senikini#27

A R T N O M I C S

Art Price-iation License to Art Art Market YAE! Young Art Entrepreneurs Art Space Private Public Art Museum Reviews & Art Fairs

ISSUE NO #27 I SSN 1 98 5 - 72 33

9 771985 723000

Nota Editor

S

ARTNOMICS

Pameran Bakat Muda Sezaman 2019 akan

naungan seni Kerajaan Selangor jelas terlihat

National Artpreneur Symposium

membuka minda pelawat yang semakin

menerusi

2019 menjemput para usahawan seni, pencinta

tertarik

dan

Opera Omnia dalam jadual pameran tahun

seni, perakam peristiwa dan pembuat makna

manipulasi digital , sementara menjemput

ini akan memperlihatkan karya terkumpul

tempatan dan luar negara seperti Alina Abdullah, Brandon

renungan

masakini,

Leonardo Da Vinci seperti Mona Lisa yang

Ritom, Sabina Zamudio, Sarah Volger, Dr. Dahlia, Ismail

sementara bakat usahawan seni cohort 4

dinanti-nantikan dilihatkan dalam pameran

Zain, Abby Zain, Lim Ai Woei, Alia Soraya Feizal, Dr. K. Azril,

terserlah dalam pameran graduasi yang unik

pencahayaan Opera Omnia di Balai Seni.

dan Samsuddin Lappo untuk mengembangkan diskusi

dan dinamik.

ENIKINI sempena

dalam edisi khas

kepada

seni

terhadap

multimedia

kehidupan

Russel.

Penglibatan

semula

berkaitan pasaran seni dan pemikiran kritikal terhadap pengewangan budaya (monetizing culture) keusahawanan

Penglibatan DBKL sebagai institusi penaung

seni dan nilai dagangnya.

seniman

jalanan

Kuala

Lumpur

juga

diketengahkan oleh Zaslan Zeeha sementara

“

This Artnomics issue is pledged on casting hopes, pushing ideas, monetizing art, sharing wisdom and revitalizing culture for the future economy of the new Malaysia

Ketua Pengarah, Balai Seni Negara Director General National Art Gallery

”

Editor’s Notes

T

Prof. Dato’ Dr. Mohamed Najib Ahmad Dawa

he 2019 issue sharing recent ideas on

explorations from the 2 D to multimedia art

Omnia is included in this year’s schedule

artnomics i.e, art economics, know-how,

and digital manipulation revealing insights

of upcoming exhibitions, specifically the

and opportunities explore topics regarding

on our contemporary life. The promising

works by Leonardo Da Vinci such as Mona

local council permits and licensing, the crazy

talented entrepreneurs of Cohort Art 4 will

Lisa, which is surely the most anticipated

rich art and wealth, the Young Art Entrepreneur, art fairs,

reflect their journey in their graduation

and exquisitely illuminated exhibition in our

spaces, and grants.

exhibition as unique and dynamic centric.

National Art Gallery.

We have gathered entrepreneurs, art lovers, event goers

The involvement of DBKL as an institutional

and practicing artists nationally and abroad such as Alina

patron of street artists Kuala Lumpur is

Abdullah, Brandon Ritom, Sabina Zamudio, Sarah Volger,

also highlighted by Zaslan Zeeha while the

Dr. Dahlia, Ismail Zain, Abby Zain, Lim Ai Woei, Alia Soraya

Selangor government art patronage is visible

Feizal, Brian Johnson Lowe, Dr K Azril and Samsuddin

through Rumah Seni Selangor or Russel. Our

Lappo to develop a discussion around the ideas of art

second collaboration with the Italian Opera

market, commodification of art institutions and critical thinking about

the commodification of Art, monetizing

culture, entrepreneurship and commercial value.

Young Contemporaries Exhibition 2019 is set to challenge the minds of visitors who are interested in an array of new

| EDITOR-IN-CHIEF Prof. Dato’ Dr. Mohamed Najib Ahmad Dawa

Balai Seni Negara National Art Gallery Malaysia

| EDITORIAL Amerrudin Ahmad, Zanita Anuar

No 2 Jalan Temerloh Off Jalan Tun Razak 53200 Kuala Lumpur Phone +603 4026 7000 Fax +603 4025 4987

| EDITORIAL SUPPORT Norazmah Rashid, Osmihamidy Osman, Hartini Yajid

Web www.artgallery.gov.my

| DESIGNER Nuzaihan Mustapa | PHOTOGRAPHY Mohd Yuzaini Ahmed, Intan Idarina Mohammad Kusairry

Any feedbacks, comments and submissions, drop us an email to zanita@artgallery.gov.my | The publisher, National Art Gallery Malaysia. hold copyright of all editorial content SENIKINI (ISSN : 1985-7233) is published by the National Art Gallery Malaysia | All Right Reserverd Copyright©2019 SENIKINI Art Now Printed in Malaysia

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Content 00

Nota Editor | Editor’s Notes

Prof. Dato’ Dr. Mohamed Najib Ahmad Dawa

01

02

03

02

04

Art Price-iation

| Leonardo Da Vinci : Kisah Suatu Penghargaan Zanita Anuar 04 | Apa Yang Dapat Dibeli Dengan 145.5 Juta Ringgit?

Ismail Zain 06 | Meditation On The Art Market In Malaysia Ismail Zain 07 | Ways of Seeing -The Art of Soh Boon Kiong Sarah NH Vogeler 08

05

License to Art

| Artis Jalanan Kuala Lumpur Arbaayah Mohamad Zain 10 | 5 Langkah Mendapatkan Permit KL Street Artist Zaslan Zeeha 12 | Seniman dan Motivasi Wang Jumie Al-Idid 13

06

YAE! Young Art Entrepreneurs

| Art and Entrepreneurship Models as Viable Initiatives in the Malaysian Art Scene Brandon Anak Simon Scott 20 | Resolutions Adopted at the National Symposium on Art Entrepreneurship Dr. Abdul Rahim Md Said 22 | Thoughts On Future Proofing With Brian Johnson Lowe Alia Soraya Feizal 26

Art Space

| The ‘SanctuaReh’, An Art Space In Small Town Kuala Kubu Bharu Datin Paduka Dr. Dahlia Rosly 28 | Tentang Rumah Seni Selangor (Russel) Alina Abdullah 28 | Tamu yang Bermukim Sementara di Rumah Seni Alina Abdullah 29

Private Public Art Museum

| Malaysian Chinese Museum Lim Kah Hoe 30 | Pusat Kreatif Balai Seni Negara 2018 Faizal Sidik 16 | Memahami Lelongan Seni Asia Tenggara Steven Murphy 32

Art Market

| Temubual Jual Beli Seni 14 | Menangani Dilema Ekonomi Pelukis Muda Faizal Sidik 16 | The Econo-Aesthetics and the Art Robot System Khaled Ramadan 18

07

Cover Artist’s A R T N O M I C S

Mona Lisa , lukisan atas panel , 77 x 53 cm, Lourve , Paris, c. 1501-03

Art Price-iation License to Art Art Market YAE! Young Art Entrepreneurs Art Space Private Public Art Museum Reviews & Art Fairs

ISSUE NO #27 I SSN 1 98 5 - 72 33

9 771985 723000

Lukisan potret Mona Lisa yang merupakan antara yang paling popular malah menjadi ikonik kepada pelancong seantero dunia. Bagaimanapun amat sedikit fakta tentangnya adalah nyata pasti .Kita tahu dari Cassiani del Pozzo (1625) bahawa lukisan tersebut telah dibeli oleh Raja Perancis , King Francis I dengan harga yang sangat tinggi iaitu 4000 Gold Ducats.

Rujukan nama kepada lukisan ini seperti yang dikenali seluruh dunia , Mona Lisa dipetik dari “Vite”, tulisan Giorgio Vasari Dalam petikan “ Leornado memulakan perlaksanaan karya untuk Francesco del Giocondo , iaitu potret Mona Lisa , isterinya , setelah membiarkannya selama 4 tahun , beliau tidak menyudahkannya : dan karya tersebut kini berada di tangan Raja Perancis, Francis of France , di Fountainebleau “.

This is one of the most famous paintings in the world, a true icon of the universal tourist imaginary, yet there is very little that is certain about this work of art. We know from Cassiano del Pozzo (1625) that the painting was bought by the French king Francis I for the incredibly high sum of four thousand gold ducats. While in the first edition of “Vite”, Giorgio Vasari gave the woman the name with which she is universally known: “Leonardo undertook to execute, for Francesco del Giocondo, the portrait of Mona Lisa his wife, and after he had lingered over it for four years, he left it unfinished; and the work is today in the possession of King Francis of France, at Fontainebleau”.

Nevertheless, the identification of the woman as Mona Lisa, wife of Francesco del Giocondo, however probable, is not at all certain. Some (Pedretti, 1957) believe they recognise a similarity to Pacifica Brandano, a favourite of Giuliano de’ Medici, Leonardo’s protector during his stay in Rome between

Reviews & Art Fairs

| Exhibition Review: Rediscovering Forgotten Thai Master of Photography Dr. K. Azril Ismail 34 | Art Fairs and Contemporary Art Market in Argentina Sabiha Zamudio 36 | Asia Art Market, The Art Fairs in Taiwan Lim Ai Woei 38

Walaubagaimanapun identity Mona Lisa isteri kepada Francesco del Giocondo, barangkali , tiada kesahihannya. Ada (Pedretti, 1957) yang percaya dengan persamaan wajahnya /iras kepada Pacifica Brandano, kesayangan Giocondo de’ Medici , penjaga Leonardo semasa keberadaannya di Rom sekitar 1513 dan 1515.

Kronologi penghasilan karya Mona Lisa juga tiada ketentuannya. Tarikh seawal kurun ke 16, dirujuk kepada Raphael yang berada di Florence antara 1504-1508. Beliau merujuk posisi kepala Mona Lisa dan perletakkan kedua tangannya kepada lukisannya iaitu potret Maddalena Doni di Galleria Palatina , bertarikh sekitar tahun 1506. Adalah besar kemungkinannya (Kemp, 1982) bahawa Leonardo memulakan lukisannya di Florence dan menyudahkannya di Perancis .

Dihasilkan dengan teknik lapisan yang banyak , Mona Lisa telah dikagumi oleh pengkritik dan penulis oleh kerana senyumannya yang sukar ditafsirkan dan difahami. Ianya dikatakan meresap dan menggetarkan jiwa sehingga tiada kesudahannya , malah tetap terang bersinar .

1513 and 1515. The work’s chronology is also uncertain. It orients towards a dating in the early sixteenth century, thanks to the fact that Raphael, who was in Florence between 1504 and 1508, references the posture of Mona Lisa’s bust and the overlapping of her hands in his portrait of Maddalena Doni in the Galleria Palatina, dating around 1506. It is likely (Kemp, 1981) that Leonardo initiated the painting in Florence and then perfected it and concluded it in France. Executed with a perfect technique for ultra-fine overlapping layers, the Portrait of Mona Lisa has fascinated generations of critics and writers for her enigmatic smile and her immersion in vast, vibrant nature with infinite luminous thrills.

Terjemahan Arbaayah Zain

Prof. Antonio Paolucci Curator

LEONARDO DA VINCI :

KISAH SUATU PENGHARGAAN oleh Zanita Anuar

Lukisan ini pertama kali dilaporkan hilang pada tahun 1763, ia muncul semula pada 1900 di London . Pada tahun 1958, lukisan yang dibeli pada $60 tersebut dianggap dilukis oleh Bernardino Luini , pelukis pengikut Leonardo da Vinci. Pada tahun 2005 , para pengkaji catan di Metropoliton Museum of Art memberi ulasan yang berlainan tentang lukisan itu yang dijemput dilihatkan dalam pameran Leonardo da Vinci: Painter at the Court of Milan di National Gallery London .Seorang ahli perniagaan Russia Dmitry Rybolovlev membeli lukisan tersebut dari seorang art dealer warganegara Swiss Mona Lisa dijangka akan dipamerkan bersama sebilangan karya Leonardo da Vinci dalam bulan

dan pemegang amanah keluarga Rybolovlev

Oktober ini CHARLES PLATIAU/REUTERS

menyerahkannya kepada Christie’s pada tahun 2017.

P

enghargaan luar jangka terhadap

yang jelas dan begitu juga negara Britain.

Leonardo da Vinci terbukti boleh

Louvre amat berkeyakinan dalam pengumpulan

melumpuhkan teknologi.

koleksi ini dan sudah selesai memohon kepada British Museum, The National Gallery dan Royal

Laman web Muzium Louvre telah tergendala

Collection. Pihak Jabatan Kebudayaan dan

pada akhir bulan Jun disebabkan permintaan

Pelancongan Abu Dhabi dikatakan tidak berminat

tempahan tiket yang terlalu tinggi bagi pameran

untuk meminjamkan Mona Lisa lelaki, Salvatore

Leonardo da Vinci yang dijangka diadakan

Mundi, mahupun Balai Seni Negara tidak akan

dalam bulan Oktober tahun ini, telah memaksa

menerima apa-apa surat dari Louvre untuk

masyarakat seni memperakui kekuatan

peminjaman karya The Malaysian Gioconda

kuasa dan pesona karya tokoh Renaisans

(2007) koleksi negara. Namun, Balai Seni Negara

tersohor,Leonardo da Vinci.

akan bersama institusi-institusi dunia dalam meraikan ulangtahun ke 500 kemangkatan

Sebanyak 33,500 tiket dijual dalam masa 30 jam

Leonardo da Vinci dengan sebuah pameran

mahupun Louvre belum selesai mengumpulkan

berjudul Leonardo da Vinci :Opera Omnia dari 15

koleksi pinjaman yang dijanjikan bagi pameran

Julai sehingga 15 Ogos 2019.

ini. Negara Itali masih tidak memberi keizinan APA LAGI DENGAN MONA LISA? APA LAGI DENGAN LEONARDO DA VINCI? Sebenarnya walaupun sudah 500 tahun akan ketiadaannya, masih terdapat pelbagai bentuk penghargaan , keasyikan dan kajian terhadap karya tokoh ini. Pada bulan Januari tahun ini kajian-kajian oleh Horstmann dan Loth dari pusat CITEC Bielefield University di Jerman membuktikan teori Mona Lisa ‘s Eyes effect atau fenomena ‘mata Mona Lisa mengikut anda’ adalah fenomena palsu . Sebenarnya baru-baru ini dunia digegarkan dengan kewujudan Mona Lisa lelaki.

MONA LISA LELAKI BERNILAI 450 JUTA? Karya paling berharga di dunia telah dilelong oleh Christie’s pada November 2017. Karya tersebut yang dikenali sebagai ‘Mona Lisa Ken Yang The Malaysian Gioconda Oil on canvas 91 x 60.5 cm 2007 Collection of the National Art Gallery (Malaysia)

4

lelaki’ dan sebenarnya berjudul Salvatore Mundi (Saviour of the World) atau Penyelamat Dunia berjaya dilelong pada harga $ 450 juta pada November 2017.

Leonardo da Vinci Salvator Mundi Oil on walnut 45.4 × 65.6 cm 1500 Collection of Mohammad bin Salman

Semasa nilai karya mencecah naik dari 100 juta sehingga menjadi 200 juta , para pembida di Christies melaung dan bertepuk tangan . Apabila dua pembida talipon ghairah bersaing dan mencaturkan harga menjejak 400 juta , sejarah baru Leonardo da Vinci kini tercipta.

Lukisan yang dibeli oleh keluarga Diraja Arab Saudi ,Putera Bader bin Abdullah bin Mohammed bin Farhan al-Saud, rakan kepada Putera Mohammed bin Salman. Kedutaan Arab Saudi mengesahkan Putera Bader telah diminta mewakili Jabatan Kebudayaan dan Pelancongan Abu Dhabi dalam perolehan karya itu. Negara Arab Saudi dikatakan giat mengumpul warisan seni dunia dan sudah memperolehi karya Yayoi Kusama, George Condo, Richard Prince dan

LEONARDO OPERA OMNIA 15 JULY-15 AUGUST 2019 NATIONAL ART GALLERY MALAYSIA

Madonna and Child (Madonna of the Carnation) 1473 painting on panel 62 x 47.5 cm

The Annunciation 1470

Richard Sierra serta melaburkan wang yang banyak untuk memperolehi karya tukang

painting on panel 98 x 217 cm Uffizi Gallery, Florence

Ginevra de’ Benci 1475 painting on panel 38.8 x 36.7 cm National Gallery of Art, Washington

Alte Pinacotek, Munich

emas yang kini menjadi pengarca dunia tertua ,Armaldo Pomodorno ,yang berusia 93 tahun.

Pihak Frieze Art Fair juga telah dilamar untuk mengadakan program seumpamanya di negara Arab tersebut.

Mona Lisa lelaki ini telah dirancang untuk dipamerkan di Louvre Abu Dhabi bulan September 2018, akan tetapi ia telah dilaporkan hilang.

Kenny Schachter berpendapat lukisan tersebut diterbangkan jauh menaiki jet peribadi Putera tersebut pada tengah malam dan kini terapung-

Adoration of the Magi 1481 panel drawn with charcoal, painted in ink watercolour and partly in oil 243 x 246 cm

St Jerome in the Wilderness 1480-82 painted on panel 103 x 75 cm Vatican Art Gallery, Rome

Uffizi Gallery, Florence

Madonna and Child with Flowers (Benois Madonna) 1480-81 painting on panel transfered on canvas 48 x 31 cm Hermitage Museum, St Petersburg

apung di tengah lautan , disimpan di kapal mewah kepunyaan Putera Mohammad Bin Salman.

Teori popular penjejak harta seni adalah bahawa lukisan ini tersimpan di ruang simpanan bebas cukai di Geneva, Switzerland yang lazim dilanggan oleh kolektor yang memerlukan kerahsiaan bagi karya-karya mewah dunia Ada juga yang berpendapat karya ini masih dalam simpanan Christies New York sehingga ia habis dibayar.

Ben Lewis ,penulis buku The Last Leonado menceritakan bagaimana lukisan ini dijumpai

Lady with an Ermine (Cecilia Gallerani) 1488-89 oil on panel 54.8 x 40.3 cm

La Belle Ferronière 1495-1500 painting on panel 63 x 45 cm

Portrait of a musician 1488-89 painting on panel 44.7 x 32 cm

Mona Lisa 1501-03 painting on panel 77 x 53 cm

Louvre, Paris

Ambrosiana Art Gallery, Milan

Louvre, Paris

Czartoryski Collection, Krakow

berkecai dan perlu disatukan secara restorasi khas. Paling rumit adalah kerana permukaan catan telah terhakis dan perlu dibaiki dan dilukiskan semula.

Misteri karya Mona Lisa lelaki yang mirip kepada Nabi Isa atau Jesus ini akan terus bermain di lubuk imaginasi pencinta seni dan pemburu simbol dan tanda-tanda akhir zaman.

Codex on the Flight of Birds (38 pcs) 1505-1506 ca.

Paper manuscript, cc. 18, 213 x 153 mm Varia 95, cc. 4v.-5r.

The Virgin of the Rocks 1483-86 painting on panel 199 x 122 cm

The Virgin of the Rocks early 16th century painting on panel 189.5 x 120 cm

Royal Library of Turin

Louvre, Paris

National Gallery, London

The Serene. Photo courtesy of Wikimedia Commons.

Rujukan

Head of a Woman (la Scapigliata) 1500 umber and white on panel 27.7 x 21 cm

Saint John the Baptist 1513-16 painting on panel 69 x 57 cm

Bacchus 1510-13 panel transferred on canvas 177 x 115 cm

Louvre, Paris

Louvre, Paris

National Art Gallery, Parma

1.

Adam Sage, Paris June 21 2019, 12:01am, The Times

2.

Henri Neuendorf Associate Editor Artnet.com

3.

Kenny Schachter, June 10, 2019 ,Artnet.com

4.

Kate Brown, June 3, 2019 Artnet.com

5.

Oscar Holland CN

1

The Virgin and Child with Saint Anne 1513 painting on panel 168 x 130 cm Louvre, Paris

The Malaysian Gioconda adalah lukisan catan atas panel

yang dilukis dalam gaya lukisan Renaisans mirip gaya Mona Lisa ( La Gioconda) Leonardo da Vinci oleh Ken Yang pelukis kelahiran Malaysia yang menetap di Paris.

The Last Supper (Cenacle) 1498 wall painting 460 x 880 cm Refectory of Santa Maria delle Grazie Milan

5

Dalam tahun 1859, penyair Perancis terkenal, Baudelaire, dengan perasaan yang cukup loya terhadap tahap yang tidak seimbang yang diberikan oleh masyarakat kepada pelukis, penyair, tokoh-tokoh seni yang lain, terutama sekali daripada segi ganjaran untuk usaha mereka, berkata, “Walaupun tidak ada sesuatu mengenai mereka yang harus dibanggakan, pelukis pada hari ini, dan pada beberapa tahun yang lampau, tidak lebih daripada anak-anak kecil yang dimanjakan. Sudah berapa banyak penghormatan dan wang yang telah dicurahkan kepada manusia tanpa jiwa atau pendidikan ini… manakala penyair-penyair yang baik dan ahli-ahli sejarah yang gigih terpaksa mengais kehidupan Irises, 1889, w93 x h71.1 cm, Painting, Oil on Canvas, Vincent Van Gogh

mereka dengan begitu sukar sekali. Pada bilabila masa pun ada saja ahli-ahli perniagaan yang

Apa Yang Dapat Dibeli Dengan 145.5 Juta Ringgit?

mabuk yang bersedia untuk membayar wang yang begitu banyak untuk kerenah anak-anak manja.”

Baudelaire membuat kenyataan ini 130 tahun dahulu, dan saya bertanya kepada beberapa oleh Ismail Zain

orang kenalan yang agak normal – normal kerana mereka bukanlah jenis yang marxist daripada segi sikap atau dari kumpulan yang tidak

5

000 buah Proton Saga dan masih

Hal ini bergantung kepada dua perkara. Yang

ada baki untuk aksesori atau 2 buah

pertama, pasaran kewangan atau money

jet pejuang F16 atau 3 buah hotel

market. Dalam pelaburan begini, wangnya

mewah lengkap dengan kolam renang dan

bukan sahaja selamat, tetapi institusi anda juga

periuk belanganya sekali atau sekeping kanvas,

terkenal sebagai institusi berbudaya. Yang kedua

saya ulangi, saya keping kanvas, sebesar 28

mitos. Mitos tentang keunikan bekas tangan

x 36 inci, yang sudah daif keadaan fizikalnya,

atau genius artis – kesan industrial revolution

dengan tandatangan “Vincent 1889”. Demikian

k.m.19, kononnya, artis adalah manusia yang

wang yang dibayar untuk lukisan bunga iris

lain daripada yang lain. Apa yang mereka buat

Van Gogh oleh syarikat insurans Jepun dalam

adalah istimewa. Dalam hal ini, kerana pada

tahun 1988. Adakah ini wajar? Bergantunglah

amnya, lukisan lebih mudah, murah dan cepat

kepada siapa yang menjawabnya. Soalan

dilaksanakan jika dibanding dengan penulisan

ini semacam soalan tentang wajarkah wang

novel atau penerbitan pentas, pelukis amat

hantaran belanja kahwin mencecah $10,000

senang sekali dengan mitos ini. Don’t rock

seperti yang berlaku sekarang. Kecuali bagi

the boat. Satu daripada kritik Redza Piyadasa

wang hantaran, premiumnya adalah pada

tentang abstract expressionism ialah mengenai

peringkat awal. Selepas itu, peraturan sliding

keterlibatannya dalam mitos artis sebagai genius

scale mula mengambil alih, jika pihak yang sama

dengan erti kata segala conteng-contengan dan

terlibat juga. Van Gogh, yang agak bertentangan

kesan-kesan berus yang tidak disengajakan pun

dengan imej artis menderita yang berleluasa

penting.

semena-mena membuang dunia, mengubah cara hidup dan seterusnya membeli van untuk berniaga di pasar malam – dan pendapat mereka tidak banyak bezanya dengan pendapat Baudelaire. Malah, salah seorang daripada mereka merasakan bahawa begitu kecil bilangan pelukis yang benar-benar mahir tentang sejarah bangsa mereka, tradisi kebudayaan mereka ataupun faham tentang tradisi keintelektualan yang menjadi latar belakang kepada penglibatan mereka sendiri.

Ini yang membuatkan kita berfikir....

secara popular, adalah amat profesional sebagai seorang usahawan. Abangnya, Teo, menjadi ejennya yang berkesan dengan mengendalikan galeri untuknya. Namun demikian, lukisan “Iris” mungkin tidak mencapai $150 pun apabila dijual buat kali pertama. Sesungguhnya, sedikit benar komoditi yang melangit begitu daripada segi peningkatan harganya. Mengapa?

Penulisan Terpilih Ismail Zain Katalog Ismail Zain Retrospective Exhibition 1964-1991 Zainon Abdullah, Art Longs (Viva Brevis), 1995, Campuran, 187 x 187 cm

Ismail Zain dilahirkan pada tahun 1930 di Alor Star, Kedah. Memulakan kerjaya sebagai seorang guru sekolah pada tahun 1953 setelah mengikuti pengajian pendidikan di Kolej Kirkby di England di antara tahun 1951 sehingga 1953. Beliau kemudiannya menjadi pensyarah di maktab perguruan dan dalam masa yang sama berpeluang menyambung pengajian dalam bidang seni halus di England dari tahun 1961 sehingga tahun 1966. Ismail Zain juga pernah dilantik menjadi Pengarah kepada Balai Seni Lukis Negara pada tahun 1972 sehingga tahun 1975.

6

TRIBUTE KHAS BUAT ISMAIL ZAIN

Meditation On The Art Market In Malaysia

Perkongsian buah fikir tokoh seni dan ekonomi ini diwartakan bersempena dengan pameran solo imbasan di Balai Seni Negara yang dirasmikan oleh YABhg. Tun Daim Zainuddin pada 12 September 2019.

by Ismail Zain

The birth of a new gallery invariably invokes

most good things in life, corporate patronage too

interesting thoughts. Apart from the fact that the

professes the inevitable pros and cons. Whilst

resulting outcome means that there will be one

corporate purchases would naturally infuse more

more venue where artists can exhibit their work

capital into the art market thus generating more

for public viewing and ultimately for sale - the

demand for art, they certainly elicit peculiarities

latter, whether the market aspect of an exhibition

distinctive of corporate support for the arts as

is scrupulously left to subliminal solicitations as

found in developing countries. Firstly, every

the apparent conventional decorum demands

corporate chairman, notwithstanding his or

or otherwise, is always the final climax of an

her spouse’s love for the arts, is responsible

exhibition. There is also that pervasive, wishful

to the company’s shareholders through its

speculation that society too, as a whole, has

board. And shareholders would not think it very

made one more step in its striving to attain a

funny if their chairman allocates a substantial

higher level of refinement. For a gallery, like a

amount of money for purchasing art, especially

repertory company or an orchestra, is inevitably a

when there has been an obvious decline in the

patent benchmark of the state of having arrived

company’s performance over the years; unless

whether the fear is real one or not. The tendency

for many emerging metropolitan societies.

the chairman’s name happens to be John D.

is of course much more evident in the performing

Rockefeller or someone like that. As such,

arts. As a result, corporate support for the arts

A cursory overview of almost four decades

whether local art enthusiasts want to believe

tends to go for the mainstream, the geniaal and

of the history of privately owned modern art

it or not, art purchases by every corporate

even the innocuous so long as its corporate

galleries in Malaysia will reveal that much has

organisation up to now have been, by and large,

reputation is not married in any way, which,

been achieved by institutions, especially in

generated by the person who happens to be

largely, consequently defeats the very purpose

spheres that are customarily considered as their

the head of the organisation, rather than by

and spirit of art patronage as a rule.

bread and butter roles. One certainly recalls the

clearly stated corporate policies manifested by

rather successful A.I.A Gallery and its natural

budgetary commitments.

offspring, the Samat Art Gallery (at least during

In visual art, for example, the fact that there is a preponderance of ‘pretty pictures’ in

the latter’s heyday), both deriving legitimacy and

Art in a democratic society also presents its

corporate collections, comprising decorative

credence from being reliable arbiters of taste

own malapropos predilections to corporate

batik paintings, overtly sentimental water color

through the consequential support by expatriates

patronage, if the merits and demerits of art

renderings of idyllic rural scenes (no matter

and members of the foreign missions and the

are to be decided by aesthetic criteria alone.

how untruthful they are in reality) and abstract

emerging inner circle of the local populace

As all arts do not just entertain but also

paintings of dubious quality, is symptomatic

during their early days, all slowly making entries

record, inform, comment, invoke and provoke

of a policy derived from ‘not wanting to get

into the ‘local market.’ These prodigious moves

responses from their audiences through various

involved.’ In any case, strong commitment to any

initiated the beginnings of some of the most

means on matters, which may be construed

cause or extreme cases of personalised visions

important private collections in the country,

as surreptitiously having socially, ethically

of the world would inevitably entail semiotics,

today. It was also a period of the inception of

or politically ‘bad’ intentions, the imminent

which would be deemed too menacing for it to

institutional and corporate collections, notably,

susceptibility of condoning issues simply through

merge effortlessly with the rather impersonal

those of the University of Malaya, LLN (Lembaga

acquisition or patronage appears to be a real

marble and glass ambience of any board room.

Lektrik Negara, National Electricity Council),

one with corporate organisations, especially with

In fact its been said many times that “in this

Sime Darby and a few others.

multinational organisations or organisations with

country the general death of art artists to

equities derived from public sources. As such,

get involved with cumbersome and off the

A few of these organisations continue to

most corporate support for the arts tends to stay

beaten track installations outside the luxury

purchase works until today, sporadically, as their

clear of harbingers of ominous controversies:

of art schools, is due to the fact that there

premises expand. But certainly not anymore

is simply no ‘economic potential’ for such

with the fervour and fanfare with the ubiquitous

works”.

corporate slogans symbolising their public responsibility of ‘starting a collection as part of

The commercial galleries in this country have

their civil obligations’ as in the early ‘pioneering’

played crucial roles in establishing links between

days. Whilst a precious small number of local

artists and the public. They have been largely

corporate heads, of which Tun Ismail Ali is

responsible for the market that is in existence

undeniably the most notable, would proudly and

today and large sectors of the art public who

diligently carry on the tradition of embellishing

make up the audience at exhibition openings

with art works the walls of every corporate

which in Kuala Lumpur alone must now average

organisation that they are associated with, many

one every fortnight during ‘peak seasons’. The

a corporate collection simply petered out with

environments in galleries too have changed.

the transfer or retirement of a corporation’s

Gone are the days when art works, which

rather odd and embarrassing chairman who

invariably meant unframed water colors, homey

never failed to regale his peers with predilections

oil paintings and prophetic ink-brush scrolls, had

on high finance within the ambience of the

to compete with Chinese curios, tortoise shell

company’s sanctimonious boardrooms. But like

fans and chloroformed butterflies; all in the same corner, next to a Bombay textile shop on a local

Ismail Zain, The Marriage of Sultan Mansor Shah, 1990, Mixed Media Acrylic Collage on Canvas and Board, 162.7 x 130.5 cm

7

high street. Most galleries now boast felicitous ambiences and environments which are sympathetic to art, although one or two still sadly maintain that there is absolutely nothing

Ways of Seeing-

The Art of Soh Boon Kiong

wrong for artworks, even by some of the biggest names in the country, to compete in the same market as antique

by Sarah NH Vogeler

paraphernalia.

By and large , galleries have not changed very much from their singular function as dispassionate agents for artists.

With the exception of the erstwhile Saujana of the eighties, tried to project its positive, aesthetic profile by supporting its own well-publicised ‘stable’ of artists , and the urbane Galeri 11, which undeniably was the most important alternative space of the sixties, most galleries have not had specific corporate strategies other than merely functioning a venue for the exhibition and sale of paintings. Nor are many of them endowed with the necessary knowledge to deal with complexities of modern art which demand that the rightful basis for qualitative judgement should not be through sheer gut-feeling alone The situation becomes futile , somewhat, when discerning clients who are genuine need for second opinions on their otherwise instinctive and subjective options are often met with equally intuitive and emotional responses.

Galleries as dealers, which in practise means acquiring works

The Intermingling Notes, 2017, acrylics on

from artists on the basis of a fiscal blueprint which many vary

canvas, 130 x 130 cm (2)

from periodic supplies of subsistence or raw materials or loan ventures to outright purchases of works, appear to mark a natural sequence in the development of their strategic roles.

The practice is common with major galleries in developed countries. It was also not an unusual practice with well-known galleries in Manila during their heyday and it is now becoming a feature in many successful galleries in Bali . But in general , from the standpoint of artists, the practice has its own brand of both moral and economic dispositions which are too elaborate to be dealt with in this short introduction. But suffice it to say that apart from (securing) the preconditions of a thriving market and the availability of all trappings of a market economy surrounding manufactured products, foremost as a prerequisite (for any market) is the existence of a reliable secondary market. One of the most frustrating about art purchases in Malaysia right now , as many collectors will avow , is the fact that in spite of the relatively high price that one pays for a good painting, there is simply very little hope of reselling the work later in the open market. Perhaps , in spite of eh complexities and peculiarities of the art market, it still goes without saying that there is a vast difference between markets in Tokyo or New York and those in Kuala Lumpur. The compelling issue of a secondary market could certainly do with some serious contemplation right now by all concerned. The emergence of a viable secondary art market in Malaysia will not only give more confidence to buyers to buy paintings or sculptures , wither out of a sheer love of art or as an investment, but also engender the hope of making a profit at some point in the future, the axiomatic three Ds of the art auctions - Divorce, Duties and Death - notwithstanding .

Originally published in: 33 years After (Exhibition Catalogue) .Kuala Lumpur: Room At The Top, July 1991

“I look at the world map very often, thinking of where to go next” the artist says.

I’ve never met the painter until recently, but his works resonated deeply when first seeing them in the 90s. Soh Boon Kiong is very much unlike most artists. Perhaps it is that ‘kampung’ boy soul which is very much still evident in his personality, or conceivably a combination of that and the Japanese warmth cultured when he made Amagasaki his home, along with wife Ikuko, children Syutetsu and Syulin, and their beloved Golden Retriever, Win Chan.

“Did you meet your wife in Japan?” I enquired.

“We met in Paris when I was a student. She was there for a visit”, he replied with a faraway smile, imaginably recollecting a tender memory.

The artist spent a considerable time in Paris, where he studied the language and attended art school. Fluent in French, Japanese, Malay, English and Mandarin, Soh has exhibited extensively, including Mauritius, Japan, New Zealand and Singapore.

Born and raised in Kuantan, Pahang, Soh still visits his hometown whenever possible, riding his bicycle along the back roads and drawing inspiration from his surroundings. Much of his works are inspired by flora, the skies, the cosmos, and the relationship between Man and Nature.

Soh’s studio in Taman Mastiara, Jalan Ipoh consists of two units combined to make up several floors. He cheekily looked over his shoulder when giving a tour, “You know, this place was meant to be a brothel, and for years it was in ruins. I purchased the units, did some renovations. It is not completed, but this is where I work.”

His work space is meticulous. You do not see palettes, tubes of colour or everything pivotal towards creating art lying about. There are of course, numerous works stretched and unstretched against the walls and rolled canvases neatly piled at a corner. Several wood frames were neatly stacked for future use. In the ‘receiving’ area, a couch, several cushions, chairs and a table on wheels, fully stocked with delightful tidbits, coffee from Japan, Taiwanese tea which he later made in the traditional Chinese manner – elegant and beautiful.

8

Spring: A hill without a name Veiled in morning mist.

The beginning of autumn: Sea and emerald paddy Both the same green.

The winds of autumn Blow: yet still green The chestnut husks.

And speaking of drama, one of his works was featured in the film Crazy Rich Asians. Although in view for only a while, it was enough to raise The Celebration of Autumn, 2019, acrylics on

A flash of lightning: Into the gloom Goes the heron’s cry.

questions of its origins, and the interest in Soh’s

canvas, 130 x 193 cm (1)

work skyrocketed.

Paintings featured in films are certainly not unusual.

Four Haiku - Matsuo Basho

The 1999 film Notting Hill featured

SNHV: I’ve detected that you paint the whole

Chagall’s La Mariée

canvas

the

the painting was a reproduction and had to be

brushstroke. How do you choose where the

destroyed (the replica was astonishingly good)

Very much like his art.

brushstroke is going to be?

after filming wrapped.

His canvases are mostly large-scale, miles and

SBK: The brushstrokes are just one of the few

In Alfonso Cuarón’s Oscar-nominated sci-fi drama

miles of colour bursts which at first glance,

components of my works: they all serve a purpose

Children of Men, (2006) important paintings

overwhelms. Soh’s works do not realistically

for the ultimate result of the paintings. All my

including

demonstrate

figures

brushstrokes, small or broad are often influenced

David, and Banksy‘s British Cops Kissing made

they show, nor so intangible as to make them

by my sensitivities towards Eastern calligraphy

short bu unforgetttable appearances in a scene

unreadable; rather, his latest paintings relays his

and

philosophy through their conception. The artist’s

compositions, although they

conservancy and library: which

instincts and technique have become wonderfully

are rendered in seemingly

in real life, is actually The Tate

(more) sophisticated over the years, and one’s

spontaneous ways.

Modern.

SNHV: Your paintings have a

It comes to the question if art’s

certain sense of the ethereal

value is escalated when it appears

Soh is one artist who never sits still, his mind in

and simultaneously surreal.

in films, with fashion designers

constant motion – always planning 5, 10, 15 years

Do you take that as a precise

and a multitude of other types of

ahead. In May he will be exhibiting in Jakarta and

interpretation of the way the

marketing. LVMH and Jeff Koons

Taiwan and soon, in Beirut.

imageries can look to people?

partnered

We caught up recently and spoke at length about

Do they appear that way to

dollar

his works: -

you?

paradigmatic works of art. The

SBK: Yes, I agree that my

coming out bash was held at The

paintings have these merits. At

Louvre.

the

landscapes

and

rather

the

than

complexities

painting

of

around

Western

pictorial

Picasso’s

(The Bride). Of course,

Guernica,

Michelangelo’s

in the “Ark of the Arts”, the city’s art

breath gets caught in the throat when these colour eruptions greets.

SNHV: What is your process when painting?

in

project

a

multi-million

coalescing

six

the same time, I am obsessed SBK: The discoveries I made when painting will

by other qualities such as the

lead to its ultimate course. When painting, I will

beauty of musical rhythms,

always make sure everything flows and blends

the lingering fragrance in the atmosphere, the

images.

in harmony. Every part of my painting is weighed

solemnity of religions, the humbleness and

Ingenuity does not occur in a bubble: we must rip

over meticulously and fine-tuned throughout its

strength of humanity, the intensity and the nuance

up old ideas and be ‘controversial’. Soh’s painting,

entire process to attain perfect equilibrium and

of colours in the evolving world. Basically I do see

The Intermingling Notes 2017) which was featured

refinement.

my paintings as real instead of “abstract”.

in Cray Rich Asians creates a deep passionate

Art and marketing both share parallel origins. They both ‘make’ They

are

both

‘message’ vehicles.

charm; it fits perfectly with the film’s story lines.

Often Soh would glide arrangements in startling

The publicity the artist garnered is priceless.

acrylic tints over his opuses akin to blossoms. In 2017’s The Vast Strength for example, the flow of

Soh’s creations, which evoke the compositions of

ecstatic amber flecked with cool blues and diluted

Bach and Chopin in its many densities and artistic

green gives the impression of chilled magma.

revolutions is here to stay. It is an awe-inspiring

2019’s The Praise is more intense and swelled: a

study of colour, light, nature and humankind.

breathtaking blush of buttery yellows and flushed

With richly palpable surfaces embroidered with

pinks streaked with olive tints and traces of azure.

flowing pigmented hues, Soh Boon Kiong’s

It is the universe staring back at us in all its glory.

paintings at times resemble a detonation of a

There is an undeniable cogent energy to his

thousand flowers. They are instinctive, seemingly-

works, with just that right amount of jocularity. It is

spontaneous gestures done with titanic-sized

very much like the artist – always self-deprecating

brushes. But Soh’s manner of painting is always

yet unwavering in his seriousness the moment

methodically planned and executed; there are no

paintbrush touches canvas.

‘accidents’, as his wish is to construct an ageless image - symbolic of the act of painting itself.

Soh’s works have all the drama of the moon melting on the ground, and simultaneously romantic in their elicitation of art historical charms and a technique downright flawless.

In short,

Soh’s paintings proffer pure exquisiteness sans The Gorgeous Moments, 2019, acrylics on canvas, 193 x 129.5 cm (1)

corniness.

9

ARTIS JALANAN KUALA LUMPUR : London-KL

by Arbaayah Mohamad Zain Artis, Pelajar Latihan Industri ASWARA

LONDON 2011 Merenung kembali pengalaman saya pada

Dalam mengkaji tentang aktiviti artis jalanan,

tahun 2011, berpeluang membuat “performance

dikatakan Kota London juga mempunyai undang-

art” bersama Tony Mdy, Safirah Rashid dan Elly

undang dan syarat-syarat tertentu. Ada terdapat

Jasmin dalam projek seni bertajuk “Pop Out Fake

kawasan yang tidak dibenarkan untuk berkarya

Art”. Projek yang mendapat sokongan dan tajaan

dan ada juga kawasan yang dibenarkan. Walau

pihak Jabatan Kebudayaan dan Kesenian Negara

bagaimanapun, artis jalanan perlu mendapatkan

(JKKN) ini merangkumi; mengecat wajah dan

permit dari agensi kerajaan.

pakaian dengan warna akrilik yang sesuai untuk kulit, membuat aksi di tempat awam di Kota

Malahan artis jalanan di sana juga boleh

London, merakam melalui kamera digital dan

menggunakan link www.buskinlondon.com

menggunakan photoshop untuk diolah. Pelbagai

sebagai rujukan contohnya untuk mengetahui

reaksi diterima daripada penduduk tidak kurang

dengan lebih lanjut mengenai maklumat tentang

juga pelancong Kota London yang menarik

syarat-syarat dan kawasan yang dibenarkan.

minat mereka untuk mengetahui dengan lebih

Talian yang disokong oleh Dato Bandar London

mendalam tentang projek seni kami. Banyak

ini memuatkan pelbagai maklumat berguna

kenangan manis diperolehi melalui “experimen”

kepada artis jalanan.

tersebut. Apresiasi seni jalanan di sana sangat menggalakkan dan memperlihatkan keinginan

Dalam perkembangan lain, pada tahun 2018 Dato

daripada pengunjung untuk mengetahui lebih

Bandar London, Sadiq Khan telah melancarkan

lanjut tentang projek seni kami. Kebanyakannya

bayaran melalui “contactless payment scheme”

mengambil gambar bersama kami untuk

dengan menggunakan terminal IZettle .Ianya

kenangan.

merupakan sebuah syarikat yang menjadi agen pembayaran di mana peminat seni jalanan hanya

Dengan berpakaian kebaya dan baju kedah berkain batik (yang disapu cat) dengan wajah yang dicat ala-ala di dalam lukisan. Aksi “berkemban” berkain batik menceritakan budaya yang dibawa ketengah untuk diamati. Walaupun kami tidak mengutip bayaran kepada orang awam, namun elemen budaya Malaysia yang kami bawa dilihat unik dan menarik minat orang asing di sekeliling.

10

perlu merangkaikannya kepada telefon pintar .

Rujukan : www.tonymdy.com Gambar dengan Ehsan Tony Mdy Gambar oleh Abby Zain

KUALA LUMPUR 2019 Memperlihatkan dewasa ini perkembangan seni visual/tampak bahkan seni persembahan “performance”/ buskers amat popular di daerah Jalan Bukit Bintang, di Kuala Lumpur terutamanya menjelang waktu malam sehingga ke lewat pagi. Kesungguhan artis jalanan menjalankan aktiviti perkhidmatan lukisan melukis (commission work) terutamanya potret, menjadi tarikan pelancong di sana. Pelbagai ragam dan gaya artis jalanan yang menggunakan medium seperti air brush, pensil, arang (charcoal), oil pastel, menarik minat pengunjung yang selalunya mendapatkan perkhidmatan sepantas 2 jam .

Dalam kesibukan dan keriuhan di kaki lima di Jalan Bukit Bintang itu, artis jalanan berkarya tanpa mengenal jemu. Dalam perbualan dengan beberapa orang daripada mereka, rata-rata menyatakan permasalahan yang sama iaitu pendapatan yang diperolehi mereka bergantung kepada cuaca pada malam itu. Jika baik cuacanya, maka lumayanlah kutipannya. Tetapi sekiranya hujan, maka mereka terpaksa berteduh di kaki lima di kedai berdekatan .

Dalam menyelaraskan dan memperkasakan undang-undang, pihak Dewan Bandaraya Kuala Lumpur telah menetapkan satu peraturan kepada artis jalanan untuk mendapatkan pas pengenalan diri bagi membolehkan artis jalanan supaya dibenarkan menjalankan aktiviti.

Artis Jalanan A: 27 tahun, salah seorang pengkarya seni yang menggunakan “spray paint“ mengatakan adakalanya berjaya meraih pendapatan dapat mencecah sehingga

Artis Jalanan B: Dalam usia lingkungan 40-an

Dengan adanya teknologi canggih, maka satu

pula menyatakan pendapatan yang diperolehi

peningkatan dari segi sistem pembayaran boleh

tidaklah sebaik semasa beliau berkarya di

dilakukan bagi memudahkan peminat membantu

Central Market di mana pengunjung mampu

kesinambungan artis jalanan untuk terus

memberi bayaran yang 2 kali ganda lebih

berkarya, malahan dapat meletakkan mereka

tinggi daripada berkarya di kaki lima. Di sini,

ke tahap professionalisma. Melalui sistem yang

pengunjung yang datang adalah bermusim dan

teratur dan undang- undang yang ada, sedikit

kebanyakannya adalah pelancong dari Arab.

sebanyak dapat membantu kedua-dua belah pihak, seterusnya dapat mensejahterakan

Artis Jalanan C: 50 tahun, pelukis yang telah lama

Malaysia.

berkecimpung dalam lapangan seni visual yang membuat performance art dengan mengenakan pakaian ala Puteri Cina. Beliau menyatakan beliau mendapatkan hasil pendapatan beliau ialah melalui sumbangan ikhlas daripada mereka yang bergambar dengannya. beliau. Ibu kepada seorang anak perempuan ini sering bertemankan rakan artis jalanan yang lain bagi menjamin keselamatan dan melalui aktiviti ini banyak menyatakan pengalaman pahit dan manis.

Melalui program yang dijalankan oleh pihak Dewan Bandaraya Kuala Lumpur, maka satu pemantauan dapat dijalankan untuk menjamin keberadaan pelukis jalanan dan hubungan erat amatlah diharapkan demi menjaga kesejahteraan kedua-dua belah pihak.

Artis jalanan merupakan insan kreatif yang berjaya memberi impak kepada pelancong mahupun rakyat Malaysia.

Mereka seharusnya diberi tempat yang khas dan istimewa di atas kesungguhan mereka menggunakan sebaik mungkin bakat yang ada.

RM1000.00 paling tinggi yang pernah dikutipnya dalam masa 12 jam dan ada juga masa yang tidak dapat meraih kutipan langsung. Walaubagaimanapun anak muda ini bersemangat dalam menghasilkan karyanya di atas kadbod dan “casing” telefon pintar .

11

5

Langkah Mendapatkan Permit Untuk KL Street Artist oleh Dewan Bandaraya Kuala Lumpur

oleh Zaslan Zeeha

2

1 Mengisi borang permohonan KL Street Artis (Berumur 18 tahun ke atas)

Memilih samada: SPM: Seni Persembahan Muzik SVK: Seni Visual Kreatif

4 3

Menyertai bengkel dan membayar RM30 yuran permit (Sah 6 Bulan), Perlu diperbaharui (RM10)

Sesi uji bakat dinilai oleh Penilai KL Street Artis

5 Pas pengenalan diri diberikan.

Seniman berkarya di tempat yang telah disenaraikan dan perlu mematuhi syarat syarat yang telah dikenakan Terdapat kes di mana buskers dihalau dari

Jalan Bukit Bintang, Lanai Seni, Jalan Tuanku

premis perniagaan (mall atau kedai) walaupun

Abdul Rahman, Jalan berhampiran SOGO, Jalan

mempunyai permit yang membolehkan mereka

Mahkamah Persekutuan, Jalan Petaling, Taman-

membuat persembahan/pertunjukkan di

taman awam milik DBKL.

tempat-tempat awam di KL. Ia bergantung kepada pemilik premis berkenaan kerana

Bolehkah rakyat asing memohon permit?

bimbang akan menimbulkan gangguan kepada pengunjung terutamanya pada hujung minggu

Tidak, permit hanya dikeluarkan untuk rakyat

atau jika ada event berlangsung.

tempatan sahaja buat masa sekarang.

Bahagian Setiausaha, Jabatan Kebudayaan,

DBKL telah mengambil inisiatif untuk memohon

Kesenian dan Sukan DBKL, rakyat tempatan

permit dari lebih lokasi komersial supaya buskers

sendiri sukar untuk memperoleh pendapatan

dapat membuat persembahan atau pertunjukan

daripada busking, jadi DBKL menghadkan permit

di situ. Antara beberapa lokasi yang “mesra

hanya dikeluarkan untuk rakyat tempatan sahaja.

buskers�;

Tambahan pula, proses mendapatkan visa untuk rakyat asing tidak mudah.

12

Seniman dan Motivasi Wang

by Jumie Al-Idid

B

ayangkan sebuah studio. Sang artis mencoret namanya di sudut bawah lukisan, tanda berakhirnya proses

kreatifnya. Sejak bermula konsep lukisan sehinggalah coretan namanya, dicurahkan segala daya pemikiran dan kawalannya di luar norma.

Diketepikannya setiap bantuan dari luar demi kreativiti dan keaslian. Dia tidak bersaing dengan sesiapa melainkan dirinya yang dahulu. Baik dari sudut waktu, teknik dan jumlah kanvas, si artis hanya mematuhi erti kebebasan.

Tiada kadar bayaran untuk masa yang dilaburkan.

Kekangan, jika ada, hanyalah saiz studio, kos bahan-bahan, atau kejauhan pasaran. Kesemua itu bukanlah batasan kebebasan seorang artis berbanding dengan orang lain di dalam bidang lain. Bekalan utama mereka: cinta, kegigihan dan

Ibrahim Hussein, Genting (78), 1978, Acrylic, ink on paper, 172 x 172 cm, Collection of National Art Gallery

kebebasan.

Seperti segumpal embrio, kembara karyanya

mencecah langit tidak bererti ia adalah

ditentukan oleh motivasi si karyawan. Pada

masih belum berakhir. Ia perlu dinikmati, dihargai.

“barangan” yang boleh diletak angka fiskal yang

kadar yang sama, sesebuah karya yang tidak

Tanpa penghargaan, apalah karya. “Pembalasan”

jitu. Ia adalah hasil idealisme yang tinggi dan

bermotifkan unsur-unsur wang tidak semestinya

cinta si artis hanya terlaksana menerusi sebuah

murni (dari kacamata si artis) yang dilahirkan

memiliki nilai artistik atau estetika yang tinggi.

pasaran yang dipenuhi kehendak manusia

bukan kerana wang.

aneka wajah dan ragam. Di dalam suasana

Menjalani Phd sekaligus memulakan sebuah inisiatif baru di dalam bidang pendidikan seni bukanlah mudah. Tapi

ekonomi inilah, kerap timbul persoalan mengenai

Namun, realitinya, seperti manusia lain, si artis,

keupayaan sebuah karya seni menjadi sebuah

perlu memenuhi keperluan kehidupannya

komoditi.

yang, mahu tidak mahu, berada di dalam

Malim, Perak. Phd-nya berasaskan projek “Artist in School”

batasan pasaran berasaskan wang. Tidak dapat

(AiS) Malaysia tanpa dirancang telah menjadikan beliau

perjalanan itulah yang dipilih Jumie Al Idid, Phd Seni dan Rekabentuk Universiti Pendidikan nSultan Idris Tanjung

pengasas inisiatif tersebut di Malaysia. AiS Malaysia

Bagi ramai penggiat seni, tanggapan karya seni

dinafikan, sering berlaku faktor motivasi proses

sebagai bahan komoditi adalah menjengkelkan.

pengkaryaan bermula pada fasa konsep lagi

artis terkemuka tanahair kea rah meningkatkan motivasi

Karya seni adalah “tidak ternilai” dan tidak

adalah wang. Namun, motivasi pengkaryaan

para pelajar dalam pendidikan seni menerusi usahasama di

boleh dinilai seperti petroleum atau kelapa

berteraskan faktor kewangan bukanlah

sawit. Hakikat bahawa harga karya seni boleh

penunjuk bahawa sesebuah karya tersebut tidak

melibatkan kerjasama di antara sekolah-sekolah dan artis-

antara sekolah-sekolah dan artis-artis professional.

mempunyai sebarang nilai artistik atau estetika yang baik. Kualiti estitika sesebuah karya tidak

Roslisham Ismail Dalam Kenangan oleh Nur Hanim Khairuddin Saya pertama kali mengenali Ise pada 2002 ketika

Dalam konteks praktis kesenian Ise, saya dapati

budaya dan sejarah. Sungguhpun

memasang karya instalasi untuk BMS 2002. Kami

ada beberapa elemen atau ciri penting. Antaranya,

begitu, karya-karya Ise sentiasa

berdua pernah berkolaborasi dalam beberapa projek,

kolaboratif, antar-disiplin, konseptual, prosesual,

juga diserikan dengan unsur-unsur

termasuk pamerannya dengan Azizan Paiman bertajuk

relasional, kenakalan, pembabitan orang awam.

budaya popular, ‘whimsicality’ dan ‘playfulness’, tetapi sekaligus

Light Weight Heavy Weight dan penerbitan majalah seni Konsep Superfriendsnya juga sesuatu yang saya

sarat dengan inti-inti diskursus

rasakan begitu menarik. Ise menjalin hubungan

dan renungan yang tajam. Karya-

Seperti yang diketahui ramai, Ise seorang artis yang

akrab dengan pelbagai individu dari pelbagai lapis

karya Ise juga, dari sudut proses

rajin, tekun, inovatif, cekal, nekad, ‘rebellious’. Beliau

masyarakat, di dalam dan juga luar negara: dari rakan

pengkaryaan dan pembicaraan

adalah antara segelintir artis kontemporari Malaysia

artis, kurator, kritikawan dan kolektor seni sehinggalah

temanya, sangat kuat dilatari

yang paling menonjol di peringkat regional dan

sarjana dan akademik dari berbagai-bagai jurusan

dengan nilai-nilai manusiawi.

internasional.

sampailah kepada artis-artis dalam bidang-bidang seni

kontemporari sentAp!.

Roslisham Ismail 1972-2019

yang lain dan orang-orang biasa di luar lingkungan seni.

Pemergian Ise sesungguhnya

Ise seorang artis yang punya tenaga, hasrat dan impian

Kerjasama Ise dengan mereka ini sangat membantunya

satu kehilangan maha besar buat dunia seni rupa

yang besar. Beliau senantiasa saja berpameran dan

dalam menghasilkan karya-karya yang cukup

kontemporari Malaysia. Dan lebih malang lagi,

berkarya dari bienalle ke bienalle, dari residensi ke

bermakna, mantap, epik, dramatik.

pemergian beliau, barangkali kalau boleh saya katakan, sedikit menerencatkan dinamika seni kontemporari

residensi, dari projek ke projek. Setiap kali bertemu dan berbicara dengannya, ada saja projek yang sedang

Ise, melalui beraneka ragam bentuk karya, dari kartun

disiapkan, dirancangkan, difikirkan, diimaginasikannya.

dan kolaj sampailah kepada instalasi dan video, sering

Tidak henti-henti. Tidak penat-penat.

membicarakan isu-isu kehidupan, masyarakat, politik,

tempatan kita.

Temubual Jual Beli Seni

Soalan 1 : Apakah karya pertama anda yang telah dijual?

Gambar Karya Siswa 2

Jawapan : Drawing Mix media : Erti Sebuah Kebebasan.

Soalan 2 : Berapa harga jualan untuknya?

Berapakah peratusan yang anda bersetuju untuk memberi peniaga anda bayaran komisyen?

Jawapan : RM 180-210, I don’t remember.

I agree with the charity tu 30/70.

Soalan 3 : Adakah anda mengenali pembeli anda?

Jawapan : Buyer lecturer from USM

school of Arts jugak. Don’t know who.

Soalan 4 : Bagaimanakah perasaan anda selepas jualan anda karya pertama?

Jawapan : Teruja.

Soalan 5 : Adakah jualan menjejaskan pengeluaran seni anda?

Jawapan : No because I am a student. So kita masih lagi tak mampu pakai brand

colour yang mahal.

beli tu berlaku, I cuba lah hasilkan karya tu dengan lebih berkualiti. Tapi setiap

artwork yang I buat pun memang akan hasilkan yang terbaik sebab artwork yang dihasilkan bukan sekadar untuk kepuasan diri tapi untuk markah juga . And if ada buyer berminat nak beli InsyaAllah adalah rezeki tu.

SISWA 2

Soalan 7 : Galeri mana yang mahu menjual karya anda?

Jawapan : Galeri mana-mana pun tak kesah as long as artwork tu terjual, I dah rasa itu satu penghargaan untuk diri I yang usaha untuk hasilkan artwork tu.

Soalan 8 : Siapa artis tersohor yang anda kenal dan kagumi?

Jawapan : Ali Nurazmal.

Soalan 1 : Apakah karya pertama anda yang telah dijual?

Jawapan : Tempahan potret.

Soalan 2 : Berapa banyak yang dijual untuknya? Berapakah peratusan yang anda bersetuju untuk memberi peniaga anda bayaran komisyen?

Soalan 6 : Adakah aktiviti penjualan

Jawapan : Ikut wajah yang perlu dilukis.

meningkat dari segi kualiti karya seni

Biasanya aku bagi murah tapi jika tidak

yang dihasilkan?

keterlaluan.

Jawapan : Artwork terhasil sebab

Soalan 3 : Adakah anda mengenali

assignment. Memang tak terlintas

pembeli anda?

nak hasilkan artwork macam nak cari

side income ke tak. Bila satu projek

Jawapan : Tak kenal, kebanyakannya

datang I cuba hasilkan yang terbaik

strangers sebab aku suka berurusan

mengikut kemampuan. Tapi if projek

dengan orang yang tak dikenali

yang melibatkan exhibition dan sesi jual

berbanding dengan yang sudah kenal.

Soalan 4 : Bagaimanakah perasaan anda selepas jualan anda karya pertama?

Jawapan : Menghargai hadiah yang diberi.

Gambar Karya Siswa 1

Soalan 5 : Adakah jualan menjejaskan pengeluaran seni anda?

Jawapan : Tak.

SISWA 1

Soalan 6 : Adakah aktiviti penjualan meningkat dari segi kualiti karya seni yang dihasilkan?

Jawapan : Tidak mempengaruhi keadaan dan proses pembikinan artwork. Ukuran peningkatan tidak boleh diukur dengan berapa banyak jual artwork.

Soalan 1 : Apakah karya pertama anda yang telah dijual?

Jawapan : Aku tak ingat bila work first aku jual. Aku rasa masa tahun 2011 di Galeri Chandan. Aku jual drawing A4-A3 saiz harga RM200. Sebelum tu ada jual tapi tak ingat..

Soalan 7 : Galeri mana yang anda mahu

Jawapan : Balai Seni Negara.

Soalan 8 : Siapa artis tersohor yang anda kenal dan kagumi?

Jawapan : Indonesia : Indra Dodo,

Soalan 2 : Berapa banyak yang anda jual untuknya? Berapakah peratusan yang anda bersetuju untuk memberi peniaga anda komisyen?

LECTURER

menjual karya anda?

Nasirun, Agus Suwage, Lucas Silibus, Entang Wiharso.

Malaysia : Jailani Abu Hassan, Awang Damit, Juhari Said, Faizal Surif.

Soalan 1 : Apakah karya pertama anda yang telah dijual?

Jawapan : Masa student class

assignment. An oil paint impasto study of Kellie’s castle tilted, Ruin. Dibeli oleh seorang Lawyer I heard.

Soalan 2 : Berapa banyak yang anda jual untuknya? Berapakah peratusan yang

Jawapan : Masa di Chandan-60% artist,

anda bersetuju untuk memberi peniaga

40% galeri, Dari dulu macam tu kecuali

anda komisyen?

ada beberapa galeri ambik 50%.

Jwaapan : Cannot remember. Around Soalan 3 : Adakah anda mengenali

RM120. It was in 1999. Tak ingat first

pembeli anda?

sale. Now percentage is about 70-60 percentage dapat.

Jawapan : Aku kenal collector. Dealer pun kenal . Tapi diorang tak kenal aku.

Soalan 3 : Adakah anda tau

Tak pernah nak berhubung sangat

pembeli anda?

dengan diorang.

Jawapan : (Collectors) Most of the time

no. Dealer yes.

Soalan 4 : Bagaimana perasaan anda selepas jualan pertama?

Soalan 4 : Bagaimanakah perasaan anda selepas jualan anda karya pertama?

Jawapan : Melegakan bila dapat jual artwork. Banyak hutang dapat dilangsaikan.

Juhari Said, Lembu Nak Jadi Katak, 2000, Cetakan Potongan Kayu, 78 x 90 cm

Jawapan : Sad to part with work.

Soalan 5 : Adakah jualan menjejas

Soalan 5 : Adakah jualan menjejas

pengeluaran seni anda?

pengeluaran seni anda?

Jawapan : Tak pernah menjejaskan karya.

Jawapan : Now yes. Getting more

motivated to do certain kind of work to Soalan 6 : Adakah aktiviti penjualan

make sure I don’t need to keep them

meningkat dari segi kualiti karya seni

afterwards. Takes too much space.

yang dihasilkan?

Jawapan : Yes. Gives modal to buy more

quality art materials that ps me. Pay people on technical work as well.

Soalan 7 : Galeri mana yang anda mahu menjual karya anda?

Jawapan : Richard Koh, Kalu Institution

SISWA 3

Balai Seni, Singapore Art Museum.

Soalan 8 : Siapa artis tersohor yang anda kenal dan kagumi?

Jawapan : Haffendi Anuar.

15

Menangani Dilema Ekonomi Pelukis Muda oleh Faizal Sidik

S

ejak beberapa tahun kebelakang di ambang ekonomi dunia mengalami kejatuhan, beratus-ratus ribu pekerja kini diberhentikan akibat penutupan dan pengecilan syarikat yang beroperasi. Laporan

mendedahkan tahap pengangguran anak muda di negara ini yang berumur bawah 25 tahun berjumlah 273,400 individu. Tempias krisis ekonomi global bukan sahaja mengecilkan peluang pekerjaan malah turut terjejas adalah pekerja kreatif yang menampung kariernya sebagai pelukis, pereka grafik,

Pusat Kreatif Balai Seni Negara

pereka set, pengajar seni dan lain-lain.

Bagi pelukis sepenuh masa pula, sudah tentulah dengan pasaran seni yang kecil di sini kerana masih lagi kekurangan patron seni terutamanya kolektor persendirian mahupun korporat ditambah pula dengan pasaran seni dunia yang perlahan, lebih-lebih lagi di sini mata pencarian mereka semakin hari

2018

semakin hilang akibat krisis ini. Untuk mengatasi atau setidak-tidaknya memberi harapan kepada pekerja seni yang kehilangan mata pencarian untuk terus menghasilkan karya yang berkualiti mereka perlu kepada sumber ekonomi untuk menjamin kelangsungan atau survival karier mereka dalam bidang ini daripada terus terkubur, perlu dicari beberapa langkah agar

oleh Faizal Sidik

mereka yang telah berkarya selama ini dapat terus memegang berus dan kanvas dalam usaha menghasilkan karya-karya baru bagi mengisi keperluan

Balai Seni Negara mempunyai 4 ruang Pusat Kreatif atau Creative Space pada tahun 2018 yang menyokong pameran-pameran yang diadakan di galeri-galeri utama. Selain itu kewujudan Pusat Kreatif ini adalah kerjasama dengan agensi kementerian dan juga syarikat korporat. Antara ruang-ruang ini adalah Galeri Potret Negara, Lobi Pentadbiran dan Pusat Pelancongan Malaysia (Matic).

bakat baru seni yang berpotensi untuk dikedepankan, memberi kepada

pelukis-pelukis

muda

berpameran,

menjana

pendapatan melalui penjualan lukisan dan merancak dan menyokong kegiatan berpameran selain yang diadakan di galeri utama, Balai Seni Negara.

Pada tahun 2018 Pusat Kreatif ini telah mengadakan sebanyak 26 buah pameran samada pameran solo dan berkumpulan sepanjang tahun. Sejumlah 17, 666 orang pengunjung telah dicatatkan oleh ke empat-empat Pusat Kreatif ini. Sebanyak 71 buah karya pelukis yang berpameran telah terjual dengan pulangan pendapatan RM 414,495.00 telah dibayar kepada pelukis manakala RM 74,373 pendapatan lagi iaitu 15 peratus komisen kepada Balai Seni Negara.

tidak melabel rakyat Malaysia mempunyai apa yang dikatakan citarasa yang rendah atau ‘bad taste’.

Di sini ada beberapa pendekatan yang dirancang dalam kita bersama-sama mengharungi krisis ini terutamanya kepada pelukis-pelukis yang terkesan dalam hal ini. Semasa Amerika menghadapi krisis ini di zaman kemelesetan

Tujuan Pusat Kreatif ini diwujudkan adalah untuk mencungkil bakatpeluang

negara dalam bidang estetik agar pelancong yang datang ke negara kita

ekonomi yang teruk dalam sejarahnya pada tahun 1935, Roosevelt iaitu presiden mereka pada masa itu telah membina satu program yang dinamakan Treasury Relief Art Project (TRAP) yang dibentuk pada July 1935 dengan pemberian geran daripada Works Progress Administration (WPA) di bawah Jabatan Pembendaharaan yang mengaji lebih kurang lima ratus artis di Amerika pada masa itu yang menganggur atau telah diberhentikan kerja untuk mendekorasi atau menghiasi lebih kurang 1,900 bangunan kerajaan.

TRAP adalah merupakan projek kerajaan persekutuan yang bertujuan membantu pelukis-pelukis ini menghasilkan hasil kerja mereka yang berkualiti dan bangunan-bangunan awam pada waktu itu.

Pemilihan daripada jawatankuasa program TRAP ini datangnya daripada mesyuarat ringkas yang menghadkan kepada hanya lima ratus pelukis terutamanya kepada organisasi seni lukis iaitu kumpulan-kumpulan seni yang ada adalah diberikan perhatian dari segi keperluan hidup mereka daripada kualiti seni yang akan mereka hasilkan nanti. Pelukis-pelukis yang menyertai program ini perlu mengistiharkan mereka merupakan pelukis sepenuh masa atau yang masih belum mempunyai pekerjaan semasa berada dalam program ini. Peserta dalam program TRAP ini diberi gaji bulanan dan mereka perlu bekerja selama lima belas jam seminggu. Ia juga bertujuan agar artis yang kehilangan sumber pendapatan selama ini boleh membeli sumber makanan yang lebih baik daripada sup soya (mungkin makanan yang paling murah seperti mee maggi untuk kita di sini) dan mereka mempunyai sedikit masa lapang untuk kembali menghasilkan karya dan memberi keyakinan kepada mereka atau motivasi diri. .

Pada tahun 1937 Program Treasury Relief Art Project TRAP ini telah diangkat taraf kepada WPA Federal Art Project atau hanya WPA dengan beberapa pembaharuan telah dilakukan terhadap program ini terutamanya dari aspek persekitaran pekerjaan. Antara artis yang terpilih untuk turut dalam WPA ini

Jayshree Ramasamy My All Is Up In The Horn Acrylic on Canvas 91 x 122 cm 2016

akhirnya telah menjadi pelukis besar negara itu dan dunia seni lukis seperti Jackson Pollock, Mark Rothko, Willem de Kooning, Louise Nevelson, David Smith, Lee Krasner, Philip Gusto, Ad Reinhardt, Arshile Gorky, Milton Avery, William Baziotes dan lain-lain. Program ini pula terbahagi kepada 2 bahagian iaitu Mural Division atau projek mural dan Easel Division iaitu projek catan

16

Dirasmikan oleh Officiated by

...............................................................................................................

YBrs.Tuan Haji Zain Azahari Kolektor Seni Art Collector

11.05.2018 | Jumaat Friday | 3.00 pm Balai Seni Negara National Art Gallery

easel. Bagi pelukis yang mengambil bahagian

Idea perancangan Pusat Kreatif atau Creative

yang dinamakan Depot Seni, diharap dapat

dalam projek mural mereka, kedua-dua projek ini

Space ini telah dijalankan sejak pertengahan tahun

mendedahkan pelukis muda

diperuntukkan material secara percuma.

1980 an lagi setelah Balai Seni Negara berpindah

dagang dan komersialisasi seni dalam menjana

ke

kepada dunia

Majestic)

pendapatan berasaskan pengkaryaan mereka

Di awal projek ini pelukis easel perlu mengetik

daripada bangunan lama Parlimen Malaysia (kini

sebagai pengusaha seni yang berdaya saing

kad pada jam 8 pagi untuk masuk dan pukul 4

Pusat Pelancongan Malaysia atau Matic). Pada

agar lebih bersedia apabila terjun ke dunia seni

petang untuk keluar. Jackson Pollock pernah

awalnya ruang yang dinamakan dengan Pusat

sebenar.

diceritakan berlari terkejar-kejar dengan masih

Kreatif atau Creative Centre ini ditempatkan

memakai pakaian tidur pijamas di waktu itu

di

Pernah

Mempunyai kepentingan yang bersifat nasional

untuk tidak terlewat mengetik kad di bangunan

diberitahu oleh kakitangan senior yang telah lama

sebagai pusat latihan seni, pembinaan cawangan

yang

mengelakkan

berkhidmat bahawa bangunan Pusat Kreatif ini

pertama Balai Seni Negara di Langkawi dalam

dirinya tidak menerima bayaran elaun harian.

dahulunya adalah merupakan dapur masakan

hampir 60 tahun setelah penubuhan institusi ini

Bagi

bekerja

bagi Hotel Majestic. Pada mulanya Pusat Kreatif

diharapkan dapat menawarkan permintaan yang

tanpa ada penyeliaan dan bekerja di studio

ini dibina untuk memberi peluang kepada pelukis-

datang daripada pelukis muda dari negeri-negeri

mereka. Dari sumber yang dirujuk untuk Mark

pelukis muda yang sukar mendapat tempat di

utara seperti Kedah, Pulau Pinang dan Perlis.

Rothko mendapatkan cek bayaran, beliau perlu

galeri swasta untuk berpameran. Sungguhpun

Mengambil peluang Langkawi sebagai pintu

menghantar hasil catan minyak setiap empat

begitu apabila berpindah ke bangunan tetap yang

masuk

hingga enam minggu (bergantung kepada saiz)

ada kini Pusat Kreatif masih digerakkan namun

antarabangsa yang datang ke Malaysia. Dalam

untuk diletakkan di bangunan kerajaan. Berbeza

terarah kepada program-program pendidikan dan

menyemarakkan lagi industri perhotelan sudah

pula dengan muralis, mereka diharapkan untuk

penghayatan seni.

tentu

beliau Easel

ditugaskan Division

untuk

pelukis

easel

bangunan

sebelah

barunya

bangunan

(kini

Hotel

utama

galeri.

utama

bukan

kepada

sahaja

pelancong-pelancong

memerlukan

pengarah

seni hotel malah pelukis dalam menceriakan

menghasilkan “American Scene� di mana mereka Meminjam model daripada Faderal Art Gallery, kini

dinding-dinding dalam dan luar. Pembukaan ini

Balai Seni Negara menjenamakan semula ruang-

diharapkan akan dapat menjalinkan kerjasama

Program sebegini selain memberi sokongan

ruang ini

dengan memberi nafas baru kepada

pemain-pemain industri dan rumah-rumah seni

dan semangat kepada artis, ia perlu juga dilihat

Pusat Kreatif di Lobi Bangunan Pentadbiran

tempatan dengan merancakkan lagi penghasilan

dari segi keprihatinan terutamanya kepada artis

bukan sahaja memberi peluang kepada pelukis-

karya-karya seni oleh pelukis dengan serius

yang bekerja di studio sendiri. Pernah suatu

pelukis muda untuk berpameran malah menjana

dalam menjadikan Langkawi hab seni baru

ketika semasa penyelia datang ke studio Mark

kewangan hasil daripada jualan karya, tujuannya

sebagai muzium terbuka dalam pulau.

Rothko penyelia tersebut meninjau-ninjau peti

bukan untuk menjadi pesaing kepada galeri-galeri

sejuk untuk melihat berapa banyak makanan

swasta yang beorentasikan keuntungan tetapi

Kesimpulan

yang beliau ada. Program WPA ini tidak terhenti

sebagai satu promosi yang boleh merancakkan

Oleh

sekadar suatu program kepada artis yang tidak

lagi lanskap seni dalam usaha mempelbagaikan

menyebabkan pengangguran di kalangan pelukis

mempunyai pekerjaan pada masa itu sahaja

penjanaan pendapatan kepada pelukis. Atas

ini wajar dibantu dengan beberapa saranan dan

malah ia juga telah disokong dengan program

permintaan yang tinggi daripada pelukis, kini

perancangan di atas agar mereka boleh terus

sampingan daripada program ini seperti program

Balai Seni menambah dua lagi Pusat Kreatif di

hidup dan berkarya. Hal ini kerana karya seni

instruktor seni, pusat seni komuniti, art tour

Galeri Potret Negara dan Pusat Kreatif di Pusat

halus adalah cerminan kepada budaya kehidupan

atau lawatan berpandu seni ke studio-studio

Pelancongan Malaysia (Matic).

dan pemikiran masyarakat yang mendukungi

bebas untuk mengaplikasikan stail mereka sendiri.

yang

demikian

krisis

ekonomi

yang

di negara tersebut pada sesuatu era atau atau

artis yang terlibat atau ke pameran-pameran, dan berkumpulan yang diadakan mereka dan

Bagi program Ushawan Muda Seni pula atau

zaman. Jika tinggi nilai estetiknya maka tinggilah

galeri seni. Idea daripada program WPA ini maka

dikenali dengan Young Art Entrepreneurs (YAE!)

taraf daya fikir masyarakat itu dan akan dihormati

terbinalah galeri seni iaitu Federal Art Gallery iaitu

dirancang dalam membendung penganguran

oleh orang luar yang pandai menghargainya. Artis

galeri milik kerajaan yang berkonsepkan galeri

dikalangan praktis seni muda terutamanya yang

berkarya adalah atas dasar cinta dengan apa

swasta yang mengadakan program pameran

baru keluar daripada institusi pengajian seni dan

yang mereka lakukan, maka jika bukan atas dasar

bersilih ganti bagi menjual karya dan menyokong

masih mencari-cari tapak dalam memulakan

cinta tiadalah produk yang dapat dihasilkan, oleh

karier pelukis.

karier

berpandukan

sebab itulah mereka terus berkarya dan kerana

kepada budaya keusahawanan seni halus sebagai

itu adalah hanya pekerjaan yang mereka mahir.

Berdasarkan model-model yang telah ada ini

perniagaan ini membuka peluang kepada lepasan

Diharap program sebegini dapat diaplikasikan

jugalah Balai Seni Negara mengorak langkah yang

graduan seni membina jaringan niaga berdasarkan

dengan jayanya di sini bagi memperkasakan lagi

lebih berstrategi dalam menangani dilema pelukis

kemahiran seni yang mereka miliki. Mendedahkan

pengkaryaan seni di negara ini kerana ia akan

di sini antaranya ialah penjenamaan semula

semangat keusahawanan di kalangan lepasan

menjadi khazanah warisan negara.

ruang-ruang kreatif, memperkenalkan program

diploma dan ijazah, program latihan semula

Ushawan Muda Seni dan pembinaan cawangan

secara berpusat di

pertama Balai Seni Negara di Langkawi.

4 hingga 6 bulan dijalankan di studio kontena

seni

mereka.

Program

Balai Seni Negara selama

17

The Econo-Aesthetics and the Art Robot System

by Khaled Ramadan

W

There is a difference between

radio and TV programs, and documentary

putting together an exhibition and

films addressing the position of art and media

curating an art biennale. To stand

narratives, and the function and responsibility of

out, a biennale needs to have a distinct vision

both in relation to contemporary society.

and an aesthetical conceptual identity.

To achieve alternative definitions and readings,

In 2008, CPS was invited to be part of the

the biennale’s curator needs to think differently

curatorial research team and co-curate the Third

and is expected to present new curatorial

Guangzhou Triennial headed by curator Sarat

thinking. Therefore, art platforms like biennales

Maharaj.

are expected to contribute with new, knowledgebased, aesthetical values to help audiences

In 2009, CPS members Khaled Ramadan and

diversifying their learning and analytical skills in

Alfredo Cramerotti were appointed to co-curate

relation to contemporary artistic practices in a

the European biennale Manifesta 8, and in 2013

politicized / globalized art world.

to curate the Maldives Pavilion at 55th Venice Biennale.

This article addresses how the art and curatorial collective Chamber of Public Secrets (CPS)

The Manifesta Foundation

applied the above-mentioned vision during

The curatorial experiences - a concise

the process of curating the nomadic European

conceptual approach

biennale Manifesta 8 in Spain 2010 and the Maldives Pavilion at the 55th Venice Biennale in

The Nomadic European Biennale Manifesta

2013.

bases its activities on socio-political topics and arrays of conceptualized art systems, and has

Establishing Chamber of Public Secrets

developed its own unique mechanisms of how to produce, read and communicate contemporary

Chamber of Public Secrets (CPS) was established

artistic practices.

in 2004 in Berlin and Copenhagen. In 2005-06, CPS was a major contributor to the experimental

Manifesta’s art robot was established by the

TV station called tvtv in Copenhagen and

Dutch curator Hedvig Fijen in Amsterdam in 1994.

produced several broadcast hours on critical

Unlike other biennales, Manifesta takes place

topics, adding a global flavor to local TV.

in a different European country every second year. Manifesta often locates itself in border

CPS is a network of artists, curators and cultural

cities between two nation states, and sometimes

writers providing a platform for the kind of artistic

between two tense regions within the same

expression that goes beyond what is recognized

nation state. Manifesta performs best where

on the global art scene. Technically speaking

ethnic, sectarian or social issues are at stake as it

CPS applies the usage of constructed media,

uses artistic practices as therapy to build bridges

info-investigative-aesthetics, and aesthetic

and heal tense and unsolved/interrupted socio-

journalism.

political conditions.

It started as a self-learning, self-activation group

Manifesta has a different economic structure

that later became a participatory collaborative

than any other art biennales.

collective that uses and presents scientific

It constantly negotiates new financial

research, critical theories, knowledge-based

agreements with cities willing to host it. The

narratives, and concepts of discursive character

inviting city usually finances Manifesta’s

in order to address central questions like:

activities, on the basis that Manifesta employs local manpower for logistic work and engages

•

What does it mean to produce culture?

local citizens in Manifesta’s non-artistic activities.

•

How can artistic production contribute

However, host cities know in advance that

positively to our collective social behavior?

Manifesta will bring its own audience (about

Can cultural interventions help us to

60.000 international guests). Those guests will

communicate better with the so-called

naturally book their own flights and hotels and

real space?

will contribute financially to the host city. So,

How can aesthetical practices guide us to

economically it is a win-win situation.

•

•

understand or solve different issues related to our history and social complexity?

Artists and curators can be invited to participate only once in the Manifesta Biennale, unlike the

CPS’ journey of collective curating

Venice Biennale where artists and curators can take part several times and at multiple pavilions

Since 2004, CPS collective has conceived and implemented art exhibitions, film festivals,

18

simultaneously.

As part of its fundamental concept, Manifesta has its own education department, which it campaigns strongly for, and uses to leave behind traces in every city it visits. Manifesta regards its education department as a tool of knowledge production, which brings with it to local communities global curatorial and artistic expertise.

Book publishing and journals, conferences, workshops and seminars are also part of Manifesta’s knowledge machine, not to forget that Manifesta has a strong relation to the network of art journalism and media across the world.

Manifesta changes its curatorial approach every time it moves to a new city. Through operating as a roving biennale, Manifesta must each time address and negotiate a different context with specific geographical, historical, aesthetical and political structures. In this way, its curators are offered the opportunity, and the challenge, to engage with local, global and networked communities using a variety of platforms and methodologies.

CPS co-curating Manifesta 8, Spain 2010 Manifesta 8 (M8) was built around collective curating. Our art collective CPS, together with ACAF and Transit.org, were appointed to curate M8 in the Spanish cities of Murcia and Cartagena, under the theme ‘Southern Spain in Dialog with North Africa’.

CPS approached M8 as a grand experimentarium and decided to take the artists we invited out of their usual terrain and challenged them to produce works of different nature than what they were used to.

CPS’s approach to curating encompassed (mass) media platforms such as television, internet, radio and newspapers, alongside other exhibition formats. Broadcast airtime, online streaming, printed matter, human relations, and physical venues were all ‘channels’ in which our artists presented different types of constructions.

CPS’ concept: THE REST IS HISTORY?

exhibitioners to follow, but that is all.

aspect of the planning, research, selection

This position adopted by the Venice Biennale

and installation of the artworks

The concept of ‘THE REST IS HISTORY?’ with

opens up the door to many unanswered

a question mark was meant to reflect on the

questions inquiring whether the Venice Biennale

of all income, including expense accounts

interrupted and untold history of the Spanish

is really contributing to new artistic values or

sorted by activities.

Civil War, and on the shared history between

measurements, and whether it is truly helping

North Africa and Southern Spain, better known as

the development of new artistic practices.

Alandalus.

•

Maintaining detailed financial statements

Finally, participation in the Venice Biennale is a powerful tool for a country to promote its culture

Still, the Venice Biennale remains an attraction

abroad. Attendance at the Venice Biennale

THE REST IS HISTORY? addressed in real space

for nation states and private art associations

has grown significantly since its inception in

the one shared history and how it has been

and galleries alike for many reasons. For some

1895. Today, the Biennale logs over 500,000

narrated on both sides of Mediterranean - one

nation states, participating in the Venice Biennale

visitors semi-annually. Many come from all over

history, two different stories.

may be politically motivated. Consequently,

the world to experience the art and culture

some countries use the Venice Biennale as an

of individual nations dispersed in pavilions

In the vision of CPS, Manifesta 8 was a series

international, cultural platform to promote a new

throughout the small island lagoon city.

of ‘transmissions’ that critically used artistic,

national image, especially if the existing image is

relational and media(ted) strategies to explore

not a very pleasant one.

ideas of what Spain / Europe is today and

The Maldives Pavilion at the 55th Venice Biennale

focus on its boundaries and relationship with

The Venice Biennale is the world’s grand

Northern Africa, while encouraging a questioning

exhibition space for art events and there

Portable Nation - Disappearance as work

perspective from viewers. Within this context,

are also countries that use the biennale as

in progress - approaches to Ecological

CPS searched out dialogues and placed them in

a platform to demonstrate and brand their

Romanticism.

the public realm through the practices of media

national culture and heritage. They do so by

production, documentary, artistic research, and

selecting their best curatorial teams and invite

In 2012, I was the appointed curator of the

aesthetic journalism.

the country’s best conceptual artists that are

Maldives and curated the first Maldives Pavilion

capable of representing the latest and most

at the 55th Venice Biennale in 2013 together

These media(ted) channels were an extremely

phenomenological artistic practices in the

with the CPS team. The title of the pavilion

interesting place to situate a series of projects

country at the world’s most prestigious art

was ‘Portable Nation - Disappearance as

for Manifesta 8. By challenging artists and

platform.

work in progress - approaches to Ecological

contributors to explore new terrains beyond their usual practice, we questioned the media’s

Romanticism’.

The protocol of the Venice Biennale

relationship to the construction of local reality,

Curating a pavilion for a politically polarized

how it relates to ideas of truth, fact and history,

At the Venice Biennale, pavilion spaces are

nation state like the Maldives at that time was

what its possibilities are for engaging with new

usually hired by nation states or private

a very difficult job. However, we studied and

audiences, and why we need to expand the

foundations for a period of six months for the

comprehended the socio-political situation

existing boundaries of art by introducing the

amount of 50,000 and up to 300,000 Euros

and decided to present an ecological project

notion of media. In short, in/with Manifesta 8,

per space. Since the end of the Second World

addressing the much larger risk facing the

CPS worked not only to expand media into art,

War, the Venice Biennale has gone through

country, namely that it may disappear in 80

but also art into media.

an industrialization process, and it is now an

years’ time due to rising sea levels, meaning that

event of commercial interest by all means. The

the Maldives may become the first nation state

biennale has become a source of income for

without a land.

The Venice Biennale

the city of Venice and it has inspired the city to

Today the Venice Biennale is considered the

concept, and selecting the artists who represent

most important and prestigious art event on

the latest artistic practices in the country.

The Maldives Pavilion became an eco-aesthetic space, a platform for environmental campaigners, artists, and thinkers. The intention behind inviting artists and contributors to participate in the pavilion was to provide a meaningful aesthetic experience and extensive knowledge of the concept of Contemporary Environmental Romanticism in relation to the nature and culture of the Maldives.

calendar. Every second year more than 80

Usually, the work of the appointed curators

Curators of visual knowledge

countries participate in the biennale.

includes :

In April 1893, the Venetian City Council passed

arrange similar events around the year, like the

a resolution to set up a biennale exhibition

architectural biennale, the film festival, and the

of Italian Art (Esposizione biennale artistica

children biennale.

nazionale) to help promote the marketing of artworks by Italian artists. A year later the council

The Ministry of Culture in any respected nation

decreed to adopt a by invitation system to

state usually appoints a commissioner, who

reserve a section of the exhibition for foreign

appoints the curators. The curators then organize

artists.

the logistics of the pavilion from A to Z, including finding a good theme, writing the curatorial

the international contemporary art and culture

At a time and place where art and culture The biennale as a platform

•

The Venice Biennale used to be only for

Identifying precise goals and values

is no longer confined to the elites in society

coinciding with the country’s visual culture

and practicing art is no longer the preserve of

and aesthetics

artists, our CPS team realized that we need to

recognized nation states that can secure their

•

Prioritizing the interests of the country

systematically set up new visual values in terms

own self-representation at the event. Next to the

•

Considering the cultural aspects and values

that audiences can appreciate and subscribe

of the country

to. That is what we believe a biennale curator

Shaping a rich and varied visual, artistic

can do: introduce a knowledge-based visual

experience

experience by providing informative, educational

Encouraging unique thoughts and

and entertaining events to unpredictably engage

organize their own pavilions. They called these

stimulating sophisticated artistic and cultural

audiences that rely on multiple sources of

self-organized pavilions ‘collateral events’.

discussions

information and demand more complex and

Offering a truly professional, independent

diversified cultural experiences.

traditionally curated exhibition usually organized by the Venice Biennale Foundation itself, lately,

•

the foundation made it possible for private art associations, galleries and art organizations to

The Venice Biennale does not usually intervene

•

•

in the selection of curators, artists or artworks.

and unbiased foreground for the national

This job is left to the nation state, or to the curators of the so-called collateral events. The Venice Biennale has a stretchy guideline for the

culture at the international level •

Representing the Ministry of Culture in every

ART AND ENTREPRENEURSHIP MODELS AS VIABLE INITIATIVES IN THE MALAYSIAN ARTS SCENE

by Brandon Anak Simon Scott NAG YAE! Third Cohort

In reality, however, the opposite is true.

Art is perhaps the most powerful medium of expression for societal and cultural impact.

Such influence does not necessarily lend itself apparent in practical, quantitative terms, but the

L

effects can be felt nonetheless. The global art ately, the term ‘creative

the widening economic gap leaves many to

market is a multi-billion dollar entity, and even

entrepreneurship’ came into fore to

question the notion of what being a ‘Malaysian’

at its nadir, art auction houses generally net in

describe the amalgamation of the

truly is. Even within the context of Malaysia

several million dollars’ worth per sales night.

creative professional with the business

Baharu, there are still entrenched ideas that

Gallery institutions worldwide are powerhouses

entrepreneur. Unlike traditional models of

need to be challenged. Chiefly amongst this

funded generously by cultural institutions,

entrepreneurship, creative professionals are

is the demarcation between STEM and non-

corporate sponsors, and patronised by high-key

situation-driven, with a flexible median age

STEM academic streams, and prevasive career

media presence. In amongst this midst of crazy-

between 20 to 45 years. However, key aspects

discrimination against the arts. STEM graduates

rich spending, where does this leave the starting

of entrepreneurship are shared, such as goal-

are often perceived to be more valuable in

creative professional looking to make their mark

focused priorities, vision-led company direction,

contributing towards the jobs market compared

in the industry?

and risk-tolerance. The chief distinction is that

to their counterparts in the creative fields.

creative entrepreneurships focus on marketing

Artists are often victim to unreasonable work

the artist-as-product, through promoting

expectations and exploitative contracts. In

products, events, and services offered by the

terms of job prospects amongst fresh diploma

creative professional- they have to be prepared

graduates, the creative industries are rated

to face a saturated and at times, ever-changing,

as the least-paying profession for first-time

workplace environment. How exactly has

employees.

circumstances led to the creation of this new career opportunity?

Malaysia is an example of a national entity situated in complex dialogues defined by a

Creative enterprises in Malaysia has always been regarded as secondary in education and public perception-

diverse, yet at the same time, divisive, idea

to paraphrase further, we often have

of state. A Suhakam Human Rights report

no reservations about asking works

paraphrased from several years ago stated that

pro bono from artists but will gladly

The late art critic John Berger noted that art

purchase luxury goods regardless of

allows us to question established norms by

(as a nation) ‘… what we have is mere tolerance, not unity’. Our national identity is still marred by

peeling back superficialities and exposing

ethnocultural tensions. Religion has become

price! In education, art is often seen

uncomfortably intertwined with state, and

as a ‘last-chance’ venture for students

perspective on viewing things, or perceiving

who were unable to fit into mainstream

deeper layers in overlooked matter. Social issues

school models. We currently have no

pertaining to our contemporary zeitgeist can

separate, dedicated Arts and Culture Ministry, and artists do not have the

hypocrisy. This in turn provides a new

be placed under the lens of scrutiny by artists and the work they produce- as the audience, sometimes a non-lateral viewpoint can allow

same status as cultural ambassadors in

them to consider new paradigms of thought.

neighbouring nations.

The creative field has been at the forefront for major societal change. Take for example, prior to GE14 in Malaysia. Social media, and the

20

Brandon Anak Simon Scott Depicting the urgency of the now-whether expressed en plein air, or through alla prima portraiture, the urge to record an instance is a crucial element in my practice. Being a Dayak Sarawakian, my studio projects are based on understanding contemporary issues affecting the indigenous communities in east Malaysia.

spread of memetic visual culture (memes) have

conjunction with a regular lecture schedule and

been effective in bringing to light excesses of

submission of a business plan with a final show

mismanagement and poor governance exercised

setup as the final component of the course. What

by the previous (and current) administration.

I found illuminating about the programme was

Famous examples of protest art, such as the

the fact that it was set up by the current Director-

graphic artist Fahmi Reza’s Badut portrait are

General of the National Gallery, stemming from

emblematic symbols of an emergent trend

his experience as a street artist in Kuala Lumpur.

of visual culture created by young, educated

The lack of support and information about arts

creatives for a net-savvy, online, audience. The

entrepreneurship in his time led to the decision

dominance of social media platforms in the early

to establish the programme, in order to provide

00s created a potential new avenue for self-

a headstart for future creative professionals.

curated, globalised SME marketing bypassing

Additionally, it was the decision that the National

traditional promotion channels. Job stability

Art Gallery should emulate models of cultural

and permanence is an increasingly outmoded

institutions abroad in which emerging and young

concept for young, working professionals

artists are actively involved with the institutions’

in Malaysia with many graduate employees

programming and events schedule.

supplementing their main income with multiple part-time jobs.

Three cohorts in, and our programme consists

of 11 artists from throughout Malaysia, with

The Young Arts Entrepreneurs! (or YAE!)

the 12th artist invited from Taiwan as part of

programme, established by the National Art

a cultural partnership programme. Part of the

Gallery in Malaysia, is developed in order to

challenge for us is to deliver in terms of regular,

address the need for developing artists to

YAE-hosted events within the ArtDepot creative

become art-entrepreneurs. The programme has

spaces, and to complete a creative business plan

a rotating batch of 12 artists for each 6-month

based on our chosen entrepreneurship model.

stint, and focuses on the training, promotion,

These range from event-led models establishing

and development of creative professionals

training academies and hosting regular

for the industry. Intake ranges from overseas

teaching workshops and lectures, to social

graduates, to local and self-trained professionals.

entrepreneurships collaborating with arts and

An art-based background or education is not

culture initiatives in rural communities. The reach

strictly the defining criteria for admission- there

of the programme extends to YAE artists gaining

were participants who originally came from

visibility in external events. Selected artists

diverse fields such as marine geology, design,

amongst our batch are given the opportunity to

and even food sciences! What was, however,

showcase our works alongside alumni members

important was the willingness to learn new skills,

of the programme- most recently in last year’s

participate in events, and cooperate with fellow

ArtExpo Malaysia, and for trade events such as

participants in the programme- YAE! rewards

Asian Lifestyle Week 2018.

active participation in hosted events, lecture and presentation attendance, and external showing

There are plenty of opportunities offered to

opportunities.

participants in the programme-the main benefit is the ability for us to collaborate with Balai

The key structure of the programme is a six-

Seni in events, and network with fellow creative

month entrepreneurship residency with studio

entrepreneurs. Meeting with alumni members

spaces provided by the National Art Gallery, in

of the programme was a valuable experience

to learn about their post-YAE opportunities.

Members of the previous cohort, for example, were afforded the chance for overseas artists’ residences under ECM Libra Foundation. In our cohort, we were fortunate enough to be provided partial funding for our projects from Yayasan Hasanah. Some of the supported projects are social initiatives targeting local communities, artistic collaboration with external non-governmental organisations, and institutions such as the Education Ministry, Universiti Malaya, UiTM, and DPAC/KLPAC. Not all students become successful businesspeople, scientists, lawyers, or medical professionals. We should be provided with equal opportunity to succeed regardless of career path and disciplines, as entrepreneurship is meant to be open to all.

Name : Atelier BrandonRitom Company reg’d no : 002872719-D Founder : Brandon Anak Simon Scott Email : ritom.art@gmail.com Contact No : +60198558028 Facebook : AtelierBran donRitom Instagram : @deathbyhueshift Atelier BrandonRitom- Company Description

21

RESOLUTIONS ADOPTED AT THE NATIONAL SYMPOSIUM ON ART ENTREPRENEURSHIP

by Dr. Abdul Rahim Md Said

Introduction This is a summary of resolutions adopted at the end of the National Symposium on Art Entrepreneurship held at the National Art Gallery Malaysia, on 22nd and 23rd June, 2019. The resolutions were adopted by the assembly after a lengthy debate by a panel of four experts in front of a highly enthusiastic audience of about a hundred participants, on Sunday between 10 am and 12:00 noon.

Panel Members

based training and hands-on experience with

artists, their artwork and support from the local

comfortable facilities to cater to needs of artists.

population. This was followed with a series of

The panel was made up of Dato’ Dr. Mohammad

questions raised by the audience that were well

Najib Ahmad Dawa, the Director General of the

Similarly, William To agreed that a well guided

responded by the panel. Most of the following

National Art Gallery of Malaysia, Dr. Marco Thom,

career development scheme adopted by

resolutions result from the questions and

Managing Director of Marco Thom Group (MTG)

NAG will undoubtedly be helpful for artists

answers during the session.

Berlin, Mr. William To, Executive Director of

everywhere. Maggie who recently completed

PMQ Hong Kong and Maggie Tan Mui Theng of

her training at YAE, was equally enthusiastic and

Summary of Discussions and Recommendations

MTMT Studios who is a participant of the Fourth

spoke eloquently on the merits of the scheme

Accepted as Resolutions

Cohort of Young Art Entrepreneurs (YAE) Career

that she underwent and was more than willing to

Development Scheme.

recommend it to young artists in the country.

Views From Members of the Panel

Dato’ Mohammad Najib as the originator of

local artists and their art work be-strongly

Two major issues were explored by panel

YAE was overjoyed on the results shown and

supported to assist the art industry and ensure

members. The first focused on the current status

the achievements attained by the scheme and

survival of artists. It was resolved that everyone

of developing skills of young art entrepreneurs

expressed his hope that it would continue to train

should do their part to promote local artists by

and challenges faced to sustain themselves

more artists. The recent funding awarded by the

buying local art work instead of those produced

within the business ecosystem.

federal government to expand the Art Depot and

overseas.

1. Promotion of local artists and their art work.

Panel members and the audience agreed that

increase intake of future young artists, he said The second issue raised, examined the question

was timely and clearly showed that the scheme

2,. Change Buying Habits of Malaysians Towards

of future of younger artists and the trials of

has won the recognition of the powers that be

Local Art. The audience and panel members

tribulations they would likely be facing within an

in his attempt to nurture future generations of

were tof he opinion that steps should be made to

environment that may not be as conducive for

Malaysian creative entrepreneurs. He was also

cultivate love of art and local artists by changing

them.

hopeful that other states in the federation would

buying habits of Malaysians. William To raised

cone forward to implement similar training

a pertinent question, asking everyone when

Overall, all panelists agreed that the Young Art

schemes within their own territories, with support

was the last time they bought a painting from a

Entrepreneurs (YAE) Scheme, initiated by the

from NAG to ensure the sustainability of artists in

local artists. Very few raised their hands. Dato’

National Art Gallery (NAG) of Malaysia is a step in

the future.

Mohamad Najib too commented on Malaysians

the right direction to empower artists to sustain Reactions from Audience

homes but proudly hung, incongruously “cheap”

ecosystem.

Judging from the positive response, the opinions

paintings from Indonesia on the walls. He said

of the panel were well received by the audience.

these habits have to change, to make way for

Dr. Marco Thom, in particular was of the opinion

A professor from University of Sabah was clearly

a better taste for locally produced paintings

that YAE is the only art incubator in the world that

moved and stood up to express his interest to

that are superior to those sold on the streets of

has proven to be successful in helping artists.

pursue the idea of establishing an YAE scheme

Indonesian cities. One of the ways recommended

According to Thom, he had observed many

in his own state offering to locate it within the

is to start a movement. Perhaps initiate a hashtag

incubators for artists but most failed because

UMS campus outside Kota Kinabalu. Similarly,

on social media for example #lovelocalart

they were mostly short term and ran by single

participants from UiTM Perak to start a similar

#buylocalart #supportlocalartists #supportyae.

individuals who provided artists with a place to

scheme within their campus once they obtain

stay and were hoping to capitalize on the sale of

approvals from the authorities. Discussions

art work by the artists. On the other hand, YAE at

then focused on various issues affecting local

NAG is more systematic with strong knowledge 22

who bought fancy imported furniture for their

themselves and help keep them within the art

3. Change Education Policy. The audience also advocated for a change in education policy to support art and art education. Dato’ Dr. Mohamad Najib informed the audience that the Ministry of Education is exploring policy change to reintroduce art in school curriculum. He said the Ministry of Education has recently approached the National Art Gallery towards this end. Overall opinion unanimously supported the need to educate children to love art an early age to help nurture creativity and support the art industry in future.

4. Change Policy on Ratings of Hotels Based on

9. Use of Technology to Promote Art. In line

(c) Dr. Marco Thom, William To, Dr. Rahim and

Local Art Purchased and Exhibited. Mooted by

with the call made by Secretary General of

Dato’ Najib are of the opinion that an emerging

Dato’ Dr. Mohamad Najib and escalated upwards

the Ministry of Tourism Art and Culture during

artist platform be developed to showcase young

to the Ministry of Tourism, Art and Culture is

his opening speech, it was agreed that use of

local artists. NAG is working hard to realize this

the idea that hotels ought to display art work of

technology would be useful to promote local

idea with the possibility of linking KL-Hong Kong-

local artists to qualify for ratings. As part of this

art. An index tracking the price movements of

Tianjin-Berlin and destinations beyond to open

recommendation, according to Dato’ Mohamad

art may well be one of the motivating factors for

new marketing opportunities for our artists.

Najib “a hotel is not Malaysian unless it adopts

Malaysian to purchase local art. At the moment

Malaysian art”. Through this process artists will

there is a lack of awareness on the demand

(d) Local artists are urged to start their own

be able to increase their sales, upgrade their

and value of local art resulting in reluctance

websites for easy link to the proposed platform

stature, increase income and sustain themselves

of citizens to invest in local art. Such an index

for easy access by those interested in emerging

economically. NAG has held discussions with the

would be useful to track how well a piece of art

artists. Artists too are responsible to promote

the Motel and Hotel Association to implement

is performing in the market, thereby determining

themselves and tell their stories through these

the idea with support from the Ministry of

its real market value.

means.

Tourism Art and Culture.

10. Local Artists Should old Embrace Technology

(e) Locally, private galleries are also urged to

5. Encourage School Trips to National Art

and Social Media to Promote Art. William To

adopt emerging artists and offer them avenues

Gallery. In tandem with above resolution, it was

pushed for YAE participants and local artists to

to promote their work. NAG, according to

recommended that NAG promote school trips to

launch their websites, mounting all their creative

Dato’ Najib, has been playing a major role to

visit the art gallery. The audience felt this would

output online for the world to see. William To was

kindle or in his words put “spark” interest in the

increase awareness of local art at an early age

persistent in his push for adoption by all artists.

development of young talents. But then again

with the hope that they would buy local art and

He said through this medium, each artist will be

NAG being a lone organization in championing

prefer local artists instead of foreign masters.

able to tell their own stories behind the particular

this cause welcomes others to help promote

painting or art work presented to the world. Such

emerging local artists. Finally, NAG welcomes

6. Involve PTA to Promote Art Awareness Trips

stories help enhance the perceptive value of the

any gallery willing to collaborate to achieve this

to NAG. School PTAs would serve as a strong

art work.

objective.

and art appreciation by raising funds to finance

11. Promote Local Artists Overseas. The last issue

The panel discussion ended at 12:30 with Dato’

trips of school children to visit the National Art

to be raised and accepted as a resolution is the

Najib awarding every panelist with a lovely token

Gallery.

need to promote our artists overseas.

of appreciation.

7. Offer Conducted Tours of Gallery At NAG. To

(a) YAE through NAG, in cooperation with Dr.

complement the above effort, NAG is obliged to

Marco Thom is planing local artists to the next

offer conducted tours for free to visiting school

Berlin Art Fest where emerging artists might be

children and all visitors. Members of the public

placed in second tier galleries and spend a brief

may make such requests through the NAG

residency with a known artist in the city.

catalyst in encouraging awareness of local art

website or call direct to book tours for free. For schools within the city center that are unable to

(b) At the same time, NAG shall attempt to lobby

supply transport to their students, the Hop On

MOTAC to include art and artists in forthcoming

Hop Off offers free service and the bus stops in

Malaysia Tourism Festivals overseas.

front of the NAG. 8. Introduce Ari Appreciation Class for the Public.

Some members in the audience wanted to attend a course on art appreciation to help them understand and appreciate art. NAG is always willing to do so if there was demand from the public. The Chairman encouraged participants to register on line or call NAG. They were also invited to register at the registration desk of the symposium. NAG will contact each and every individual once the date of the art appreciation course is fixed.

24

EXHIBITION 17 - 30 JUN

25

THOUGHTS ON FUTURE PROOFING WITH BRIAN JOHNSON LOWE

by Alia Soraya Feizal 2. How do you find ways to multitask with purpose?

Multitasking in the strict sense of the word is not my strong suit, I generally need to focus on one task at a time so that I can devote my attention to making sure it is done to the standards that I hold myself accountable to.

My role as a director requires me to think about goal-setting, strategies and high level execution plans for the company as well as our clients. This involves a substantial amount of research and validation, which generally requires uninterrupted focus. However, I’ve been fortunate to learn a great amount from my time at Dell and since then I’ve implemented a project management tool called Podio at MyPAA that has helped us work on multiple projects at the same time as an organisation. This enables us to multitask as a team and keep everyone updated at the same time to ensure we always deliver the intended purpose of the project. Technology

T

will continue to play an indispensable role in o say the user experience of technology

It is easy to fall into the trap of wanting (or

our lives, and artpreneurs that can adopt them

has gone through a transformation

falsely perceiving the need) to do everything

quicker into the running of their business ensure

would be a euphemism for the past

yourself and save as much cost as possible.

they stay ahead of the curve.

few years. The emergence of multiple digital

While bootstrapping is indeed a skill that every

distribution channels has made the definition of

artpreneur should continuously hone to conserve

3. What types of knowledge is required for

future proofing become the change we need and

funds, engaging professionals to accelerate

future proofing artpreneurship?

that change is now. I spoke to the Co-Founder

the processing of getting your business up and

While the practise of arts itself is organic and

and Director of My Performing Arts Agency, a

running is in my opinion an invaluable decision

abstract in nature, the ecosystem around

privately owned arts consultancy & arts events

that more artpreneurs should be open to.

artpreneurship today is not. An artpreneur is

management agency with the express goal

Engaging an accountant may seem like a cost

expected to present themselves and conduct

of supporting the continuing development of

you can do without but unless you have

their arts business in a professional manner,

artistic & cultural efforts in Malaysia and also

experience in bookkeeping, its tasks are better

and one way to accomplish this is by adopting

the Vice President of ALIFE (Arts, Live Festival

left to professionals because trying to reconcile

technologies that can help accelerate that

and Events Association Malaysia) and recently

accounts can take a long time if you don’t know

process. In combination, presenting yourself,

appointed as a Board Member of Perbadanan

what you’re doing, and that time can be put to

your business during pre and post projects

Stadium Malaysia about his thoughts of Future

better use. At the early stages, MyPAA engaged a

translates to the experience that clients get

Proofing.

company secretary to get all our incorporation

when dealing with you, which is something they

documents in order, an accountant to keep our

will remember. To understand how one can

1. What was the process of setting up your

books in order, and a lawyer on a retainer for six

future proof, you must consistently have the

business like?

months to draft all our legal documentations and

habit of reading trends and researching how

I think the approach of setting up a business can

vet contracts from our clients, while we focused

your peers across the world is implementing

be a daunting endeavor for new artrepreneurs as

on delivering excellent client experience for our

technology to increase awareness and

it seems like there is a long list of big decisions

first project at the time, The Royal Arts Gala.

participation in their projects.

that need to be made in a very short span of time. For instance, if the business requires an

For instance, if you develop an arts festival

office space, then the process of identifying an

project, keeping your project funders, artists,

office space within a suitable location and price

performers, vendors and audience engaged

can be stressful. Thankfully my former business

prior, during and post event through an

partner, Izan Satrina, and I had our own prior

automated newsletter is one way to grow an

experience in setting up businesses from scratch

interested community and set them up to be

so the process of getting MyPAA up and running

participants in your future projects. It may sound

took us about 3 months, from incorporation of

simple, but if you think about it, there are many

the company to a fully renovated office space

Malaysian arts festivals that do not utilise this

in Publika complete with 4 of our initial full time

strategy.

hires.

26

4. What would be the main challenges you face

6. How do you stay relevant in a red ocean?

when future proofing Borak Arts Series?

The notion of staying relevant really means it’s

Borak Arts Series is an annual arts conference

not about me, MyPAA or what we stand for or the

that MyPAA organises every year for creative

things we do. Rather it is about the audience and

practitioners and business leaders involved in

what they define as relevant. In that context, it

the space. This event has become a platform

is up to us to then produce to the tune of what

where they gather to discuss new and upcoming

the audience feels is relevant, which can be

projects as well as local and international policy

both fulfilling, thanks to the acceptance on gains

and trends. Each year we highlight a topic for

when singing to their tune, as well as a deeply

the industry to address as the theme of the

empty experience when what you are doing is

conference. Identifying a suitable topic for the

not what you are truly passionate about. Staying

theme of the year is one of the main challenges

relevant in a red ocean additionally means

to ensure that Borak Arts Series allows for

that we will have to compete to gain an edge

the right discussions to be held during the

in a multitude of ways, which includes but not

conference in order to create any impact towards

limited to pricing, providing a unique experience

the issue. This in turn keeps the conference

or fostering relationships to position yourself

relevant as it is addressing a need. Another main

in a subject matter expert. So in that respect,

at a time. Its granular, intangible and can only be

challenge is identifying a suitable host to partner

staying relevant in a red ocean means doing

experienced in person through an irreplaceable

with, since Borak Arts Series is usually held in

things that the audience deems is relevant while

and non-replicable moment in time. If you watch

conjunction with a festival. Working with arts

competing with other artpreneurs in the same

the same performance on Youtube, it does

festivals can be especially challenging since

space. While it sounds like a zero sum game,

nothing to excite your senses and the experience

there are many factors to consider such as

the experience of competing in a red ocean will

will be flat.

timing, budget, funding, programme curation,

enrich artpreneurs with experiences that will

partnerships and syndication with other arts

enable them to develop a blue ocean strategy

The strength of online, is reaching the masses

councils from other countries. Apart from forming

and execute on that vision.

in a way that was not possible just 10 years ago.

Today, 6 billion hours of video are watched on

and organising our conference we also have to coordinate with the festival’s programming.

7. What are your future plans about Arteri and

Youtube every month. The advancements of

We partnered with OzAsia Festival in Adelaide,

can you tell us about Poptron?

video in promoting content is now irrefutable. So

Australia last year and it was a big learning

Arteri (Arteri.com.my) is an online information

using online to promote the offline is essential.

experience for us as it was the first time we

platform that shares relevant information

Galleries and exhibitions that can produce

brought Borak Arts Series overseas. We learned

regarding policies, opportunities, funding

exciting or intriguing video content to compel

that adapting our conference to the local

platforms, listing of capacity-building programs,

would be patrons to come and view these

culture is very important. We found that

events and other tools. We started the site in

paintings in person will win in big ways. One

they are accustomed to in depth intellectual

2015, aiming to provide access, visibility and

example of this is our very own Red

conversations about performing arts, as opposed

information for Malaysian arts communities in

Hong Yi’s Jay Chou Portrait with Coffee Cup

to what we usually had in the past conferences.

order to increase opportunities for Malaysian arts,

Stains, which since its posting in 2012 has

Post-conference networking was very important

culture and heritage ecosystem stakeholders to

garnered over 1 million views. As an arts

aspect in fostering relationship building amongst

contribute to the social, creative and economic

enthusiast, it provides a peek into how the idea

the delegates. It is also satisfying to see some

sustainability of the sector. We have stopped

was perceived and a time lapse of the actual

of our local talents being featured in OzAsia

producing content for the site as there is now a

artistic process. I can’t wait to see the painting in

Festival as a result from thempitching their works

government agency heading the development

person!

at PITCHPAD in previous editions of Borak Arts

of Malaysia’s cultural economy but we’ll leave

Series conference. From that experience, we

the website active as a reference for anyone

9. How can future proofing artpreneurship

are excited to see what this year’s conference

who needs it. We still share opportunities on our

benefit Malaysia as a whole?

will bring. We are working hard to finalise our

social media from time to time and the events

I believe that Malaysia has a lot to offer and is

partnership with a South East Asian country that

listing page on Arteri is free for anyone to use.

very rich in the arts, culture and creative sector.

Why not take ownership of our identity as a

will be announced soon on our website.

We are currently working on a curated lifestyle

country? If we were to tap into that potential,

5. How do you nurture creativity in a highly

social-commerce platform called POPTRON

Malaysia could achieve successful recognition

plastic world?

(https://poptron.co/), a free platform that allows

on an international level. Our artists and creators

The beauty of creativity is that it is a constant

a curated group of vendors to list their products

are already making waves in the big screens

evolution of ideas. I feel that “originality” is a

and services that they offer through online

internationally, imagine the world we would be

subjective term, for you to create something you

listing, which will also be featuring articles from

in if we actually allow more of our talents to

need to be inspired and inspiration comes from

selected contentpublishers. Poptron will be

grow, have more platforms for opportunities,

influences and experiences. It is a natural cycle.

incubated in MyPAA and launched this October

and educated the country of its potential. If you

I see creativity as problem-solving, where ideas

to become a company on it’s own. With Poptron,

had the opportunity to achieve success by doing

come from addressing a need, like when you are

we hope to bridge the gaps in connectivity for

something you are passionate about, wouldn’t

a kid bored at home, what do you do? You build

unique brands who produce niche products and

you want to make it sustainable so you can

a fort of pillows, you draw, you create stuff. As

content publishers to reach their ideal audiences.

continue doing it more?

we have. That’s why arts becomes an important

8. In your personal opinion and view, how can

ALIA SORAYA

aspect of our lives, to inspire and remind us that

the offline catch up with the online,

Practical Student, National Art Gallery Malaysia

we are capable of creating. Everything in this

specifically galleries and virtual exhibitions?

Graduated from Raffles College Kuala Lumpur, and

world is constantly evolving, there is always

Whilst technology plays an important role in

something that can be improved. If you feel that

our lives and society, some experiences will

also owns e-commerce platform Mula

the current world is stunting your creativity, step

continue to remain offline due to the medium

Zine, alia@mulazine.com

out of your box and allow yourself to be inspired

of delivery. This is why big Hollywood film stars

to create, and if you really are passionate about

choose to take on a 3 month performing arts gig

something, you will find a way to achieve it.

at a theatre on Broadway to an audience of 400

we grow up we tend to forget that creative ability

currently doing her BA in Fashion Photography at The University of Arts London, London College of Fashion. Alia

27

THE ‘SANCTUAREH’, AN ART SPACE IN SMALL TOWN KUALA KUBU BHARU

TENTANG RUMAH SENI SELANGOR (RUSSEL) oleh Alina Abdullah

by Datin Paduka Dr. Dahlia Rosly

Alina Abdullah, yang mendapat pendidikan formal dalam bidang seni halus ialah seorang pelukis, penulis, penyelidik dan salah seorang penggerak Rumah Seni Selangor. Beliau juga turut aktif dalam kerja-kerja pemberdayaan masyarakat.

Where the writer used to write. The aura of inspiration lingers on

Beliau turut menyunting beberapa buah buku dan baru selesai menterjemah

L

Mandela: Jalan Berliku Menuju Kebebasan, buku terbitan IBDE Ilham.

ocated in the heart of charming Kuala Kubu Bharu (the first planned town in Malaysia) is an art space, once the living quarters of acclaimed Malaysian writer, the late Rehman Rashid. This

Rumah Seni Selangor (RUSSEL) berfungsi sebagai tempat

heritage shophouse with Chinese characters ‘Gu Mao Ren’ is over 90 years

berkumpul para penggiat seni untuk menjalankan apa jua aktiviti

old, its floors of chengal wood still intact and gleaming. (Gu Mao is the

bercorak formal atau santai. Konsep utama RUSSEL ini ialah

Chinese name for Kuala Kubu and Ren means people, thus simply ‘I am a

penyediaan ruang karyawan tamu, iaitu studio yang merupakan

townsfolk of KKB’.)

tempat bagi seniman muda menghasilkan karya mereka dalam tempoh yang tertentu. Studio ini dilengkapi dengan peralatan yang

This little town is becoming known for culture, art and literature, some say

lengkap yang membantu proses kreatif pengkarya. Selain daripada

that Kuala Kubu Bharu (KKB) is a writers’ and artists’ enclave, where rolling

itu, RUSSEL juga menyediakan beberapa ruang salon kepada

hills and rivers beckon. KKB’s first International Art Festival was held in 2016

peminat dan penggiat seni. Beberapa program telah dijalankan

organized by Sasaran, whereby Rehman had been passionately involved

untuk mengisi aktiviti di ruang ini, termasuk yang melibatkan

during its preparation and celebration, thus the inspiration for this art space.

komuniti seperti bengkel seni halus dan seni kraf, forum seni, dan

‘The SanctuaReh’ at 16A, Jalan Dato Muda Jaafar, a tribute to Rehman, was

juga pameran seni. Ruang baca serta berkongsi pendapat juga

launched on 29 December 2018 and currently exhibits art pieces, many

terdapat di Russel, yang menjadi ruang dinamik para intelektual dan

of which are ‘macropaintographs’. These art pieces are the outcomes

seniman.

of exploring the interface between science, ready-made/natural world aesthetics and art, delivered through digital photography.

RUSSEL yang mula dibuka pada bulan April 2018, adalah inisiatif pejabat Exco Pembangunan Generasi Muda & Sukan, Kebudayaan

The creator of these ‘macropaintographs’ is scientist Dr. Jamal Ibrahim.

dan Pembangunan Usahawan terdahulu yang pada ketika itu diteraju

Jamal graduated in Biochemistry from the University of Oxford and later did

oleh YB Amirudin Sari, yang kini di kerusi Datok Menteri Besar

his PhD there in Ophthalmology (focussing on ‘transparency of the cornea’)

Selangor. Russel juga berada di bawah induk Kota Seni PJ kelolaan

thus the ‘eye and mind’ for the fusion of the arts and sciences. Jamal’s

Majlis Bandaraya Petaling Jaya.

method uses the interaction of light on materials (sugar, salt, gel etc), with remarkable outcome as displayed here, where the titles are as fetching as his art pieces.

Opening Times (12pm-4pm) January 2019 (12th-13th January; 14th-16th January; 19th-20th January) February 2019 (2nd-3rd February; 14th-15th February) March 2019 (13th-14th March; 30th -31st March) April 2019 (2nd -3rd April; 13th -14th April)

The exhibition shall also be opened by request, outside of these dates.

The art space shall concurrently be used for free tuition in English language, host small community art events and complement activities run by the Kuala Kubu Historical Society.

Datin Paduka Dr. Dahlia Rosly, the owner and caretaker of the art space, is a Town and Country Planner by profession and was former Director-General of the Federal Department of Town and Country Planning, Malaysia. She had spearheaded many initiatives relating to placemaking, liveable communities and environmental well-being. She obtained her PhD from the Faculty of Law, Environment and Social Sciences from Newcastle University UK; her MSc from the Faculty of Engineering, Imperial College, University of London; and her Bachelor’s Degree in Planning from Oxford Brookes University.

28

TAMU YANG BERMUKIM

SEMENTARA DI RUMAH SENI oleh Alina Abdullah

K

Keinginan saya selepas menyudahkan pengajian ijazah saya dahulu ialah berkelana, keluar daripada ruang

selesa saya dan pergi ke tempat yang asing dan baharu, diam dan bermukim sementara sambil melakar dan menghasilkan catan. Peluang ini saya fikir ada dalam kebanyakan orang-orang seni. Van Gogh, misalnya, pernah ke Arles dan bermukim sementara di sana dan berharapan dapat membentuk koloni para seniman. Di sini, Van Gogh telah melahirkan banyak karya agung bersama temannya Gauguin. Pada ketika ini, umumnya semua tahu bahawa Van Gogh dibiayai oleh saudara lelakinya, Theo. Inilah permukiman seniman sementara, atau slot karyawan tamu pada ketika itu.

Karyawan tamu, atau lebih dikenali sebagai residensi seni, sememangnya bukan perkara asing dalam lapangan seni halus di negara ini. Misalnya, yang ada ialah Rimbun Dahan, Homs dan juga 9 (sekadar menyebut beberapa

menjelajah ke alam diri, bina yakin dan mampu

pada praktik yang bukan formal, yang lebih

nama). Makna program karyawan tamu secara

bertutur bahasa seni. Selain daripada ruang,

memberi kebebasan kepada para seniman muda

longgarnya ialah program yang mengundang

dokongan lain turut diberikan iaitu pendedahan

ini untuk menentukan proses dan hasil karya

seniman untuk bermukim sementara di

kepada dunia lapangan seni, membina jaringan,

masing-masing. Sekadarnya, bimbingan secara

sesuatu tempat atau ruang bagi menghasilkan

membuat perkongsian ilmu, serta berlatih

tidak langsung akan diberi oleh koordinator

sejumlah karya seni. Pentingnya ruang sebegini,

indera untuk menangkap rasa ketika berkunjung

program, yang juga pengurus Rumah Seni

terutama bagi seniman muda, ialah fokus untuk

ke ruang-ruang seni yang lain. Khususnya

Selangor, iaitu Suddin Lappo, yang juga akan

mnghasilkan karya tanpa sebarang gangguan,

lagi, kunjungan ke ruang seniman yang lain,

memastikan agar seniman muda ini lebih mudah

sekaligus mendapat latihan serta peluang untuk

pertemuan dengan kurator, pemilik galeri serta

memilih jalan yang sesuai.

membina titian dan jaringan dalam lapangan

pengumpul seni untuk mencipta titian hubungan

seni.

dan kerjaya, serta turut juga mengundang

Namun,apabila ditanya tentang pengalaman

pengkritik dan cendekia seni ke ruang karyawan

yang paling terkesan baginya selama dalam

Tanpa ingin rasa dibelakangi, dan selanjutnya

tamu ini untuk berkongsi ilmu dan pengalaman.

program ini, Anasuha dan Arina menuturkan

ingin menjadi salah satu ejen budaya, maka

Susungguhnya aktiviti sebegini lebih mudah jika

bahawa kunjungan bakti ke sebuah rumah

Rumah Seni Selangor turut mengambil langkah

beratas nama ruang pendidikan tidak formal

anak-anak autisme makin mematangkan

untuk mewujudkan ruang sebegini bagi para

sebegini, dengan sekelompak teman karyawan

perjalanan seni mereka kerana seni bagi anak-

seniman muda. Benih pertama yang menjadi

muda. Perkongsian serta cadangan dan kritikan

anak ini suatu yang luhur, dan seniman yang

tumbuh dalam program karyawan tamu ini dapat

yang diterima oleh seniman muda ini nyata serba

bergerak di luar ruang studionya dan turun

dilihat dalam pameran AKAR yang baru selesai

sedikit, biarupun tidak banyak, diharap dapat

menjengah masyarakat adalah lebih bermakna

pada bulan Februari lepas. Seniman-seniman

memberi kesan terhadap proses pengkaryaan

dan membuka mata hati. Itulah juga antara

muda dalam program ini ialah Arina Kiswantoh,

mereka.

gagasan Russel, ingin mendekatkan seni dengan masyarakat, serta mencelik masyarakat tentang

Anasuha Suhairi dan Mat Ramli Mansor. Arina dan Ana bermediumkan catan, manakala Mat Ramli

Hasilnya dapat dilihat pada penghujung program

pula lebih selesa menghasilkan karya arca kayu.

melalui bicara seniman muda ini dan juga pameran karya.

seni yang bukan sekadar kanvas dan berus.

Kini, ketika artikel ini ditulis, pameran AKAR karyawan tamu sesi pertama telah berakhir, dan

Mereka telah mendiami Rumah Seni Selangor selama lebih kurang enam bulan dan pada

Dalam tempoh program ini juga, seniman

Russel sekali lagi menerima karyawan tamu sesi

pengakhiran permukiman mereka, suatu

diharapkan mengalami keruangan yang berbeza

kedua, yang diharap akan tumbuh sebagai pohon

pameran diadakan untuk mempamerkan karya-

daripada keselesaan tempat asal mereka.

yang kukuh daripada akar yang dibenih sebelum

karya yang terhasil sepanjang menjadi karyawan

Ini tujuan utama program karyawan tamu.

ini.

tamu di Russel. Di sepanjang proses ini,

Kelanjutan daripada ilmu yang bersifat formal,

secara tidak langsung seniman muda ini dapat

maka program residensi pula lebih menumpu

29

MALAYSIAN CHINESE MUSEUM

by Lim Kah Hoe

Antara abad ke-7M hingga ke-13M (semasa

ORIGINS

zaman Dinasti Tang dan Song di China), sudah The presence of Chinese in Southeast Asia can

terdapat pedagang-pedagang Cina bertempat di

be traced back to 2000 years ago based on

rantau ini. Pada abad ke-15 M, iaitu zaman Dinasti

Chinese historical documents. Between the 7th

Ming di China, pelayaran Cheng Ho ke Lautan

and 13th century (during the Tang and Song

Barat sudah memulakan sejarah penghijrahan

dynasties), Chinese merchants were found in

orang-orang Cina ke luar negara.

this region. In the 15th century (Ming dynasty), the Chinese mass immigration to Southeast Asia

Antara separuh akhir abad ke-19 dan separuh

began with the treasure voyages of Cheng Ho.

pertama abad ke-20 (penghujung Dinasti Qing dan permulaan tempoh Republik China),

Between the last half of the 19th century and

penghijrahan orang-orang Cina ke luar negara

the first half of the 20th century (end of the Qing

sudah mencecah tahap tertinggi dalam sejarah

dynasty and beginning of the Republic of China

kerana sering berlakunyan masalah pergolakan

period), the Chinese mass immigration reached

politik, peperangan dan kebuluran di China.

a historic new high due to armed conflicts and

Pada masa yang sama, kerajaan penjajah

famines in China. The British colonial government

British di Tanah Melayu dan Singapura juga

in Malaya and Singapore also imported labourers

memasukkan buruh dari China untuk memenuhi

from China to meet the labour shortages in

kekurangan buruh dalam mengeksploitasi

exploiting natural resources (such as tin and

sumber-sumber alam (seperti timah dan getah) di kawasan tanah jajahannya.

rubber) of its colonies.

construction in November 2011. Work on building the museum began in August 2017, with Tan Sri Datuk Sri Dr Jeffrey Cheah, the founder and chairman of Sunway Group, as the main sponsor.

The museum cost about RM6mil and Tan Sri Datuk Sri Dr Jeffrey Cheah had donated RM5mil to the museum.

About Us

The Malaysian Chinese Museum is the first museum in Malaysia to present the history and current development of the Chinese Malaysians community. Proposed by Tan Sri Datuk Dr. Ng Teck Fong in November 2011, the construction of the museum started in August 2017 and was completed in March 2018. It is located on the first floor of Wisma Hua Zong in Seri Kembangan, Selangor. Its gross floor area is

While some of the Chinese

Kebanyakan pendatang Cina datang ke

immigrants chose to return to China

Tanah Melayu adalah demi mengubah

with wealth and skills, most of the

nasib mereka dan kembali semula ke

There are 16 permanent exhibition sections and 1000 pieces of collection. The permanent exhibition presents

10550 square feet.

newcomers decided to settle in this

China. Namun demikian hanya segelintir

new land in pursuit of a better life.

sahaja pendatang Cina yang sudah

Today the Chinese is the second

kaya-raya kembali semula ke China,

displayed by a combination of text and graphics, historical

largest ethnic group in Malaysia,

malah kebanyakan pendatang baru

reconstruction, artwork and multimedia.

with a population of over 7 million and constituting nearly 25% of

Tan Sri Datuk Sri Dr Jeffrey Cheah

Cina memilih untuk menetap di Tanah Melayu (Malaysia). Perkembangan

the history of Chinese immigration at different periods and the cultural heritage of local Chinese. The collections are

The Malaysian Chinese Museum is a non-profit institution under the Federation of Chinese Associations of Malaysia

the total population. The Chinese

pertumbuhan masyarakat Cina di

(Hua Zong). The purpose of this museum is to serve the

community is well integrated into

Malaysia telah menjadikan orang Cina

Malaysian society through collection, presentation, research and interaction in the fields of history and culture. The

the Malaysian society, participating actively in

sebagai kaum yang kedua besar di Malaysia.

political, commercial, education and cultural

Jumlah kependudukan orang Cina Malaysia

spirit of the Chinese community - living in harmony with

activities. They contributed greatly to the

sudah mencapai lebih kurang 7 juta orang,

rulers of different states and people of different ethnicities;

development of Malaysia.

iaitu hampir 25% daripada jumlah penduduk di Malaysia. Setelah berlalunya pengorbanan

core ideas of this museum are to present to the public the

and the contributions and sacrifices made by the Chinese community to our country.

Hua Zong (the Federation of Chinese

daripada beberapa generasi yang awal,

Associations of Malaysia), a leading institution

masyarakat Cina sudah bergabung menjadi

serving the Malaysian Chinese community,

sebahagian masyarakat Malaysia. Mereka banyak

established the Malaysian Chinese Museum at

menyumbang kepada pembangunan Malaysia

Wisma Hua Zong, in hoping of presenting the

dalam pelbagai bidang sama ada politik,

telah mencadangkan penubuhan muzium ini pada bulan

a better understanding of the past of Chinese

ekonomi, sosial, kebudayaan dan sebagainya.

November 2011, waktu pembinaannya bermula pada bulan

Malaysians to the public, appreciating the identities of local and national and concerning for

Demi merakamkan sejarah perjuangan nenek-

the future.

nenek moyang Cina di negara kita, Hua Zong (Gabungan Pertubuhan Cina Malaysia), sebuah

ASAL USUL

pertubuhan masyarkat Cina yang terkemuka

Pengenalan Muzium Cina Malaysia adalah muzium pertama di Malaysia untuk membentangkan sejarah dan pembangunan semasa komuniti Cina Malaysia. Tan Sri Datuk Dr. Ng Teck Fong

Ogos 2017 dan siap dibina pada bulan Mac 2018. Ia terletak di tingkat satu Wisma Hua Zong di Seri Kembangan, Selangor dan keluasan lantai kasarnya ialah 10550 kaki persegi.

Muzium ini mempunyai 16 buah ruang pameran kekal dan memuatkan lebih kurang 1000 jenis kepingan

telah menubuhkan Muzium Cina Malaysia

koleksi. Ruang pameran tetap membentangkan sejarah

Menurut catatan Sumber China, kedatangan

di Wisma Hua Zong. Muzium ini adalah

penghijrahan Cina pada tempoh yang berlainan dan warisan

orang Cina ke rantau Asia Tenggara dapat

berperanan untuk mempamerkan detik-detik

ditelusuri kembali pada 2000 tahun yang lalu.

sejarah masyarakat Cina Malaysia yang banyak

budaya orang Cina tempatan. Koleksi-koleksi itu akan dipamerkan melalui gabungan teks dan grafik, pembinaan semula adegan bersejarah, karya seni dan multimedia.

menyumbang kepada pembangunan negara kita serta menunjukkan semangat keharmonian orang Cina bersamaan dengan kaum Melayu, India dan lain-lain yang membawa kemakmuran kepada Malaysia.

Muzium Cina Malaysia adalah badan bukan berasaskan keuntungan di bawah Gabungan Pertubuhan Cina Malaysia (Hua Zong). Tujuan muzium ini adalah untuk memberi khidmat kepada masyarakat Malaysia melalui koleksi, persembahan, penyelidikan dan interaksi dalam bidang sejarah dan budaya. Matlamat utama muzium ini adalah

The museum was the brainchild of Chairman of

untuk menyampaikan semangat masyarakat Cina hidup bermuafakat dengan penguasa-penguasa negeri yang

Committee of the Malaysian Chinese Museum

berlainan serta masyarakat yang berlainan kaum; serta

Tan Sri Datuk Dr Ng Teck Fong, who proposed its

sumbangan dan pengorbanan yang dibuat oleh masyarakat Cina kepada negara kita.

30

31

MEMAHAMI LELONGAN SENI ASIA TENGGARA

S

ebuah buku yang diterbitkan The Edge Galerie dan The Edge Media Group pada tahun 2018, Southeast Asian Art. Auction Benchmarks & Market Insights, berjaya berkongsi data penting perihal pelukis-pelukis paling

laris di Asia Tenggara , berdasarkan data transaksi lelong.

Data transaksi beberapa rumah lelongan seperti Christie’s Sotheby’s Hong Kong, Henry Butcher Art Auctioneers, The Edge Galerie, KLASS dan Masterpiece di Kuala Lumpur, Salcedo Auction dan Leon Gallery di Manila, Borobudur, 33 Auction, Larasati Auctioneers, Masterpiece di Singapore dan Jakarta Sidharta Auctioneer di Jakarta , Poly Auction di China dan pelbagai lagi.

Data berdasarkan hammer price masing-masing dan termasuk premium pembeli

yang boleh dijangka antara 10 sehingga 25 %, terpulang kepada rumah lelongan.

Menarik juga dibaca temubual khas bersama pelukis, kolektor, konsutan seni, dan pemilik rumah lelongan. Seksyen Malaysia melihatkan ide dan gagasan En Pakharudin Sulaiman, En Zain Azhari, Jalaini Abu Hassan dan Lim Wei Ling dalam merancakkan ekonomi seni . Baru-baru ini Henry Butcher Auction pada 30 Jun 2019 telah berjaya mendapatkan 70 peratus jualan dengan jumlah RM3.2 juta .

Karya Ibrahim Hussein akhirnya dilelongkan dengan harga RM 291 200.00.(Lihat Jadual Lelongan) Buku yang dicetak oleh The Edge Media Group bawah naungan The Edge Galerie, Southeast Asian Art, Auction Benchmarks & Market Insights boleh dibeli secara pos RM38 senaskah. Email: info@theedgegalerie.com. Anda juga boleh memuat turun salinan buku ini secara percuma dalam bentuk pdf 596-mukasurat dengan mendaftar di www.theedgegalerie.com.

“

Every piece of art is unique, and in any economic model, rarity and scarcity are key drivers of price. Picasso was prolific, but when a particular 1932 Marie Therese portrait comes up for sale, there is only that one on offer, driving the price. There will be only one person who will own it, to wake up and have their coffee in front of it and experience the emotional resonance of the master’s genius. To live with a

IBRAHIM HUSSEIN, Datuk

picture that moves you is what should motivate you to buy a work of art.

Xenobiosis, 1969, mixed media on canvas, 135 x 90 cm

Steven Murphy

”

ex CEO of Christies International

32

CHIA YU CHIAN

AWANG DAMIT AHMAD

By the River, 1954, Cat minyak atas papan, 65 x 80 cm

Payarama Baru “PAGAR”, 2014, Media campuran atas kanvas, 183 x 183 cm

NO

1

ARTIS DATUK IBRAHIM HUSSEIN (1936-2009)

KARYA 1

KARYA 2

KARYA 3

KARYA 4

Red, Orange and Core 1984, Cat Akrilik atas canvas.

198CM x 271cm

The Dream 1969, Cat Akrilik atas canvas.

121cm x 121cm

Kuala Lumpur IX Months 1970, Cat Akrilik atas canvas.

152cm x 122cm

Dance of joy, 1985 1985, Lithograph atas kertas.

76 x 56cm

Harga Bidaan: US$240,482 Dengan premium ( 10% ) US$264,530 Rumah Lelongan: Henry Butcher Art Auctioneers, Kuala Lumpur Tarikh: 5 June 2012

2

3

LATIF MOHIDIN (1938)

LIM HOOI HWA (1954)

Harga Bidaan: US$143,734 Dengan premium ( 10% ) US$158,107 Rumah Lelongan: Henry Butcher Art Auctioneers, Kuala Lumpur Tarikh: 8 August 2012

Harga Bidaan: US$142,245 Dengan premium ( 10% ) US$156,469 Rumah Lelongan: The Edge Galerie, Kuala Lumpur

Harga Bidaan: RM291,200 Tarikh: 24 March 2019 5

Tarikh : 29 June 2013

Pago Pago Forms 1968, Cat minyak atas canvas.

88cm x 69cm

Seascape 2013, Cat minyak atas canvas.

166cm x 110.5cm

Dark Bakau Oil on canvas 122cm x 122cm 1999

Harga Bidaan: US$182,765 Dengan premium ( 10% ) US$264,530

Harga Bidaan: US$171,236 Dengan premium ( 10% ) US$188,359

Harga Bidaan: US$161,252 Dengan premium ( 10% ) US$177,377

Harga Lelongan: RM268,800.00

Rumah Lelongan: Henry Butcher Art Auctioneers, Kuala Lumpur

Rumah Lelongan: Henry Butcher Art Auctioneers, Kuala Lumpur

Rumah Lelongan: The Edge Galerie, Kuala Lumpur

Tarikh: 5 June 2012

Tarikh: 19 June 2011

Tarikh: 10 May2014

Sign Language Series 2009, Mixed atas canvas.

80cm x 120cm

Jet Image On Paper 2009 Mixed media on paper 100cm x150cm

Flying Image in Blue Project 2011, Cat Akrilik atas canvas 99cm x 152cm

Rumah Lelongan: Poly Internatonal Auction Co Ltd, Beijing Tarikh: 2 December 2012

Harga Bidaan: US$63,759 Dengan premium ( 15% ) US$73,322 Rumah Lelongan: Poly International Auction Co Ltd Beijing Tarikh: 2 December 2012

Rujukan : 1. Buku Southeast Asian Art Auction Benchmarks & Market Insights Penulis Johnni Wong & Sarah Abu Bakar 2. Seksyen Art Governance, Balai Seni Negara

HUANG YAO (1914-1987)

Provenance Koleksi peribadi, Kuala Lumpur

Samarkhad 3 1994, Cat minyak atas canvas.

152cm x 114 cm

Harga Bidaan: US$91,655 Dengan premium ( 15% ) US$91,655

4

CHIA YU CHIAN (1936-1991)

6

CHANG FEE MING (1959)

Harga Bidaan: US$34,881 Dengan premium ( 10% ) US$38,369 Rumah Lelongan: Henry Butcher Art Auctioneers, Kuala Lumpur Tarikh: 3 November 2013

Playing Chess 1980 Media campuran atas kertas 140cm x 74cm

Harga Bidaan: US$71,611 Dengan premium ( 25% ) US$95,485

Harga Bidaan: US$70,840 Dengan premium ( 25% ) US$87,584

Rumah Lelongan: Christie’s Hong Kong

Rumah Lelongan: Christie’s Hong Kong

Tarikh: 26 November 2012

Tarikh: 29 May 2012

By the River 1954 Cat minyak atas papan 65cm x 80cm

Paris 1959 Cat minyak atas papan 62.5cm x 51.5cm

Penang 1957 Cat minyak atas papan 65cm x 91cm

Untitled,c.1950s Cat minyak atas papan 43cm x 61cm

Harga Bidaan: US$70,950 Dengan premium ( 25% ) US$88,687

Harga Bidaan: US$23,361 Dengan premium ( 10% ) US$25,587

Harga Bidaan: US$20,640 Dengan premium ( 25% ) US$25,800

Provenance Koleksi peribadi, Kuala Lumpur

Rumah Lelongan: Christie’s Hong Kong

Rumah Lelongan: Henry Butcher Art Auctioneers, Kuala Lumpur

Rumah Lelongan: Christie’s Hong Kong

Tarikh: 29 November 2015

Rumah Lelongan: Henry Butcher Art Auctioneers Galeri Prima 30 June 2019

Riding the Dragon 20th Century Media campuran atas kertas 140cm x 74cm

AWANG DAMIT AHMAD (1956)

Harga Bidaan US$33,488 Dengan premium ( 25% ) US$41,860 Rumah Lelongan: Christie’s Hong Kong Tarikh : 28 May 2013

RM 35000-55000

Tarikh: 28 MAY 2013

Tarikh 28 October 2012

Mandalay 1993 Cat air atas kertas 56cm x 76cm

Monsoon Has Gone 1990 Cat air atas kertas 56cm x 76cm

At Dusk…Nanyang 2012 Cat air atas kertas 56cm x 76cm

Prayers In The Wind, 2006 Cat air atas kertas 56 x76cm

Harga Bidaan: US$69,011 Dengan premium ( 22% ) US$84,193

Harga Bidaan: US$60,248 Dengan premium ( 12% ) US$66,272

Harga Bidaan: US$59,364 Dengan premium ( 125% ) US$65,300

Provenance Koleksi peribadi, Kuala Lumpur

Rumah Lelongan: Larasati, Singapore

Rumah Lelongan: Henry Butcher Art Auctioneers, Kuala Lumpur

Rumah Lelongan: Henry Butcher Art Auctioneers, Kuala Lumpur

Tarikh: 26 January 2013

7

Mountains Are Not Mountains, Water Is Not Water 1980 Meidia campuran atas kertas 44.5cm x 44.5cm

Tarikh: 10 May 2014

Tarikh 21 April 2013

Garis Mega ( Iraga Series ) 2008 Media campuran atas canvas 172.5cm x 172.5cm

Payarama Baru “PAGAR” 2014 Media campuran atas canvas 183cm x 183cm

Harga Bidaan: US$61,871 Dengan premium ( 25% ) US$77,338 Rumah Lelongan: Sotheby’s Hong Kong Tarikh; 6 October 2014

Harga Bidaan: US$45,150 Dengan premium ( 25% ) US$56,437 Rumah Lelongan: Sotheby’s Hong Kong Tarikh: 5 October 2015

Apa Khabar Ledang ( Essence Of Culture ) 1992 Media campuran atas canvas 183.5cm x 162cm Harga Bidaan: US$45,150 Dengan Premium ( 25% ) US$56,437 Rumah Lelongan: Christie’s Hong Kong Tarikh: 31 May 2015

RM160,000-240,000

E.O.C “Hari Kelabu” Mixed media on canvas 95cm x 82cm 1993 Harga Lelongan: RM67,200.00 Rumah Lelongan: Henry Butcher Art Auctioneers Galeri Prima 30 June 2019

33

EXHIBITION REVIEW A Project by Manit Sriwanichpoom The Ilham Gallery Ilham Tower, 8 Jalan Binjai, 50450 Kuala Lumpur 18th May - 25th August 2019

The excitement for this long awaited exhibition by the iconic photographer-artist, Manit Sriwanichpoom, the creator of the 'Pink-Man' series in 1997, had arrived in Kuala Lumpur to display his visual list of what to be the effective Masters of Thai photographers.

It was through his established gallery, the Kathmandu Photo Gallery, which I had learnt from afar of his long term project in creating the provisional presentations of the found images in creating an appropriation of these selected Thai photographers to be recognised for their contribution in the regional photographic practises.

As this project reached to through the National University of Singapore Museum's in 2018, the published catalogue revealed the great intention of Manit in establishing these figures to be place on the plateau of Thai Masters. The exhibition’s catalogue was furnished with Manit’s statement, Siddharta Perez curatorial writings, and Zhuang Wubin's interview; which forwarded the directive of the exhibition. Manit had taken up the role as a self-taught curator in order to ascertain the qualities of local knowledge decision to recognised these individuals to haste the process, which was far too long of a wait for any given academic or art authoritative establishment to come up with the appropriate assertions.

The current catalogue published by the Ilham Gallery contained an additional essay

by Netusha Naidu on the Liang Ewe Photographic Studio established by Aree Khorchareon (Khor Eng Lee), which gave the sense of the studio's presence goes beyond the usual photographic services, but as a representation of social structures and political consciousness of the area where the studio resides (Phuket).

Manit had presented a difficult editorial decision among thousands of plates which had arrived from the seven chosen photographers from Thailand: Buddhadasa Bhiku (1906-1993), Liang Ewe (1911-1992), S.H. Lim (1930-), Saengjun Limlohakul (1924-1997), Pornsak Sakdaenprai (1938-), ’Rong Wong-Savun (1932-2009) and M.L. Toy Xoomsai (1906-1961). These choice plates were mostly printed on silver gelatin prints, in which, made it much more a precious commodity. The silver, a noble-based metal, is the appropriate medium to honour these respected image-makers whom had thrived within the urban and the heart of major cities in Thailand.

The exhibition held over at the Ilham Gallery space; contained the four quadrant areas which appropriate movements for the 34 viewers moving from one room to the next.

Masters of Photography

by Dr. K. Azril Ismail

Manit and his co- curator, Siddharta Perez, had strategized the placements of the artworks through thematic arrangements which emphasized dominantly portraitures.

At the zenith of the exhibition space; a room was dedicated to Buddhadasa Bhiku's works.

Buddhadasa was a revered Buddhist monk, whom applied photography not in normal sense of iconic usage or holy artefacts, but his own manner of wisdom. He utilised image-making for bestowing insights with dharma poetries which informs as visual teaching tool. This approach, which seemingly in align as to how the teaching lives more as an aspiration usage, which echoes thangka, a form of teaching tool through paintings which illustrates the life of Buddha. These images; it is humble, modest, simple, yet deep and complex with the accompanying poetries re-enforce the context of the images.

The exhibition was furnished with videos of interviews and the travel to the photographic studios in dilapidated condition and engulfed in dust, which Manit had managed to save the stored neglected plates from disappearing into the oblivion of development. This act had arrived to the discoveries of many of these unsung masterworks.

Pulling back into the last room, the exhibition returned to the collection of SH Lim works, as it was the marker of Manit's beginning into the project in 2010. It settled with somewhat a great relief, as it seems photography has its own comfortable reach that still relates into the function of commodity of selling the idea of worldliness appeals.

The Afterthought It would not have seemed to be an easy feat It would not have seemed to be an easy feat certainly, in deciding the criterion for these as 'Forgotten Masters'. Though he had admitted, that these photographers were never selected based on how they would compete with the non-exhaustive narratives from the Westerns canon of photographers. It was motivated from the lack of definite, concrete, historical text books on the local Thai photographers, which indeed one would have to scour around, working rigourous research to establish case-by-case on determining these image-makers to be recognised.

It seemed to be a believable constant phrenological battleground of ideas and criteria in Manit’s thoughts and mind. These selected individuals were through his own personal curated journey through archives and resource centres, flea markets,

Phang Nga (1955) - by Saengjun Limlohakul (top) Nude (undated) - by ML Toy Xoomsai (bottom) Before & After Monk series (1965) - by Pornsak Sakdaenprai (across) acquaintance recommendations, and vintage dealers.

We looked at the usual Western photographers as they had set their precedence as historical significant to all the countries they had set their exposures on... what then, since they had left us; couldn't local image-makers achieve the validation?

We had subscribed to the usual 'Western Masters' in photography such as Edward Weston, Robert Frank, Walker Evans, Ansel Adams, Henri Cartier Bresson, André Kertész, and so forth in various media. We enveloped these significant figures' works as the compass to what makes their images to be read 'deeper'.

Since the colonial powers receded; they had left us enough knowledge for the photography studios to be managed and thrived locally, and served the social functions as needed.

Perhaps, we have been looking at it in a wrong, or rather, a different way.

How do we go about in recognising these great standing image-makers of the Malaysian past (and some living presence as well) such as Prof Ismail Hashim, KF Wong, Dr Ooi Cheng Ghee, Almarhum Sultan Ismail Nasiruddin Shah, Eric Peris, Soraya Talismail, Yusoff Othman, Arthur Teng, Yee I-Lan, Nirmala Karupiah,

Alex Moh, Simryn Gill, Eiffel Chong, Dennis Lau, and various others? We speak of Masters, but shy from seeing the embodiment of photography had onto these individuals into something concrete to form unilaterally, as Malaysian Masters. We are guilty just as well missing the local list of unsung studio-based photographic Masters, as their works and world were buried in our development.

The imposed usual ‘ídeal’ images have always seemed to be dominant pathway of photographic arts. It seemed to be the case where imageries of photography had always been seeing the ‘West’ way or concepts for nodded approvals, the attention of how truly these were considered as ‘art’ must then be realised by those who make their living through photographic practices, which goes in parallel of photographer-artists make a living through the gallery space. Those whom endured the financial pain for having faith in their photographic practices as a service to their community, deservingly their life’s works must accumulated to something which they had observed, preserved, and visually understood all their lives.

Manit chose these 'Masters' based on the natural selection based on intuitive nature on the images' content, techniques, cameras' angles and perspectives, usage of the medium, a form of manipulation within the darkroom practise or printing methods, the quantity of works which arrived from the years of commitment to the medium,

and with more subtle look, the contribution these images have in more of anthropological, sociological relevance, and values contained within these selected images as a series of small narratives.

image-makers’ life, where photography has its own way, goes outside the frame of reference. I believe Manit's approach are solely necessary as to have an immediate kick-start to what seemed to be a long awaited laissez-faire.

Perhaps the challenge not only relies on our look into these works' context remained to be indistinct at times, as the challenge is still set foot when we look into the works with, unfortunately, the Western standards. What remained missing from the writings were placed outside the context of these images; which would be the life stories or narratives of the chosen photographers.

Some, as Manit had mentioned, lead much more 'colourful' life, which, unfortunately, must be refrained as a written account as it still is about the desire of ‘saving faces’ of the roguish behaved photographers, in which echoes to the palette of the typical Eastern values. This would be the case of some of the arrived images have such daring subject matters, specifically, if one may say, the figure studies.

Could it be that we might have something to offer beyond selection through the usual composition, forms, and shapes, which photography always has been accorded to?

Does art and aesthetics (for photography) arrive only after the representation seen?

The function of photographic space and photography itself, is an embodiment, rather than emancipation.

Though, it never would be left unattended as stories are still being shared verbally, just as long as the audience are well appropriated and prepared to be entertained of such stories. This had fascinated me and intriguing, almost like a perceived narrative that could only be accessed only if Manit were present to share the stories alongside with the works. A sort of furnishing the visuals with the verbal, raising empathetic awareness of the

Manit's project certainly will not end with the seven he chose to share with us, as it will lead into greater verisimilitude to the growth of future narrative of our own sets of photographic historical narratives.

The exhibition is now held at the Ilham Gallery, Kuala Lumpur on level 3 until 25th August 2019

Born in 1961 in Bangkok, Thailand, where he continues to live and work, Manit developed a deeper visual critique that could convey what he calls “emotional truth”, which carries in his revered work, the ‘Pink Man’.

Manit established the Kathmandu Gallery, Bangkok’s leading photography gallery and bookshop, which presents rotating exhibitions of contemporary and historic photography. For purchase of prints, please do get in touch with Manit via his website: kathmanduphotobkk.com

Dr. K. Azril Ismail is a Photo-historical Practitioner and Researcher, and currently serves as the Head of Postgraduate Studies and Development (for the Arts & Design) at the UCSI University Kuala Lumpur. He is an unusual sort of hermit and surfaces only when there’s a photography exhibition or 35 talks; which known to feed his visual appetite.

Art Fairs and Contemporary Art Market in Argentina

by Sabina Zamudio

If

you have never been to Argentina, April is the month to come to visit the country but especially, Buenos Aires.

During autumn, this capital starts to get ready for the most attractive cultural meeting of the year - with a vast artistic variety for everybody -, that continues to grow and expand with each new edition. For instance, The Buenos Aires International Book Fair, The Buenos Aires International Festival of Independent Cinema

(arteba 2018, credit to buenosaires.gob.ar)

(BAFICI) and The Contemporary Art Fair (arteBA 2019) are the most important and mandatory

In this year’s edition, the galleries selection

events to attend.

committee will be presided by renowned figures :

Much like every April, this province prepares for its

• •

week of art. Since 1991, the arteBA Foundation has been

•

organizing the most important

•

Contemporary Art Fair in the country, which aims to promote Argentine art as well as bring artists closer to mass audiences, all thanks to galleries. Not only

Eduardo Brandão (Gallery Owner of

Through the work of the arteBA Foundation - with

Vermelho, San Pablo).

no less than 28 years of experience - sponsors,

Ana Castella (current Head of Development

galleries, museums, cultural centers throughout

of the Tamayo Museum and organizer of

Argentina and South America work together

Condo México 2018, Mexico City).

for this event to happen-. On the guest list, we

Henrique Faria (Gallerist of Henrique Faria

find references within Latin American art such

New York/

as curators, gallery owners, and development

Buenos Aires).

Florencia Malbrán (Independent Curator,

managers.

Buenos Aires).

•

Julián Mizrahi (Gallery Owner of Del Infinito, Buenos Aires).

This committee’s purpose is to evaluate the sent proposals to establish uniform criteria that will constitute the Main Section of the event.

Special stages will be seen :

by facilitating the purchase of

Stage : Emerging galleries with less than 5 years

works but also by promoting

Cabinet: A predominant sector for emblematic

the exchange of cultural activity between different countries of Latin America and the World.

from their openings. contemporary artists, selected from the Main Section.

Solo Show: Individual exhibits of Latin American artists with their respective galleries - invited by a curator -. This year’s guest curator is José Luis Blondet (special projects in LACMA, Los Angeles).

36

Utopía: A special section of the fair that gathers new, alternative and innovative emerging art spaces.

Different areas promoting the exchange between different artists and experts in the field are presented to enrich the bonds between countries through art. Additionally, a special place for guest publications and publishing projects, bookstores and collective tables with independent labels.

Last year, arteBA 2018 had more than 400 participant artists among which there were renowned locals such as Luis Felipe Noé (Argentina), Julio Le Parc (Argentina), Rogelio Polesello (Argentina), and Celeste Martínez (Argentina), to name but a few. There were 84 national and international galleries such as Ruth Benzacar (Buenos Aires), ZMUD (Buenos Aires), La Arte (Salta, Argentina, Lateral (San Miguel de Tucumán, Argentina), Barro Arte Contemporáneo (Buenos Aires), Nueveochenta (Bogotá, Colombia), Petzel Gallery (NY, USA), Xippas Gallery (Montevideo, Uruguay), Poligrafía Obra Gráfica (Barcelona, Spain), PSM (Berlin, Germany), among others.

Moreover, this proposal does not only include

Is arteBa the only Contemporary Art event

The Art Market is expanding in every possible

that Argentina has to offer? The answer is

direction. The more time goes by, the more

no. Although it is a very well organized and

young artists create production venues where

extremely anticipated event, other contemporary

they self-promote. For instance, groups like

art fairs flourish in different parts of the Argentine

Mondongo where teamwork is essential. The

geography. They offer a bit of local art with rising

craft revival that allows forgotten disciplines

and established artists. The MAC (Contemporary

such as embroidery and woodblock printing

Art Market) is held during the month of August

come to life, and be commercialized as a

in Córdoba, in the center of the country. The

painting or sculpture would. And all of this is not

FACA (Argentine Contemporary Art Fair) - with

an overnight type of result since it has taken

headquarters in Mendoza and Buenos Aires

years and years of hard work for these areas -

-, is launched at the same time as arteBA.

that foster the exchange between the artist and

BADA (Buenos Aires Directo de Artista) that

the public - to obtain recognition from national

brings together self-managed artists who work

and international entities in order to contribute to

independently in galleries, and the Argentine

the Argentine art.

Documentary Photography Biennial, held in October last year, in Tucumán.

artists and galleries but also conferences, guided tours, interventions, editorial projects and activities for children.

For further information : http://www.arteba.org/ https://www.buenosaires.gob.ar/ https://mercadodeartecontemporaneo.com.ar/ https://faca.art/ http://bada.com.ar/ https://fotobienal.com.ar/ Special thanks to Rocío Gigena who was responsible for the correction and translation of this article. (“Hilo de tiempo” Celeste Martinez. ArteBA 2018. El Mirador Galería Fundación. Credits to malevamag.com)

37

Asia Art Market, The Art Fairs In Taiwan

by Lim Ai Woei

T

aipei Art Dangdai (Contemporary Art

for American solders. Even though one

the association, furthermore members focus

Taipei), the new fair founded by Magnus

step behind Japan, it has cultivated a

on collecting artworks that are crucial to

Renfrew was hold successfully in Taipei

solid group of art patrons, they survey

development of Taiwanese art, making Taiwan

from 18-20 January 2019, at Taipei Nangang Exhibition Center. Meanwhile, there were another

art forms of all ranging, from imperial

3 art fairs: Ink Now, One Art, Art Future and about

antiquities, pioneer local artists, western

20 parallel exhibitions held at the same time,

modern paintings to contemporary art,

showed a massive change in East Asia, lay at

include video, new media etc.

phenomenon reflects the depth and scope of outstanding art collectorship in Taiwan.

Under the government policies, art institution and art museum were listed under 12 Major

the intersection of changing geopolitical, artistic and the technological forces. Magnus Ranfrew,

Katy Hsiu-Chih Chieh, the president of

Constructions Program, even though no funds

the founding director of ArtHK, Art Basel in Hong

ARTouch publication mention in her essay

were available, but TFAM built in 1983 by Taipei

Kong’s predecessor, director of Art Dangdai

“Depth．Scope．Passion: Taiwan’s Private Art

City Government. Taipei National University of the

choose Taipei as the venue because Taipei is a

Collectors” about Taiwanese art collectors are

Arts (formerly know as National Institute of Art)

dynamic city with one of the longest-established

recognized internationally, include the world

established in 1982, following by another 2 art

gallery scenes in Asia with a rich cultural ecology

top four collectors. Since 1970s, Taiwanese

universities. Since National Taiwan University set

with world class museums, a vibrant artist

business were determined international market

up art history post graduate programs, dozens

community and an internationally recognized

at the same time developed the art appreciation

of art history, art management, museology

biennial.

taste internationally.” The art collectors formed

offered by various universities, and art critics

Almost the same time, the shocking news from the cancellation of Art Stage Singapore brought up strong comparison, rising up a lot of discussion and gain lots of attention about the Asia art market, especially Taiwan art market.

Even though the formal art education started from Japanese colonial period in 1900s, local first generation artist Liu Chin-Tang, Huang Tu-Shui study aboard from 1910s, following by artist associations and art exhibition, but the art market only started until 1970s with small scale “tourists oriented” gallery spaces, selling craft souvenir

38

one of the most “art-active” country in Asia. This

and curatorial program were offered in recent 10

Taiwan Art Gallery Association (TAGA) was

1960s

1970s-

1980s

1990s

2000s

2010s

"Tourists

Rise of

Established

Establishe

Art fair

Internatio

oriented"

gallery

of NIA and

d of TAGA,

refined in

nal era

gallery

industry

TFAM

Taiwan'

Taiwan.

spaces

and primary

art market

Opening of

developed

market

prospered. China

years. Skilled graduates from these programs

founded in 1992, comprising of 62 member

play a key role in art world, the training and

galleries. Same year in November, the first Art

professionalism provided a strong base to art

Galleries Fair was held at Taipei World Trade

Sotheby's

market,

Center, featuring 56 Taiwanese galleries. (Chu

branch

Taiwan

and

became

secondary

prominent

market

art supplier

museums, and art institution staffs and curators were significantly enhanced, to support art

Ting-Yi, 2019)

industry. Example, Hsiung Shih Art Magazine, the first art magazine which published at 1970

The early 1990s economic boom did not uphold

started with field research, and writings, analysis

the art market after 1995’s financial downturn.

started to report about local and South East

The establishment of TAGA and Art Taipei helped

Asia artist, a book of the Taiwan Art in 300 years

unite the industry, function as safe net and

published finally, the National Museum of Fine

offering leadership in times of rapid economic

Art adopted as the research base to curate an

change. (Chu Ting-Yi) The industry sensed an

galleries take part in Art Dangdai are Galleries

exhibition.

increase in demand for secondary market after

sector: Asia Art Center, Double Square, Eslite,

twenty years, Sotheby’s set up the Taiwan branch

Liang Gallery, Lin & Lin, Mind Set Art Center,

Moses Hsu Wen Chih, who was a team member,

in 1992 follow suit by the local auction house, but

Tina Keng, TKG plus, Nou etc, Solo Sector: Chini,

found ARTDOOR Taipei in 2008, experienced

due to the government tax purpose, Sotheby’s

Longmen and Soka, also 9 galleries from South

when he was fresh graduated from Taipei

and Christie’s relocated their Taipei headquarters

East Asia participated.

National University of the Arts, TNUA, (formerly

to Hong Kong. If Taiwan government recognizes

know as National Institute of Art, NIA), won the

the shift in regional financial paradigm, and

“Taipei is exceptionally well placed to become

most famous Hsiung-Shih New Artists award in

create appropriate tax incentives, we may see

a key fixture on the international art calendar.

1987 with his video installation work which is the

the homecoming of business and funds that

Taiwan has one of the most established gallery

“new media” during that time. The organizer Mr.

could help the economy move forward (Hsieh

scenes in Asia, an array of strong cultural

Lee director of Hsiung Shih Art Gallery, offered

Chin-Ho, 2019). Opening of China market, Taiwan

institution and museums as well as one of

him to became the sales of the Hsiung-Shih Art

became prominent art supplier. The sudden

the most creditable biennales in the world

Gallery because the video installation work not

advancement made a positive impact on China’s

today.” Magnus Renfrew from his perspective

a medium which easy to sell at that time (but

neighbouring art markets like Japan, Korea,

of international art fair organizer, “the U.S and

finally he sold the work). Immediately after the

Taiwan, even to Southeast Asia, the industry

Europe are now understanding the importance

national service, he jointed The Hsiung Shih Art

brought by secondary market’s triumph over its

of engaging with collectors from Asia, the most

primary source.

sophisticated collectors are now collecting

認知過程

識別

承認

合作

融合

創新

acknowledge

identification

recognition/ad

cooperation

merge

innovation

mission Source: geo-aesthetics under globalization, <Taiwan Art to go> ARTouch, combined with interview with Moses Hsu

beyond geographical and cultural boundaries Art Taipei 2008 featured an increase of

searching for new perspective.”

international galleries, 66 international galleries

Magazine publishing house and gallery during

participate in year 2011 achieving a total sale only

After 26 years of art fair operations, from the

second to Art HK. Since 2012, Art Taipei upsize

acknowledgment to identification, recognition

the exhibition space, housing 150 exhibitors per

and cooperation, finally they merge with mature

year, 50% based in location abroad. According to

collector structure foundation formed the art

French researcher Alan Quemin’s study in 2013;

market. The establishment of foreign organizer

an international art fair is defined by the number

Taipei Dangdai bring along Ink Now in 2019,

of the participating foreign galleries, as well as

move Taiwan art fair into the new era, bringing

the diversity of their nationalities. The study has

out the innovation in art market after blended

named 41 international contemporary art fairs

with more international top grade private

including Art Taipei from over 250 art fairs around

galleries.

the world.

the economic booming period in 1989. According to Moses, his was helped his collectors to bought

(Chu Ting-Yi)

Monet from Europe, Roudin from Tokyo Art Fair, and sold more than 40 pieces of Richard Lin’s

Chairperson of Taiwan Art Gallery Association

work during that time, reflect the needs and

2019, CHUNG Ching Hsin aspires to develop a

interested of art collectors prefer with master

unique style for ART TAIPEI, “With a distinctive

artist’s work and not the local young artist.

arrangement, ART TAIPEI will structure its historical obligation and commitment.” Chung

According to Chu Ting-Yi’s essay ‘Geo-Aesthetics

said, “As a Taiwanese art industry platform, ART

under Globalization: Art Fairs and Taiwan Gallery

TAIPEI shapes and fosters local galleries, while it

Industry’s;

continues its engagement with international cooperations and collecting. CHUNG’s inauguration

“In 1989, Taiwan’s stock market hit 10,000 points

of “Taiwan Art Collectors” constructs a platform

and the real estate prices rocketed, facilitating

that services collectors. With “Taiwan Art

the birth of a large number of galleries, 150

Collectors”, profound relationships are formed

ARTouch (2019), Taiwan Art To Go, Culture and Arts: as the

private galleries in Taipei city and the number

and furthered with international collectors.”

ways of Understanding Taiwan, Taipei

References:

Art Dangdai website,

of galleries in Taiwan to over 200. The lifting of

Art Stage Singapore website

martial law opened up the boarder of Taiwan-

Taiwan alone have art fairs which held

China, allowing the industry to access artworks

annually, like Formosa Art Fair, Art Revolution,

by Chinese artists, creating a new craze in

Art Taipei, Art Taichung, Art Tainan and Art

Chinese art collectorship, exhibited a dynamic

Kaohsiung. Taiwanese galleries are open wider

and diverse energy featuring primary Taiwanese

to international market, Private art galleries

impressionist, modern art, and Chinese art, along

participants in Frieze Art Fair, Art Basel,

Art. Now studying International Master of Arts program in

with some overseas Chinese from the West

government also arrange the parallel exhibition

Cultural and Creative Industries and Graduate Institute of

(Europe and US).”

with Venice Biennale. Among the Taiwan

Georgina Adam, Dark Side of The Boom Art market report website: Artprice, artnet website, Lim Ai Woei Assistant Curator of National Art Gallery Malaysia.

Graduated from Kuala Lumpur College of Art, major in Fine

Trans-Disciplinary Arts, at Taipei National University of Arts (TNUA).

39

ROUTE TO KL BIENNALE 2020 ROUTE TO KUALA LUMPUR BIENALLE 2020 merupakan sebuah program outreach Balai Seni Negara bagi mempromosi KUALA LUMPUR BIENNALE 2020 (KLB2020) yang mensasarkan secara terus kepada masyarakat tempatan, pelancong dan peminat seni visual. Ianya bertujuan supaya KLB2020 mendapat sambutan dan impak yang besar sama ada dari segi penganjuran hasil dan kesannya. KLB2020 merupakan acara festival seni visual kontemporari berskala besar yang akan diadakan buat kali ke 2 di Kuala Lumpur. Ia dianjur seiring dengan Sambutan Tahun Melawat Malaysia 2020 yang bermatlamat membantu kerajaan mencapai sasaran 30 juta pengunjung ke Malaysia.

“Balai Seni Negara Anjur KLB2020 TAHUN 2020” “Route to Kuala Lumpur Biennale 2020” merupakan titik sentuhan tempatan yang memberi keutamaan kepada rakyat bagi mewujudkan kesedaran, persediaan dan penglibatan pelbagai lapisan masyarakat khususnya yang berkaitan dengan budaya dan seni visual memperlihatkan peranan seni visual dalam pemeliharaan warisan, budaya dan kerukunan masyarakat disamping mencari usaha kelestariannya dengan pendekatan kewangan budaya (monetizing culture) iaitu praktis kebudayaan disamping dapat menjanakan pendapatan. Dengan kelestarian warisan, seni dan budaya peringkat tempatan ini akan dapat mengukuh dan memantapkan lokaliti sebagai tarikan experiential tourism dan pelancongan seni dari dalam dan luar negara.

“Nantikan ROUTE TO KLB2020 di Zon Anda ! “

1. Zon Utara 1.1 Langkawi (International Marble Art Workshop) Oktober 2019 1.2 Pulau Pinang (Balik Pulau Festival) 15 – 21 Julai 2019 1.3 Ipoh (Ipoh International Art Festival (IIAF 2019) 30 November – 8 Disember 2019

3. Zon Timur 3.1 Kelantan (Art with Community) 18 – 19 Oktober 2019

2. Zon Selatan 2.1 Johor (Art with Community) a. Lakaran Panorama Muar 28 – 29 September 2019 b. Projek Seni Komuniti & Pameran November 2019 c. Projek Mural November 2019 Perlis

5. Zon Borneo 5.1 Kota Kinabalu (Bamboo Sculpture by The Sea) September – Oktober 2019 5.2 Kuching (Seni & Masyarakat) November 2019 5.3 Labuan (Borneo Art Festival) 27 – 29 September 2019

4. Zon Tengah 4.1 Kuala Lumpur (Festival Anak Muda 2019) 16 – 18 Ogos 2019

Kedah Penang Kelantan

Terengganu

Perak

Sabah

Pahang

Selangor

Negeri Sembilan K.L

Putrajaya

Melaka

Johor

Sarawak

Info : pr@artgallery.gov.my BALAI SENI NEGARA NATIONAL ART GALLERY No.2, Jalan Temerloh, Off Jalan Tun Razak, 53200 Kuala Lumpur.

Tel: +603. 4026 7000 Fax: +603. 4025 4987 www.artgallery.gov.my

nationalartgallerymalaysia KLBiennale BalaiSeniNegara nationalartgallerymy klbiennale National Art Gallery Malaysia 40

#RouteToKLBiennale2020 #klbiennale2020 #balaiseninegara #nationalartgallery #NAGMalaysia

www.artgallery.gov

BAKAT MUDA SEZAMAN YOUNG CONTEMPORARIES OPEN + LAB

Rambu-Rambu Memori

ANUGERAH UTAMA MAJOR AWARD

SAMSUDIN WAHAB

ANUGERAH JURI JURI AWARD

Isn’t The World That We Love?

ANUGERAH JURI JURI AWARD

Recognized

ANUGERAH JURI JURI AWARD

Delan

MOHD SYAFIQ MOHD NOR

EDROGER ROSILI

ANWAR SUHAIMI

Work 1 : Nice To Meet You Work 2 : Touch Seeing Work 1 : Nice To Meet You Again

ANUGERAH JURI JURI AWARD

LIM SIN PENG

ANUGERAH JURI JURI AWARD

Too Much, Not Enough

ANUGERAH PILIHAN PELAWAT PEOPLE CHOICE AWARD

Seed

WONG MING HAO

John Xaviers is an artist-curator-educator based in Kochi and Delhi, India. He served as Assistant Curator at Devi Art Foundation, Gurgaon from 2009 to 2011.

He did his PhD in Art Theory at the School of Arts & Aesthetics, Jawaharlal Nehru University and taught Art Theory at Shiv Nadar University from 2015 to 2018.

He was the Assistant Curator of the 4th Kochi Muziris Biennale, Asia’s biggest contemporary art festival.

JOHN XAVIERS, PHD JURY YOUNG CONTEMPORARIES 2019

JOY NG MEI LOK

I regarded Edroger Rosili’s multi-media installation titled Recognized (2019) as the most valuable artwork in BMS ‘19, for its overall strength. The work is conceptually rich as it critiques capitalist commercialism, but at the same time celebrates the notion of how contemporary artists build unique identity in the art world like building a brand.

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42

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BAKAT MUDA SEZAMAN YOUNG CONTEMPORARIES OPEN + LAB

INSTALASI/MEDIA BAHARU

PAMERAN EXHIBITION

Sempena Ulang Tahun ke-60 tahun penubuhan Balai Seni Negara, pameran ini memperlihatkan sebuah kajian tinjauan dalam tiga genre seni iaitu perkembangan Arca, Instalasi dan Media Baharu.

Minta Perhatian penekanan terhadap tiga bentuk genre seni ini bagi menimbulkan persoalan dan mewujudkan respon sebagai tindak balas penyataan kuratorial. Kajian tinjauan ini menghimpunkan pengkarya yang mendukung ‘kepraktisan potensi’ yang didefinasikan sebagai pemilihan material, proses membentuk dan melabelkan makna.

Setiap pembuatan objek seni akan melalui proses yang mewujudkan potensi lanjutan yang memberi kesan kepada ekosistem seni itu sendiri dan perubahan potensi pada setiap zaman. Pameran ini akan mempersembahkan seleksi dari Koleksi Negara dengan beberapa artis jemputan.

06 MAY-06 SEPT 2019

The survey exhibition focuses on these three art forms in response to the curatorial statement. It features artists who have demonstrated great potential in terms of their material selection, art-making process and meaning construction. The making of an artwork involves a series of processes that can generate further potentials that, in turn, can affect the art ecosystem itself and bring changes to the art of each era. The exhibition presents works selected from the National Collection as well as newly commissioned pieces by invited artists.

The exhibition titled “Minta Perhatian” (Attention Please), organised in conjunction with

September 2018 January 2020

Balai Seni Negara National Art Gallery

Tun Razak Gallery

2019

Pameran Exhibition

the 60th anniversary of the National Art Gallery, is to review the development of three art forms, namely, Sculpture, Installation and New Media, in the local art scene.

Leonardo da Vinci OPERA OMNIA 15.07 15.08 2019 3A GALLERY

Pameran Arca

Terbaharu

Raja Shahriman

December 2019 February 2020 2B Gallery

AHMAD FUAD OSMAN At the end of the day even art is not important (1990-2019)

noitai-ecirP trA trA ot esneciL tekraM trA sruenerpertnE trA gnuoY !EAY ecapS trA muesuM trA cilbuP etavirP sriaF trA & sweiveR

72# ON EUSSI 3 3 2 7 - 5 8 9 1 NS S I

000327 589177 9

Back Cover Artist’s 16 October 201931 January 2020 2A Gallery

BMS’19 Anugeran Juri/Jury Award WONG MING HAO Too Much, Not Enough, 2019 Acrylic and gloss gel on canvas 240 x 150 cm (diptych, 120 x 150 cm)

My work looks at the human form and undercurrents of life Humans always wear a different personality when facing different people. On social media, they often portray something very different than their real life. Focusing on ‘likes’ can cause them to make choices they would otherwise not make, like altering their appearance or accepting risky challenges.

Having said that, a person who has a very positive profile may well have a self-distrusting nature, for they fear to face people with their true selves. As an artist and part-time lecturer, I found that the people around me, especially teens, friends and even myself often have this fear. Too Much, Not Enough is a diptych of a face that separates the upper face from the lower. The initial face will be painted onto the canvas to represent the real self and subsequently other

faces will be laid on the first face. These layers of faces were painted on other surfaces and peeled off when they are dried. I call them the ‘paint-skin collage’.

These camouflaging layers submerge the underlying paint, masking over the true face and emotions The lower section of the face will have more definite facial features, while the upper section will be overlapped with lots of paint skins, causing a chaos in identity and documenting the beginnings of an internal battle. A call for attention in a silent struggle that is so common in today’s modern culture fueled by rising expectations and rampant consumerism. My approach to material is exploiting its potential to elicit strong associations to submerged emotions that we are all too familiar with.

noitai-ecirP trA trA ot esneciL tekraM trA sruenerpertnE trA gnuoY !EAY ecapS trA muesuM trA cilbuP etavirP sriaF trA & sweiveR

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000327 589177 9