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
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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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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
72# ON EUSSI 3 3 2 7 - 5 8 9 1 NS S I
000327 589177 9