dipilih untuk melukis potret ayahanda dan nenda baginda.

Samjis Mat Jan sedang menyiapkan potret DYMM Yang Di-Pertuan Besar Negeri Sembilan

Perkembangan lukisan potret sudah dikenali di Malaysia sejak dekad1950an lagi dengan adanya pergerakan lukisan potret yang digerakkan oleh pelukis terkenal dan mendapat gelaran pelukis potret diraja (royal portrait) di Malaysia iaitu Mohd. Hoessein Enas. Datuk Hoessein Enas menggerakkan suatu aliran melukis potret dan pemandangan secara pemahaman lukisan barat. Datuk Mohd. Hoessein Enas juga merupakan pelukis pertama Malaysia yang digelar Bapa Potret Malaysia bagi melambangkan kepentingan beliau dalam pensejarahan seni Malaysia sejak 1924-1995. Kesinambungan lukisan potret yang diasaskan oleh beliau masih diteruskan oleh generasi selepas beliau terutamanya bekas anak murid beliau sendiri seperti Mazli Mat Som, Hamidah Suhaimi dan Rafie Abd Rahman (sekadar menyebut beberapa nama). Selain itu kesinambungan lukisan potret di Malaysia juga dimakmurkan oleh pelukispelukis tanahair seperti Amron Omar, Samjis Mat Jan, Aris Aziz, M. Aminudin Othman dan ramai lagi pendatang baru dalam seni lukis Malaysia. Kepentingan lukisan potret di dalam perkembangan seni lukis Malaysia adalah sesuatu yang amat diperlukan dan di atas dasar itu baru-baru ini Balai Seni Lukis Negara (BSLN) telah diamanahkan oleh Balairong Seri Istana Seri Menanti, untuk memberi khidmat nasihat dalam menyediakan pelukis bagi penghasilan lukisan keluarga DiRaja Negeri Sembilan. BSLN telah dititahkan oleh DYMM Yang Dipertuan Besar Negeri Sembilan Tunku Muhriz Ibni Almarhum Tuanku Munawir untuk memberi khidmat nasihat dalam menyediakan pelukis bagi menghasilkan lukisan potret baginda dan keluarga baginda. Lukisan-lukisan ini perlu disiapkan bagi menghiasi Balairong Seri Istana Besar Seri menanti sempena hari keputeraan baginda pada 14 Januari 2010.

Dalam temubual bersama pelukis ini beliau memberitahu SENIKINI akan pengalaman beliau menyiapkan lukisan potretdalam tempoh paling singkat dimana dua lukisan disediakan dalam masa 4 bulan sahaja . Permasalahan teknik menjadi cabaran utama dimana atas pengalaman beliau mengolah ala Rembrandt masalah piktorial diselesaikan dengan satu atau dua strok calik berus tekstural. Persoalan bagaimana memberi rupa kepada wajah dan bukan sahaja sekadar ilustrasi. Dalam persiapan potret permaisuri beliau terpaksa â&#x20AC;&#x2122;re-stretchâ&#x20AC;&#x2122; canvas semula dan membuat perubahan kerana awalnya agak off-centre. Pemotretan bukan sekadar salin semula katanya dan sebenarnya adalah soal kematangan teknik.

DYMM Yang Di-Pertuan Besar sedang menunjukkan kepada pelukis dan wakil BSLN foto-foto yang akan dijadikan potret

BSLN juga telah memberi konsultansi berkaitan penjagaan koleksi lukisan dan konservasi kepada pihak istana. Dua buah lukisan potret koleksi Istana Besar Seri Menanti telah dipulihara untuk diletakkan di Balairong Seri menanti pada 8 Januari 2010. Bahagian Penyelidikan dan perkhidmatan Pameran juga sedang berusaha untuk berkerjasama dengan pihak Istana bagi merealisasikan sebuah Galeri Potret di Seremban, Negeri Sembilan.

BSLN Programmes

and activities Ekspo Seni Malaysia ini merupakan kali ketiga telah dianjurkan. Balai Seni Lukis Negara (BSLN) berperanan di dalam menyumbang dari segi kewangan, kepakaran dan tenaga dalam ekspo ini. Ekspo Seni Malaysia ini terbukti bermanfaat kerana ianya mampu menjana ekonomi negara, bukan sahaja pada industri seni tampak malahan ianya berjaya mencambah sektor pelancongan. Peluang ini perlu diraih oleh peminat

Pra-pelancaran Art Ekspo 1 Okt 2009

Pameran ini bermula dari 6 Oktober sehingga Januari 2009. Datuk Syed Ahmad Jamal merupakan pelukis visual tempatan pertama yang telah menerima Anugerah Seni Negara pada 1995. Pada bulan Februari 2009, karya beliau bertajuk ‘Mandi laut, 1957 bersama 21 buah karya lain dalam koleksi BSLN telah diangkat sebagai Daftar Warisan Kebangsaan 2009 oleh Menteri Kementerian Perpaduan, Kebudayaan, Kesenian dan Warisan (KPKKW).

Setem Khazanah Seni Visual Negara juga telah memberi penghormatan kepada beliau menerusi karya ‘Semangat Ledang’ untuk dijadikan setem berdasarkan perwakilan kepada tema figuratif dan landskap yang dipersembahkan. Oleh yang demikian, BSLN memberi penghormatan dan penghargaan untuk mengadakan pameran ini kerana beliau sebagai anak seni yang telah berjaya melakarkan nama dalam arena seni lukis negara.

Merupakan pameran yang diadakan oleh BSLN dengan kerjasama Kedutaan Korea sempena menyambut ulang tahun ke 50 hubungan diplomatik kedua-dua (KCPAA) negara. Dalam pameran tersebut sebanyak 45 buah lukisan dipamerkan termasuklah sebahagian besarnya ialah arca yang dihasilkan oleh 45 pengkarya tersohor dari negara itu. Pameran ini

bertujuan sebagai satu pembangunan seni kreatif dan secara tidak langsung memberikan pendedahan baru kepada seniman dan peminat seni tempatan.

Pengangkutan Pelancongan Terbaik, Agensi Pelancongan Terbaik, Destinasi Luar Negara Terbaik serta Anugerah Khas. Anugerah Pelancongan LIBUR yang telah diadakan sejak tahun 2006 ini merupakan satu usaha murni dalam memartabatkan industri pelancongan negara secara tidak langsung memberi suntikan baru kepada penggiat pelancongan khususnya dalam memajukan industri pelancongan di Malaysia.

angin topi keledar 1 Malaysia susulan pasca pelancaran Pertandingan Catan Muralis Kontemporari ‘1Malaysia’ dan program interaktif ‘’ Tree of Life’’. Ini secara tidak langsung dapat mempromosi dan menarik minat masyarakat kepada BSLN.

Pameran Korean Contemporary Plastic Arts Association (KCPAA) 26 Okt 2009

Pameran 34 buah karya yang telah diilustrasi oleh 16 pelukis kontemporari Cuba dengan mencerminkan pandangan dan perasaan yang ada pada anak tempatan negara itu melalui hasil karya kreatif mereka. Melalui jalinan kerjasama antara BSLN dengan pihak Kedutaan Cuba, pelbagai lapisan masyarakat dapat melihat sendiri paparan keindahan seni kontemporari hasil ilham dari negara Pulau Carribean itu. Hasil

Pameran Cuban 13 Okt 2009

Tahniah kepada Balai Seni Lukis Negara (BSLN) kerana telah memenangi anugerah bagi Lokasi Seni dan Budaya Terbaik, Anugerah Pelancongan LIBUR 2009 yang telah berlangsung di MATRADE Exhibition & Convention Centre. Sebanyak 20 kategori dipertandingkan pada tahun ini yang antaranya adalah Lokasi Selera Terbaik, Lokasi Seni dan Budaya Terbaik, Lokasi SPA dan Kesihatan Terbaik, Lokasi Membeli-Belah Terbaik, Lokasi Rekreasi Keluarga Terbaik, Hotel dan Resort Terbaik, Mercu Tanda Pelancongan Terbaik,

Pameran Syed Ahmad Jamal : Pelukis 6 Okt 2009

Sempena Perayaan Hari Malaysia di Padang Merdeka Kuching Sarawak. BSLN diberi peluang terlibat dalam 4 perkara sebagai pengisian program ini iaitu Pameran Khas Sejarah Pembentukan Malaysia dengan kerjasama Muzium Negeri Sarawak yang memfokuskan aspek seni visual untuk pameran khas yang melibatkan lukisan-lukisan yang bertemakan Kemerdekaan negara, jualan karya-karya seni, demonstrasi lukisan berus

Program 1Malaysia : Air Brush di Sarawak 7 - 13 Okt 2009

seni tempatan bagi menimba pengalaman berguna disamping mengeratkan hubungan antara para pelukis dan pemilik galeri dalam dan luar Negara.

gabungan pengaruh, gaya dan latar belakang peribadi yang berbeza, koleksikoleksi unik itu pasti membawa sesiapa yang melihatnya kepada himpunan seni yang mekar dan bertunjangkan nilai-nilai kebangsaan dan tradisi.

ANUGERAH PELANCONGAN LIBUR 2 DIS 2009

Exhibition review Exhibiton review

turns to host the exhibition since the first in Seoul, South Korea, but the exhibition became more structured only in 1992 at the 7th edition in Bandung, Indonesia. Malaysia has taken part in the series since the 3rd chapter in 1988. Australia joined the group in 1996. This is the third time the National Art Gallery of Kuala Lumpur is the event venue, the others being in 1990 and 1998. The Malaysian artists span several generations, working in a multiplicity of media, styles and subjects. There are those who even strayed a little from their usual gamut, with Philip Wong playing twisted aluminium strips on a pedestal, Jeganathan Ramachandram’s VaastuMALAYSIA - Normah Nordin, Nose Pulled by the Ox, Installation: animation, plexiglass, velvet, 183 x 183 x 183cm, 2009 steeped work turning into a head-buster of Malaysian socio-political malaise, and Syed Thajudeen giving an e-buzz with his symbolic and sexually charged lap-top parable.

The AIAE has

come of age l by Ooi Kok Chuen

FROM

humble beginnings of a self-generated exhibition among artists from three countries in 1985, the Asian International Art Exhibition (AIAE) has truly come of age. This can be seen from the kind and quality of works by artists from 12 countries taking part in the 24th edition held at the National Art Gallery Kuala Lumpur. The acceptance of New Media such as assemblages, 3-D objects, e-art and installations reflects the artistic aspirations, bold acceptance and changing times. Also artists who have persevered with the exhibition are now highly regarded in their respective countries as well as the region. And the themes are no longer just pleasant subjects and aesthetic show-offs but also involve a more critical look into pressing socio-political and environmental issues.

(3D digital painting on lenticular sheet), Enoch Chen (video), South Korea ‘s Kwon Yeo-Hyun (video) and Japan ‘s Toshiya Kuroiwa (video).

The e-media works are dominated by Masnoor Ramli (Mind Vision), Kamal Sabran (Lumpur), Hasnul J. Saidon (Want Malaysia?, DVD projection on water, ceramic bowl, laser print stickers on bottles, binded book) with the dig on the new administration’s 1Malaysia mantra, while even Normah Nordin, at 57, makes an animation installation plug with Nose Pulled By The Ox (installation: animation, plexiglass, velvet), alluding to the cow-head protest controversy.

From China, take note of the works of Luo Yiping (ink and wash), Huang Qiming (woodblock print,ink and wash) and Tian Ye (Tian An Men re-branded) and Macau, Tong Jian Yin.

Film legend Tan Sri P. Ramlee seems a favourite as Zulkifli Yusoff uses his image with that of his third wife Saloma in his installation Sedangkan Lidah Lagi Tergigit, from the film Tiga Abdul, to comment on the increasing marital breakups perhaps.

Indonesia‘s artists are from the Bandung Institute of Technology while Singapore‘s participants are from the Modern Art Society, which also has Malaysian-born Yeo Siak Goon and the evergreen Indonesian-born collagist Goh Beng Kwan taking part.

Among the sculptures, Juhari Said’s “printed/carved” wood from the Okir series and Jasmin Kok’s wiry mannequins called The Couple pique interest. Also note Datuk Raja Zahabuddin Raja Yaacob (photography), Tajuddin Ismail (abstract), and Raphael Scott Ahbeng, 70, among the East Malaysian artists but Dr Choong Kam Kow, at 75 is the oldest in the Malaysian contingent. Off-the-wall works by foreign artists include those by Indonesia ‘s Setiawan Setiawan (installation), Vietnam ‘s Nguyen Xuan Long (Viet Chat installation of Vietnamese alphabets as character analysis), Hong Kong’s Belle Tang

Japan ’s works mostly concern abstract compositions.

The Philippines is well represented by Ben Cabrera, a.k.a. BenCab, Araceli ‘Cheloy’ Limcaco-Dans, Susan Fetalvero-Roces, Igan D/Bayan and glass sculptor Ramon Orlina.

The works of the Taiwanese artists betray partly their overseas training and bias - Jenny Chen, Tseng ChangShen, Hsih Hong-Tah, Lee Tsung-Jen (in the United States), Tsong-Pu (Spain), Tao Wen-Yue and Lin Chin-Piao (France). Also take note of the works of Eddie Lui (Hong Kong), who took part in the 1st Langkawi Arts Festival in 1998; Pandy Aviado (the Philippines); Leo Hee Tong and Hong Sek Chern (Singapore); Thongchai Rakpathum (Thailand); Han Mun Young and Kim Soo-ja (South Korea). For the artists who have taken part in the AIAE, it is a noble effort for each artist has to look into the logistics of sending his works to the host country, and pay for his own air passage, accommodation and miscellaneous expenses. With the 25th anniversary in the next host country of Mongolia next year, the future looks exciting.

Also the use of indigenous materials and crafts into their art such as the lacy fabric ‘calado’ (Susan Fetalvero-Roces, the Philippines), hanji paper casting (Han Ki Soo, South Korea), bamboo and rattan (Prathak Pragijvinitjpan), etching on calico (Wittamon Niwattichai), and lacquer (Doan Thuy Hanh, Nguyen Vu Hong and Tran Dinh Khuong, Vietnam), as opposed to the Western paradigm which is passé that crafts belong to the nether region of ‘low art.’ It is also about Asian artists reclaiming their heritage and being proud about it, for its richness and immense potential. The exhibition also comes with a symposium jawing on the theme being Asia@Asia: Manifesting Diversity. Member countries take

THAILAND - Mr. Thongchai Rakpathum, Aesthetic No. 27, Acrylic on canvas, 100 x 120cm

The 24th AIAE ( National Art Gallery (Balai Seni Lukis Negara, November 20, 2009 - January 31, 2010).

MACAU - Joey Ho Chong I, Howling Celestial Dog Pisses on Heaven, Mixed media,121 x 121cm, 2008

Kebanyakan pengkarya mengutarakan tema dan isu yang berkaitan dengan masalah sosial dalam pelbagai nada pengucapan. Ada yang bernada melankoli, sedih, merintih, dan ada juga yang menasihat, mengkritik dan menyindir. Tidak kurang juga yang marah dan memberi amaran. Terdapat juga karya-karya yang memaparkan kritikan politik yang pedas dan keras. Ada juga yang cuba menjerit secara visual walaupun segelintir cuba menjinakkannya dengan pengolahan formal yang manis dan sedap mata memandang. Beberapa orang pengkarya menampilkan persoalan dan konflik peribadi. Karya-karya sebegini memerlukan pendekatan penghayatan bersifat psiko-analisis. Hanya segelintir saja karya yang menggarap tema yang lain seperti spiritual (keagamaan/kepercayaan), budaya dan warisan, hubungan kekeluargaan dan kelestarian alam. Kebanyakan karya menggunakan pendekatan figuratif dan separa abstrak. Terdapat juga kecenderungan menggunakan bahasa visual komik, ilustrasi, grafiti dan karikatur yang kelihatan semakin popular pada masa kini. Tidak banyak penyertaan dalam gaya abstrak sepenuhnya.

1. Pembuka Penulisan ini adalah pembacaan peribadi saya terhadap Pertandingan Seni Tampak Terbuka Johor 2009, berdasarkan pengalaman sebagai salah seorang hakim. Saya mendepani proses penghakiman sebagai suatu proses ilmiah atau akademik yang berpusatkan pembinaan ilmu. Oleh itu, ia terbuka kepada perbincangan atau wacana. Perbincangan dan wacana memerlukan persekitaran yang menghormati kepelbagaian pandangan atau pendapat yang bersandarkan hujah, kerangka sejarah, ideologi, teori dan pembuktian praktis. Perlu dimaklumkan bahawa penghayatan, penghakiman dan penilaian karya seni adalah suatu proses yang subjektif dan relatif. Tiada suatu piawaian yang mutlak dalam menilai karya seni. Panel hakim kebiasaannya akan berbincang bagi menentukan metodologi dan kerangka kriteria penilaian yang boleh dipersetujui bersama. Metodologi dan kerangka kriteria mungkin tidak sama dengan yang digunakan dalam pertandingan yang lain, mahupun dalam penghayatan oleh pihak lain umumnya. Oleh itu, pilihan dan keputusan mana-mana panel hakim pertandingan seni sudah tentu tidak boleh memuaskan hati semua pihak. 2. Kriteria Secara umumnya, sambutan yang diterima oleh pertandingan ini adalah amat menggalakkan sekiranya dibandingkan dengan pertandingan bertemakan warisan Johor sebelum ini. Selain dari tema yang terbuka, faktor hadiah yang meningkat dari segi nilai ringgitnya mungkin juga menyebabkan para pengkarya yang dulunya â&#x20AC;&#x2DC;seganâ&#x20AC;&#x2122;untuk menyertai, kini lebih teruja untuk menguji nasib. Majoriti penyertaan yang diterima adalah dalam bentuk catan, manakala selainnya adalah dalam bentuk lukisan, cetakan, foto, tekstil, arca seramik, besi, kayu dan bahan campuran. Kepelbagaian bahan, teknik, aliran, subjek, tema dan gaya pengolahan perlu digalakkan terutama sekali dalam pertandingan yang bersifat terbuka.

Secara dasarnya, saya menilai karya berasaskan faktor-faktor berikut : 1. Memenuhi syarat-syarat pertandingan 2. Kemahiran dalam menggunakan bahan pilihan dan menyesuaikannya dengan teknik, aliran, pengolahan subjek, tema dan gaya pengkaryaan 3. Keaslian, kematangan, kefasihan dan kepintaran dalam menterjemahkan pembacaan peribadi terhadap sesuatu subjek, tema, isu atau pokok persoalan yang ingin disampaikan 4. Ciri-ciri inovatif dan kreativiti, terutama sekali dalam mengemukakan pendekatan yang berani, segar, baru dan kurang diterokai. 5. Disiplin, ketertiban dan pemeliharaan terperinci terhadap sesuatu tradisi amalan seni tampak sekiranya pengkarya memilih pendekatan yang sudah lama bertapak 6. Kekuatan keseluruhan karya dibandingkan dengan amalan seni tampak kontemporari tempatan dan antarabangsa 3. Proses Penghakiman Pada peringkat awal, para hakim telah melaksanakan proses eliminasi, yakni mengenalpasti karya-karya yang tidak memenuhi syarat-syarat pertandingan dan juga karya-karya yang menampakkan kelemahan yang ketara dari segi kemahiran teknikal. Pada peringkat ini, terdapat beberapa karya tiga dimensi yang bermutu terpaksa ditolak penyertaannya kerana melanggar syarat pertandingan dari segi timbangan berat. Namun demikian, atas dasar semangat penyertaan, pihak hakim telah sebulat suara untuk memilih karya-karya sebegini untuk dipamerkan. Pihak hakim juga telah sebulat suara memutuskan untuk menimbangkan penyertaan karya berbentuk foto dan cetakan digital bagi menggalakkan semangat meneroka. Proses eliminasi kedua merujuk kepada karya-karya yang lemah dari segi keaslian, kematangan, kefasihan dan kepintaran menterjemahkan pembacaan peribadi terhadap sesuatu subjek, tema, isu atau

Pemenang Pertama Ken Ghee Chung - What is it 2009

review

l oleh Hasnul J Saidon

dangkal telah ditolak.

Exhibiton

TAMPAK TERBUKA JOHOR 2009SATU ULASAN

Exhibition highlights

PERTANDINGAN SENI

pokok persoalan. Pada peringkat ini, karya-karya yang mengunakan pembacaan, pentafsiran, nada ekspresi, gaya dan terjemahan visual yang sudah terlalu lazim, terlalu literal, cetek dan

20 Pemenang Tempat Kedua Mohd Najib Ahmad - Lonely Girl 2009

Exhibitonhighlights review Exhibition

mengajar (didaktik atau berkhutbah). Nada sebegini sesuai dengan lenggok visual dan ciriciri ekspresi masyarakat Timur terutama sekali orang Melayu. Penggunaan teknik cetakan simen dan kaedah telepuk juga merupakan satu keunikan yang bukan saja relevan dan sesuai dengan tema, malah boleh dianggap berani dan yakin jika dibandingkan dengan penggunaan teknik, stail dan gaya pengolahan catan yang lebih selamat, selesa, popular dan lazim. Karya Wan Zaida menampilkan pendekatan teknik tekstil yang jarang ditonjolkan dalam pengkaryaan catan arus perdana. Pendekatan ini sesuai dengan ciri-ciri keceriaan, kekaguman, kerencaman dan kenaifan yang berkait dengan pengalaman dikelilingi alam sejadi semasa zaman kanakkanak. Nada riang yang diterbitkan oleh olahan jalinan rupa, bentuk dan corak yang kaya menjadi pengimbang dan penyeri kepada himpunan karya-karya lain yang lebih sugul. Dalam kebisingan hirukpikuk karya-karya lantang Perlu juga dinyatakan di sini bahawa karyakarya bersifat kritikan sosial, komentar politik dan pendekatan eksintensialis memang sudah menjadi pilihan ramai pengkarya kontemporari tempatan dan antarabangsa, terutama sekali selepas 1990an. Tema sosial, politik dan polemik jiwa seolah-olah sudah menjadi satu ‘house style’ untuk pengkarya semasa, terutama yang muda. Terdapat juga keluhan dan rintihan tentang krisis moral, nilai dan jati diri Kebangsaan. Secara tidak langsung, tema dan isu sosio- politik mungkin menggambarkan ‘harga’yang perlu dibayar oleh kita semua dalam mendepani cabaran semasa dan masa hadapan, terutama sekali yang berkaitan dengan arus globalisari, ekonomi pasaran bebas dan terjahan teknologi. Dari satu sudut, hal ini dapat dibaca sebagai suatu penanda kepada hakikat bahawa para pengkarya sentiasa peka terhadap aspek batiniah manusia, bukan saja aspek pembangunan material yang sering ditekankan dalam sloganslogan politik pembangunan. Dari sudut yang lain, persoalan ini mendatangkan kesan ironik kerana kebanyakkan para pengkarya mengamalkan pendekatan seni yang hadir dari ideologi, falsafah dan epistimologi ilmu yang turut menyumbang kepada krisis yang diperkatakan. Terdapat juga karya-karya yang meniru (bukan memetik atau mentafsir-semula) beberapa pendekatan formal, gaya dan teknik para pengkarya lain yang ternama di Malaysia. Penggunaan teknikteknik splashing, dripping, splattering dan komposisi subjek figura dan alam benda dalam struktur gubahan geometrik yang telah digunakan oleh para pengkarya ternama seperti Jalaini Abu Hassan, Ahmad Shukri Mohamed dan Zulkifli Yusoff juga dapat dikesan. Selalunya ia lebih bersifat kosmetik dan penokoktambahan yang sebenarnya tidak diperlukan. Walaupun hal ini tidak begitu digalakkan, namun terdapat juga beberapa karya sebegini yang dirasakan bermutu dan berpotensi untuk digilap dalam bentuk yang baru. Karya-karya sebegini juga telah dipilih, sekurang-kurangnya untuk pameran. Proses ketiga adalah pemilihan karya-karya terbaik yang menekankan faktor 4, 5 dan 6 di atas. Untuk peringkat ini, para hakim juga mengambil kira faktor x atau kualiti unik pada sesebuah karya. Antaranya termasuklah : > Kejujuran dan keberanian dalam menampilkan isu, tema atau persoalan yang jarang ditonjolkan, > keberanian dan kefasihan dalam menggunakan pendekatan formal yang

mencabar kemahiran dan menguji minda, termasuklah menggunakan bahan, teknik, kaedah, stail, dan gaya yang jarang diamalkan

tentang masalah sosio-budaya dan politik, sifat keceriaan dan keraian yang ditonjolkan pada karya ini amat mendamaikan.

> kepintaran dalam membaca atau melihat dan menggambarkan sesuatu isu atau persoalan yang lazim menerusi perspektif yang baru dan mencuit minda

Karya Rusmadi Kamaluddin sangat sinis, sinikal, lucu, mengusik dan pedas sindirannya. Pendekatan formal karya ini juga sangat sederhana. Namun, faktor yang paling mencubit minda dan mengusik perasaan adalah sikap pengkarya yang sangat santai, ‘berani mati’ dan bersahaja dalam penghasilan karya. Sikap ini dirasakan amat sesuai dengan subjek yang dipaparkan, terutama sekali dalam penggunaan remaja wanita berbaju kurung yang ironik dan tulisan cina yang mencubit minda. Rusmadi juga dengan beraninya menolak penggunaan kemahiran yang lazimnya dikaitkan dengan catan kerana lebih memberi penumpuan kepada menampilkan situasi yang ironik. Penggunaan imejan fotografi memerlukan ia ditafsir menerusi sudut semiotik, bukan lagi formalistik catan.

> kekuatan nilai emosi dan garapan visual yang menggugah perasaan > pertimbangan yang berkaitan dengan kepentingan Kebangsaan terutama sekali dalam soal budaya Sebanyak 13 karya telah dipilih diperingkat ini. Selain dari kekuatan dalam empat faktor yang dinyatakan di atas, karya-karya ini juga menampilkan faktor x atau keunikan yang tersendiri. 4. Ulasan Beberapa Karya Pilihan Terdapat beberapa karya pilihan yang wajar diulas dalam laporan ini, selain dari pemenang tempat pertama, kedua dan ketiga. Karya-karya Mohd Faizal Md. Suhif, Wan Zaida Wan Samidin dan Noriza Arzain sangat berbeza jika dibandingkan dengan majoriti karya-karya lantang yang membawa tema kritikan sosial, politik dan konflik peribadi. Ketiga-tiga mereka menampilkan pentafsiran terhadap budaya, warisan dan kelestarian alam yang lazimnya kurang ditonjolkan dalam arus perdana amalan seni tampak kontemporari. Mohd Faizal dan Noriza menggunakan pendekatan formal yang ringkas dan sederhana tanpa terperangkap dalam kecelaruan visual dan kekecohan penyampaian isu yang sering dialami oleh pengkarya muda. Pendekatan sederhana mereka dilaksanakan secara penuh keyakinan dan dalam nada yang puitis, tenang, berlapik, bertamsil, dan halus. Mereka juga tidak tunduk pada godaan untuk menghasilkan karya yang terlalu mahu menunjuk-nunjuk atau mahu

Karya-karya Koo Kok Hooi, Nor Alisa Jamaluddin dan Ken Ghee Chung lebih eksistensialis atau memaparkan konflik kejiwaan yang nadanya agak gelap, murung, sugul dan penuh kontradiksi serta ketegangan. Karya-karya ini lebih menekankan kesan emosi dan pembacaan psiko-analisis, terutama yang berkaitan dengan tekanan proses urbanisasi dan kemajuan material. Karya Abdul Latiff Ahmad Padzali yang mendapat tempat ketiga, menampilkan kemahiran menggubah yang tinggi, kreativiti dalam pengolahan bahan dan kefasihan teknikal yang cemerlang. Pembuatannya rumit namun kemas. Pencemaran dan kemusnahan fitrah alami diungkap menerusi penggunaan bahan industri. Pemilihan subjek ikan todak yang diolah menjadi seakan makhluk cyborg memperjelaskan lagi akibat dari pembangunan industri yang tidak mengambil-kira kelestarian alam.

Pemenang pertama, Wee Chiang Lung seakan berada dalam liganya yang tersendiri. Karya ini sangat unik, bukan saja dari segi teknik dan gaya pengolahan, tetapi juga dari segi garapan temanya. Wee Chiang Lung berbicara tentang kekaburan dan kesukaran membuat pentafsiran terhadap sesuatu perkara. Pentafsiran dan kefahaman yang berkaitan dengan budaya,

Pertandingan ini boleh menjadi pelantar baru yang strategik untuk mencungkil bakat-bakat baru dan menggalakkan konsistensi dikalangan pengkarya Malaysia umumnya. Ini bergantung kepada pihak Galeri Seni Johor yang perlu membuat tinjauan dan kajian perbandingan, termasuklah pertandingan seni tampak terbuka yang lain seperti di Pulau Pinang dan Terengganu. Ia juga perlu membina rangkaian yang lebih professional dengan semua pihak yang terlibat secara aktif dengan seni tampak kontemporari tempatan dan antarabangsa. Selain dari keperluan ruang galeri (atau bangunan) yang lebih professional, Galeri Seni Johor juga memerlukan anjakan ke arah kualiti pengurusan yang lebih efisien dan kepimpinan seni tampak yang lebih matang. Pertandingan ini juga perlu diurus dan dipakej secara lebih professional agar ia sejajar dengan nilai hadiah yang ditawarkan. Ini termasuklah penekanan terhadap pengurusan pameran dan kuratorial, pendokumentasian, penyuntingan, penerbitan buku dan penganjuran aktiviti sokongan dalam bentuk keilmuan dan kemasyarakatan. Dengan anjakan pengurusan yang lebih professional, dan sesuai dengan kedudukannya yang berhampiran dengan Singapura, pertandingan ini boleh menjadi prelud untuk menaikkan Johor Bharu sebagai pusat perkembangan seni kontemporari yang baru bagi Malaysia, selain dari Kuala Lumpur.

termasuklah budaya kebangsaan sesebuah negara misalnya, tidak mungkin dicapai dengan mudah tanpa sebarang usaha untuk membina pertalian, pertautan dan hubungan antara satu titik dengan titik yang lain. Titik-titik ini boleh dibaca secara semiotik sebagai unsur-unsur yang berantaian dan saling melengkapi. Imejan sekawan figura yang kelihatan seperti berbangsa Inggeris diolah dalam gabungan gaya realistik, ilustratif, karikatur dan komikal. Penggunaan warna dalam skala kelabu mengizinkan Chiang Lung memberi tumpuan terhadap olahan kualiti jalinan yang begitu cermat, halus, teliti dan rumit. Kesemua figura kelihatan seperti manusia tiruan atau patungpatung berkulit licin dalam pelbagai ekspresi dan bahasa tubuh. Mereka seakan sedang cuba memahami imejan tidak lengkap (imej bunga dalam pasu) ditengah-tengah permukaan gubahan. Secara tidak langsung, Chiang Lung mungkin menyarankan bahawa pentafsiran dan kefahaman terhadap budaya Malaysia tidak mungkin menjadi lengkap tanpa usaha untuk menghubungkan rantaian titik-titik yang saling berkaitan. Gambaran mahupun imej lengkap tentang sesebuah negara itu juga tidak boleh diperolehi serta-merta. Karya Chiang Lung sarat dengan subteks budaya yang melingkari isu-isu berkaitan dengan kedudukan nilai dan budaya

review

5. Kesimpulan Secara umumnya, saya berpendapat bahawa kualiti karya-karya dalam Pertandingan Seni Tampak Terbuka Johor 2009 menjanjikan potensi yang positif dalam menyemarak dan meningkatkan lagi aktiviti seni tampak kontemporari di negeri Johor. Begitupun, ia masih belum dapat menandingi Pertandingan Bakat Muda Sezaman mahupun Salon Malaysia yang mampu menarik penyertaan yang mencabar minda, mengusik perasaan, berani meneroka pendekatan baru, kreatif dan menguji kemahiran.

Pemenang Tempat Ketiga Abdul Latiff Ahmad Padzali - Fosil Si Todak 2009 Siri 1

Pemenang Tempat Ketiga Abdul Latiff Ahmad Padzali - Fosil Si Todak 2009 Siri 11

Pemenang Tempat Ketiga Abdul Latiff Ahmad Padzali - Fosil Si Todak 2009 Siri 111

Tahniah kepada semua pemenang dan yang terpilih untuk pameran. Syabas kepada Galeri Seni Johor dan Yayasan Kesenian Johor. Hasnul J Saidon November 2009, Muzium & Galeri Tuanku Fauziah, Universiti Sains Malaysia, Pulau Pinang

Dengan anjakan pengurusan yang lebih professional, dan sesuai dengan kedudukannya yang berhampiran dengan Singapura, pertandingan ini boleh menjadi prelud untuk menaikkan Johor Bharu sebagai pusat perkembangan seni kontemporari yang baru bagi Malaysia, selain dari Kuala Lumpur.

Images courtery: Komuniti Pelukis Hutan Bandar.blogspot.com

Exhibiton

Karya Mohd Najib Ahmad yang mendapat tempat kedua, meninggalkan kesan emosi yang mendalam. Karya ini agak senada dengan karya Nor Alisa. Namun demikian, ianya berbeza dari segi pemilihan dan pengolahan subjek, komposisi, gaya atau stail, teknik dan pengolahan bahannya. Sekiranya Nor Alisa lebih menekankan permainan visual menerusi pengolahan jalinan teks-teks yang bertindan, pendekatan Mohd Najib dirasakan lebih berkesan. Beliau berjaya menggambarkan bukan saja senario fizikal yang dramatik, tetapi juga landskap jiwa yang penuh dengan gambaran kebuntuan komunikasi, kesunyian, kesepian, kesugulan, kesuraman dan kesedihan. Gambaran dramatik dan naratif krisis urbanisasi ini diperkukuhkan lagi oleh olahan â&#x20AC;&#x153;graffiti dindingâ&#x20AC;? subjek kanak-kanak perempuan yang separa lutsinar. Kontradiksi antara kelusuhan dan ketepuan yang sering menandai kehidupan pasca moden metropolis diterjemahkan dengan berkesan menerusi pengolahan kualiti jalinan. Kontradiksi antara kebisingan dan kehilangan makna dalam hiruk-pikuk komunikasi era I.T juga dapat dirasai.

Kebangsaan dalam kancah globalisasi dan relativisme budaya. Karya Chiang Lung adalah karya yang pintar, ringkas, kemas dan sarat dengan saranan-saranan semiotik yang membolehkan ianya ditafsir dengan pelbagai cara.

Exhibition highlights

Keseluruhan persembahan disampaikan dalam kesatuan formal dan pertimbangan estetik yang kukuh dan amat menyakinkan.

bsln Publication

enBLOC

SYED AHMAD JAMAL : PELUKIS Buku ini memaparkan perjalanan Seniman Negara (Datuk Syed Ahmad Jamal), ketika kecil sehinggalah beliau mencapai kegemilangannya yang tersendiri dalam bidang seni tampak. Penerokaan idea dan kreativiti seni beliau dikagumi bukan setakat di Malaysia tetapi juga dipersada dunia. Sebagai seniman terawal yang mendapat anugerah melanjutkan pengajian dalam bidang seni lukis ke luar Negara, beliau merupakan seorang seniman perintis seni visual yang mencorakkan sejarah dan senario seni lukis Negara ke tahap berdaya saing 600 halaman m/s 154 Gambar hitam-putih 78 Gambar berwarna ISBN : 978-983-3497-43-0

REVIVAL â&#x20AC;&#x201C; Evoking the Batik Tradition Katalog ini menghimpunkan karya-karya oleh 3 orang pelukis tanahair iaitu Chuah Thean Teng, Tay Mo Leong dan Khalil Ibrahim yang sangat popular disekitar tahun 1950an dan 1960an. 55 halaman m/s 45 karya berwarna ISBN 983-9572-73-3 RM 20

AIAE- Asian International Art Exhibition Katalog terbitan BSLN menjurus kepada â&#x20AC;&#x153;Asia@Asia Memanifestasikan Kepelbagaianâ&#x20AC;? kerana sebagai usaha untuk membangkitkan kesedaran pelukis-pelukis kita tentang perubahan-perubahan yang sedang melandakonteks budaya dan sosial masingmasing, ruang di mana mereka kerap menimba ilham dan idea untuk pengkaryaan seni tampak. 49 Gambar karya berwarna 6 Gambar karya hitam putih 22 Gambar foto berwarna ISBN : 978-983-3497-44-7

Pameran enBLOC adalah sebuah wadah persembahan batik yang teristimewa. Dalam mendirikan sebuah pameran batik sebagai pengisian kepada Kuala Lumpur International Batik Week 2009, Kementerian Penerangan, Komunikasi dan Kebudayaan melalui Balai Seni Lukis Negara terpanggil untuk mengambil peranan selaku peneraju pembangunan seni Visual Negara untuk mencetus inspirasi kreativiti dan inovasi menerusi kesinambungan tradisi. 90 Gambar blok batik hitam putih Planner 2010 ISBN : 978-983-3497-46-1 RM 88

Senikini Edisi Istimewa Isu 01 - 04 Majalah berwarna yang mempromosikan aktiviti seni semasa. Diterbitkan 6 kali setahun. RM 50 (Satu set)

NEW!

RM 25

RM 250

NEW!

All publication can be purchased at the Gallery Shop located at National Art Gallery. For enquiries please email to osmi@artgallery.gov.my

DEADLINE 31 JAN 2010

23 TASWIR - Pictorial Mappings of Islam and Modernity 5 Nov 2009 - 18 Jan 2010 Martin-Gropius-Bau, Berlin www.ha-atelier.de

Rhythm of the 21st Century exhibition at GALERI PETRONAS showcases the latest artworks by Raja Shahriman Raja Aziddin. The exhibition is the seventh solo exhibition for the artist and features 20 major sculptures, drawings and paintings.   Though the concept of the exhibition is based on war, indicated through the representations of armour and ammunitions, the underlying notion of Rythmn of the 21st Century is about the innate human nature that constantly engages in prevalent conflicts in this new century, taking cues of what transpired throughout the ages.

Taswir - Pictorial Mappings of Islam and Modernity is an exhibition organized by the Berliner Festspiele at the Martin-Gropius-Bau that takes a contemporary look at Islamic forms of visual expression. The exhibition focuses on three major themes: Calligraphy, Ornament and Miniatures. It places specimens of classical Islamic art in the context of modern and contemporary practice in the fields of graphics, drawing, painting, photography, video art, installation, sound and sculpture. The exhibition examines the visual and performative aspects of writing as an art form in its own right, addressing the structural and political aspects of ornamentation and presenting figurative forms of Persian and Mogul miniature painting from a narrative and poetic perspective.

WHAT’S

Rhythm of the 21st Century: Monologues of Raja Shahriman 29 Oct 2009 - 24 Jan 2010 Galeri Petronas, KLCC 03-2051 7770 webmaster_galeri1@petronas.com.my

DA VINCI - THE GENIUS 1 Oct 2009 - 17 Jan 2010 Pusat Sains Negara (National Science Centre), Bukit Kiara KL

COLLECTORS’ EXHIBITION BY 1ST & 2ND GENERATION ARTISTS 29 Nov – 4 Dec 2009

03- 2092 1159, 03- 7665 1977 www.davincithegenius.com Direct from Italy, this world acclaimed exhibition from the Il Genio de Leonardo da Vinci Museo brings to life Leonardo’s genius as an inventor, artist, scientist, anatomist, engineer and architect.  Now also including the new and revealing Secrets of Mona Lisa exhibit from Paris, Da Vinci - The Genius is the most comprehensive exhibition ever assembled on the greatest mind that ever lived. An amazing experience and inspiration for the whole family.

Galeri Seni Mutiara, Pulau Pinang 11am – 6pm Daily 04-262 0167, koaysookau@gmail.com www.galerisenimutiara.com COLLECTOR’s CUBE… 1 Jan - 28 Feb 2010 Shalini Ganendra Fine Art, KL 03-7958 2175 (by appointment) www.shaliniganendra.com

THE WORD BY PHEH IT HAO 5 - 26 December 2009

Shalini Ganendra Fine Art presents an exhibition of works from the Collector’s Cube collection, available for viewing convenience through the website and on site.

Artfolio, Jelatek KL Mon - Sat. 10am - 6pm Closed on Sunday & Public Holidays Tel: 03-42521339 www.artfolio.com.my

The Collector’s Cube is an innovative and dedicated exhibition that offers discerning collectors the opportunity to purchase vetted works offered by the Gallery’s Clients or from the Gallery’s collection.

RSVP: Denise Lee 016-2207828 / artfolio21g@yahoo.com

The current exhibition offers works by Jalaini Abu Hassan, Bayu Utomo Radjikin, Jolly Koh, Yau Bee Ling, Chan Thim Choy, and others. Prices start at RM 1,000.

Karya Pemenang Major

ON LIFE AND DEATH 10 Dec 2009 - 30 Mar 2010 Fukuoka Asian Art Museum, Japan, 092-263-1100, faam_e@faam.city.fukuoka.jp Birth, illness, age and then death - such life stages are all well documented in art. Featuring works such as Thai artist Chatchai Puipia’s depiction of his father on his deathbed, and Chinese artist Song Yongping’s photos of his ill parents, this exhibition explores human life and death via the motifs of birth, life and death.

Mohd Azli bin Walid ‘ Lagu Nak Leleh ’ Mixed Media, 274.5 x 61 x 91.5cm

SARAWAK ARTISTS SOCIETY 25th ANNIVERSARY SHOW 12th - 31st December 2009 LUCHA NO LIBRE: A SOLO EXHIBITION BY C.K KOK 28 Nov – 12 Dec 2009

Sarawak Muzium, Dewan Tun Abdul Razak Hall, Kuching, Sarawak 019-8165368 geralgo@hotmail.com

Metro Fine Art Gallery, Legend Hotel KL Mon – Fri 11:30am – 5:30pm, Sat 11am – 4pm 03-40422224, metrofineart@yahoo.com www.metro3gallery.com A tribute to the Mexican art of wrestling which made headlines in Hollywood via the comedy film Nacho Libre, Koh’s subjects include colourful masks, and the acrobatics and rapid sequences of holds and moves of wrestling. It also highlights fake wrestlers who camouflage their lack of skills with tricks and proclamations. The mask of wrestler represented the unsurpassed dignity. At times, wearing a mask is to protect their frail truth.

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Metro Fine Art Galler y & Shinken Art cordially invites you and friends to

a solo exhi bition by

Sarawak Artists’ Society is celebrating its 25th anniversary this year. This 25th Anniversary Show is the collaborative effort of the members showcasing their latest developement in Art and will be another milestone in the history of art for the state. Throught the years, Sarawak Artists’ Society has proven its role in raising the standard of Art for its members.

PAMERAN SENI LUKIS TERBUIKA PESTA PULAU PINANG 2009 03 Disember 2009 - 15 Januari 2010 Balai Seni Lukis Pulau Pinang Pameran ini dilaksanakan untuk memberi pendedahan dan peluang kepada penduduk - penduduk tempatan serta pelancong-pelancong asing agar dapat melihat dan menghayati karya-karya yang telah dihasilkan oleh pengkarya-pengkarya tempatan yang menyertai pameran pertandingan ini. Namun objektif utama pertandingan ini diadakan bagi menwujudkan peluang kepda pengkarya-pengkarya untuk mengetengahkan bakat dan usaha mereka dalam arena seni tampak terutama dari segi perkembangan aliran seni kontemporari yang terkini seperti dari segi penggayaan hasil karya, teknik dan aliran aplikasi bahantara. Tema “ Muzik Menerusi Spektrum Seni” dipilih kerana tema ini memberikan suatu kelainan kepada para peserta dimana mereka perlu mengaplikasikan elemen muzik dalam penghasilan karya seni tampak.

C.K.Koh

at Metro Fine Art Galler y on Sat 28th November 2009 at 2:00 pm

wening@artgallery.gov.my

exhibition runs from 28th Nov - 12th Dec 2009

Re-cover story : Bennylita Nasuty Ramlee For further information, kindly contact :

Metro Fine Art

Legend Hotel, Ground Floor,

100, Jalan Putra,

50350 Kuala Lumpur, Malaysia Tel : 603-4042 2224

‘Benon and The Sidekicks’ from What metrofineart@yahoo.com the Hoot, is a presentation of me, myself and people around www.metro3gallery.com me, whether I know them long ago and just met recently. They could be family members, Gallery Opening Hoursfriends : of a friends and Mon even silent – Fri 11.30 am –foe. 5.30 pmIn my Sat 11.00 am – 4.00 pm and real life, I always face characters Sun & Public Holiday closed stories, whether it is happy or sad ones. That doesn’t scare me to meet more new people, whether they are old or young, big or small, pretty or weird, black or white, nice or rascal because we are here to love each other, not to make war.

people to appreciate their childhood ‘Benon’ is my first Owls in What the memories. Fairy and Folk tales are very Hoot series that I’ve made; as an icon close to us when we are a child. Same of long-lost love towards drawing and goes to drawing and doodling. It is appreciation to all hardworking people better to pick up your pen or crayon and in the universe. Besides drawing and start doodle rather than pick up your painting, I write and make short films machine gun to blast your anger. too. My subject in filmmaking and writing are local fairy and folk tales and focus on whimsical characters such as owl, moon, fairies, dragon, Bigfoot, little people, mermaid, scarecrows, carousel, circus, treehouse and rainbow. ‘Benon and The Side Kicks’ are owl-people who www.shinkenart.com love small and wonderful things happen around them and to encourage more

Artists: Lee Cheng Yong, Khaw Sia, Kuo Ju Ping, Yong Mun Sen, A.B. Ibrahim, Chia Hui Chian, Chia Yu Chia, Ho Khay Beng, John Lee Joo For, Tan Choon Ghee, Tay Hooi Keat

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