senkini#06

Malaysian art now

>TWENTY YEARS IN REVIEW >LIMPAS

BAYU BORNEO

>The BrandLaureate Awards 2009/2010: DATUK SYED AHMAD JAMAL >A Metre

Perspective

>ABC’ANTARA BAHAN CAMPURAN’ DARI HIMPUNAN TETAP BALAI SENI LUKIS NEGARA

C O N T E N T S

04 06 10

Editor

inc.

No one can be sure of the future. Hence no matter how well planned our work and organization for the arts may be , it is imperative that we prepare for alternative plans to adapt to changing situations. And sometimes we are to prepare for alternative leaders as well.

07 07 08 08 11 13 20

09 Enter The Year of the Tiger with the abduction of our Editor of and Director General of National Art Gallery , Dr Mohamed Najib Ahmad Dawa , the National Art Gallery is on guard for the next leadership challenge.

The national collection piece on the cover of entitled Ku rasa Kuasa or ‘I feel powerful’ by Shahrul Anuar Shaari is selected because of the significance of the work in the mixed media collection as well as the unique instance of a leader-less situation as depicted in the empty chair. Amerrudin shares selected pieces from our collection in his exposition on mixed media or ABC :Antara Bahan Campuran from the Permanent Collection which can be enjoyed in the year-long exhibition of the same title.

A review of the art scene by Shalini augurs well, and the quest for re-mapping Borneo in the visual art scene is shared by Hasnul while Simon dabbles into a metre perspective of art for or indulgence.

An additional section in is the CURA T.O.R where our first discussant Majidi has courageously taken up the challenge in sharing his experiences in managing the commissioning of art on the roof of the Malaysian Pavillion. is proud to present K.Soon , as he shares with us his curious world speckled with his visual brand of comical overtones. K.Soon was also complimented by our Brand Masterpiece artist Datuk Syed Ahmad Jamal who saw the first draft cover as we were working in our studios. Positive vibes nurtures us while razor sharp comments of the past must surely turn into positive reinforcement for the future. As challenges and creativity strives , so will .

Zanita Anuar Editor-In-Chief

11 16 18 20

12 15

14

16

FEATURES Twenty Years in Review ABC: Antara Bahan Campuran Limpas Bayu Borneo

HIGHLIGHTS Her World Celebrates Arts!

Soh Boon Kiong - Meraikan 20 tahun karya dengan pameran seni di Kuala Lumpur Flights of Fancy The 15th Rimbun Dahan Residency Exhibition Crossing Borders@Galeria Kuching Zac Lee, New Species C-4 CUT2010:New Photography from Southeast Asia

RE-COVER ARTIST Lim Keh Soon (K.Soon)

OPPORTUNITIES Pertandingan Photo Flora Malaysia 2010 Pertandingan Rekabentuk Malaysia 2010 The 10th Oita Asia Sculpture Awards 2010 Pertandingan Melukis Citra Terengganu 2010

EXHIBITION REVIEWS A Metre Perspective Suzlee Ibrahim: Monsoon Series

ART REVIEWS Saharil: Berharmoni dalam Menjengah Seksualiti dan Gender yang Kacau

CREATIVE INDUSTRY The BrandLaureate Awards 2009/2010: Datuk Syed Ahmad Jamal

17

BSLN Sana Sini

19 21

Rumah Seni dan Kraf Gemilang

CURA T.O.R. Grafiti Batik Kontemporari Malaysia Pavilion Shanghai Expo 2010

22

BSLN PUBLICATION

23

WHAT’S ON

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

w w w. a r t g a l l e r y. g o v. m y l EDITOR-IN-CHIEF Zanita Anuar l EDITOR Wening Cheah & Hashimah Nyok l ASSISTANT EDITOR Anis Amizan Hussein Lim | CONTRIBUTORS / WRITERS Majidi Amir, Shalini Ganendra, Alina Abdullah, Simon Soon, Hasnul J Saidon, Irene Lim, Zuriyadi Sarpin, Abby Zain, Syahrulniza Zaini, Ismaliza Baharuddin and Wening Cheah l DESIGN Nuzaihan Mustapa & Shamizar Rahim l PHOTOGRAPHY Muhamad Akmal Hakim and Mohd Fitri Abd Rahman l can be accessed at www.artgallery.gov.my/senikini Any feedback and comment please email to us at: wening@artgallery.gov.my The publisher, National Art Gallery Malaysia, holds the copyright of all editorial content.

SENIKINI (ISSN : 1985-7233) is published six times a year by National Art Gallery Malaysia.

(Details)

SHARUL ANUAR SHAARI, ‘Ku Rasa Kuasa’, Campuran, 2001, 125 x127.3cm, BSLN 2001.114

All Rights Reserverd.

Copyright©2010 SENIKINI Malaysian Art Now Printed in Malaysia.

Bicara Seni bersama YBhg Datuk A. Samad Said Tarik:h : 28 April 2010 (Rabu) Masa : 3 petang Tempat : Galeri 2B, tingkat 2 Untuk keterangan lanjut sila hubungi : 03 4026 7161/ 03 4026 7172 / 03 4026 7137

`

04

FEATURES

K. Azril Ismail, Iron Dragons of Malaya Series, Digital print, 2008

TWENTY YEARS IN REVIEW l Shalini Ganendra

Yee I-Lann, Kinabalu Series: Himinodun, Digital print on Kodak Endura Paper, 106.5 x 204.5cm, 2008

The

thrust of exceptional and notable contemporary art – the world over, is creation of works that through their formation, presentation and/ or purpose – captivate, educate and are memorable.

Certainly one art market development in the last 20 years is that there is less distinctions between local and international are less, as artists, like all other professionals, participate in globalization and have to distinguish themselves in that mire of competition. Art has become hugely commercial, academic and demanding.

Demarcation of high art and merchandising is also blurred.

Eric Peris, Jigsaw in Clay, C-Print, 91cm x137cm

Note also that, Museum visits are not the only way to learn about local art movements (though this writer maintains such visits are crucial for gaining aesthetic insight into local art in local contexts). By setting up physical presences along with active electronic and hardcopy supports – these institutions are participating in the development of the local art scene in a positive and necessary way.

Malaysia’s art world has been busy too – developing ideas, artists, public institutions, collectors and patronage. During the last 20 years, the new location for the National Art Gallery opened, very visibly on Jalan Tun Razak. The Gallery has hosted a number of exhibitions and continues to focus on presenting Malaysian art history through programs and curated shows. “NAG”, as it is familiarly called, has launched a newsletter-magezine, Senikini, which comments and informs on art happenings. The NAG website is a resource for exhibitions, awards and events.

One way to gauge the impact of exhibitions is to read some entries on the numerous blogs and websites that have been launched. Kakiseni, established over ten years ago, was the first site to cover the local happenings including art exhibitions. In year 1998, Time Out Malaysia, ARTERI and What’s Art set up websites.

Local art fairs and social ‘art activities’ are another measure of KL’s growing importance as a viable art center. 2007 saw the launch of Art Expo Malaysia, now an annual event. Galeri Shah Alam held the first Mail Art Festival in Malaysia earlier this year. Kuala Lumpur Design Week 2009 drew in a number of interesting entries with sculpted functional art and design collaborations.

Charities and NGOs more regularly raise funds through art auctions and exhibitions.

Galeri Petronas opened in 1993 at the Dayabumi Complex and in 1998 moved to the elegant and hi-tech space in the KLCC. The gallery boasts 2000 sq. meters of sleek, circular space.

On the international front, Malaysian artists have been featured in Art Fairs and exhibitions in the USA, UK, Europe, the Middle East, Hong Kong, Beijing, Australia and Singapore.

The Islamic Arts Museum opened in 1999. Its establishment also marked a significant development for the Malaysian art scene because of its international stature and collection. Though not a venue for Malaysian fine arts per se, the museum has contributed to the perception of Kuala Lumpur as a growing cultural centre.

International Auction Houses invested in Malaysia some years back. Sotheby’s and Christie’s, particularly, have helped to create interest in art from Asia. Armed with strong PR departments, extensive collector bases, and sturdy reputations – the auction houses provide artists with a short cut to financial success if their works are auctioned well. The houses give collectors peace of mind on provenance and, to a some extent, quality.

Sotheby’s opened a representative office in KL in 1994 and Christie’s, in 1997. Christie’s first auctioned Malaysian Artists in 1994 and Sotheby’s, in 1996.

Both the Islamic Art Museum and the National Art Gallery have strong conservation departments, with the much needed expertise to repair damage from the humidity, poor storage and other tropical delights.

With all these attractions, are these institutions drawing in more visitors? A senior artist comments that despite the existence of stronger art venues, visitor numbers have not increased significantly. This is not entirely true.

Local visitors now have more to see in KL, and there appears to be increasing traffic at these institutions for specific purposes.

Mok Kim Chuan, Sotheby’s Head of Southeast Asian Paintings, comments: “Origins of collectors of Sotheby’s Southeast Asian Art on a whole have become more international in recent years. Apart from the collectors from Southeast Asian region itself or Southeast Asian expatriates residing in other countries, we are also attracting more collecting

Yeoh Kean Thai, Red Lantern, Acrylic and ink on canvas, 76 cm x 153cm, 2007

from other parts of Asia, as well as from the West. We are seeing more collectors “crossing over” from other categories.”

Ms Ruoh-Ling Keong, Vice President & Head of Southeast Asian Modern and Contemporary Art at Christie’s, expresses a slightly different view: “Malaysian modern and contemporary art is characterized by a relatively strong domestic market with a handful of major collectors who enjoy close relationship with artists. At this moment, the majority of Malaysian art and artists are not generally known outside of Malaysia and Singapore, let alone the region of Asia. ...Recently emerging from the increasing crossexposure of Asian art through art fairs and auction sales, we have seen the works of contemporary artists… gaining attention in the auction market from collectors outside of Malaysia.”

With regard to the identity of buyers of Malaysian art at auction, Keong observes: “Major collectors of Malaysian modern and contemporary art at auction are Malaysians. It’s a reflection of the character of the art market and a support to their nation artists. The works of Malaysian artists that were auctioned at Christie’s mostly have a comparatively matured primary market.”

Auction houses constantly re-evaluate markets and marketing, looking for the next ‘big area’. The areas selected need to be sustainable and well managed to maintain credibility. As noted, part of that responsibility falls on local participation. Artists and clients who enter works into auction should be aware that there is the risk of the work not selling after such wide exposure – a consequence that does not help the artist or work.

And when art markets tumble, as they did this year, even the auction houses are severely punished, showing the unfavourable consequences of speculation.

Collectors who purchased high (and sometimes questionable quality), now cannot sell. Some have been badly affected – including once prosperous international galleries and dealers who have closed their doors. Hence the comparison of the art markets to stock markets, with the increasing comodification, manipulation, speculation and fraud, common to both.

But not everyone plays auction, nor is inclined to do

05 Sabri Idrus, Musa 2, 76 x 76 cm, Digital Print, 2009

Hamidi Abdul Hadi, Germinate IV, 234 x 165.2 cm, Linseed oil, lacquer, charcaol and damar on canvas,2005

Ahmad Zakii Anwar, Surrender 2, 54 x 185 cm, charcoal on paper, 2007

Lim Kim Hai, Apple Series, 90 x 120 cm, Oil on canvas, 2009

FEATURES

Faizal Sidik, Sublime - Pattern of Status, Paint on canvas, on wood, Diam 122cm, 2010

so. A vital component of any growing art scene is local and individual participation. The websites and blogs, coverage by magazines, television, radio and other media (local and international), along with the growing sophistication of artists and commercial galleries, provides ample information and product. Additionally, newer mediums are being explored and mediums traditionally not considered fine art, e.g. photography, are now more mainstream than every.

New galleries and art advisors are surfacing regularly with exhibitions and projects featuring old and developing talents. There are a growing number of underground movements, not to mention graffiti art. All these activities now have to stand up to the scrutiny of a more informed public.

With this onslaught of information and activity – there is a greater need, (certainly more than there was 20 years ago), to be wary. Audiences should be thorough and discerning when processing this abundance of information. Intuition and time will tell which are the most credible sources, presenting worthy content and advice.

Established artists who have observed and participated in the development of the last two decades provide constructive commentary. Award winning artist Yeoh Kean Thai observes: “Audiences nowadays are more aware about art but most still lack the critical appreciation of art. Most are still looking for pictures to decorate walls. Collectors still buy what is supposed to be a good investment, but sadly most of them are getting bad advice from some galleries concerned only with selling their goods.”

A similar sentiment is voiced by established artist and theorist, Nasir Baharuddin: “Collectors are more impressed with commodity rather than inculcating the culture of an art world and its understanding. I need art collectors who bother to understand rather than who just buy work.”

In a New York Times Article on Handling Art (9/6/09), a storage company CEO quipped: “Some Malaysian collectors rent entire apartments just to store their artworks.” What an indication of growth! Be warned though, overconsumption is an indication of overspeculation. There will be many a white elephant left in

these storage quarters. So, let us not ask: “Is yours bigger than mine?” - when the real question should be: “Is yours better?”

We know some collectors are collecting A LOT more, but are there really more collectors? Some artists are doubtful, commenting “Yes, we do see more individuals parting with 4 to 5 figure amounts to purchase artworks but are there more collectors?”

This writer asserts there are. Different galleries have varying collector bases, though there is some overlap.

By and large, audiences are now disparate and not predictable. The number of artists have increased as well, fueled by growing economic viability of the vocation and a host of art schools providing affordable and costly fine art and design degrees.

The first local art colleges were UiTM and MPIK, both funded by government and established in the early 70’s, with western influenced and traditional art The first private art college was MIA which focused on western art development and Chinese painting. Now, there are numerous private colleges and public universities with art programs. There are also a growing number of art fellowships/residencies hosted by private and public entities, locally and internationally. Malaysian artists are winning international awards. Zac Lee, Yeoh Kean Thai, Nirmala Karrupiah have each won the Freeman Fellowship to Vermont Studios (USA) which tends to jump start artistic careers. Yeoh Kean Thai went on to win a prestigious Commonwealth Art Residency Award 2009 in a highly competitive run up.

In so far as collectors’ motivations for buying - these continue to be disparate the world over - though there is an increasing emphasis on ‘investment’ value. Some buy for decoration, some for social statement, others for investment – some for all of the above. Most reasons may be legitimate – but each come with varying levels of risk.

Regardless of motivations, we must applaud the developments of the last two decades, in the Malaysian art scene. This writer’s wish for the next 20 years, is to see an increase in museum quality works by artists and in private and public collections, with the corresponding growth in awareness that what we create, collect and endorse should be WORLD CLASS. Nothing less.

COLLECTOR’S UPDATE The MO’09 Art Auction as mentioned in SENIKINI #05 has been developed into Art Auction Malaysia. The AAM is a collaboration between NAG, and the Henry Burthers Auctioneers is due to be held on the 8th Aug 2010.

ARTFRIENDS

06

FEATURES

ABC `ANTARA BAHAN CAMPURAN ’ dari HIMPUNAN TETAP BALAI SENI LUKIS NEGARA ‘BETWEEN MIXED MEDIA’ FROM THE PERMANENT COLLECTION OF NATIONAL ART GALLERY

30 MAC 2010 - 16 JAN 2011 l Amerrudin Ahmad

PONIRIN AMIN, ‘Anggerik Putih Di Pusara’, 1983, Campuran, 65.6 x 88cm, BSLN 1983.030

dan pengolahan bahantara dalam menghasilkan bahan budaya (material culture) adalah lumrah kepada umat manusia ribuan tahun dahulu. Umpama orang dahulu kala yang mengolah kayu menjadi kapal merentas samudera untuk sampai di dunia sebelah sana, begitu jugalah karyawan dan pelukis mengolah bahantara dalam karya-karya mereka.

Eksploitasi

Usaha untuk memberi dan menyampaikan mesej kepada khalayak sama ada dalam pendekatan ilusionistik yang memancarkan saripati alam, sanggaan gerak syarat dan emotif, atau pun pendekatan investigatif yang cenderung menyelidiki milikan-milikan struktur persepsi dalam senilukis, seperti ruang, warna dan sifat bahan.

Penghasilan karya dengan tambahan bahan-bahan asing bukan media konvesional ini semarak dengan berkembangnya ekperimentasi dalam dunia seni moden. Bermula dengan gabungan lebih daripada satu bahan di atas sebuah permukaan karya seni seperti gabungan sesama bahan basah atau kering dan basah, kemudian dengan kaedah tampalan menggabungkan pula bahan-bahan nipis dan ringan yang dipanggil kolaj hinggalah gabungan yang agak ekstrem iaitu melekatkan atau menggabungkan bahan-bahan yang lebih tebal dan berjisim tiga dimensi.

CHAN THIM CHOY, ‘...Happy New Year...?’, 159 x 203cm, BSLN 2204.009

Pameran Tetap yang mempamerkan koleksi Himpunan Tetap Balai Seni Lukis Negara kali ini menampilkan koleksi karya-karya yang menggunakan bahan campuran. Pameran ini bertujuan memperlihatkan secara kronologi kemasukan karya-karya bahan campuran yang dihasilkan seawal tahun 1950an hingga kini. Terdapat lebih 300 buah karya dari Himpunan Tetap yang dapat diletakkan dalam kumpulan karya berbahan campuran ini. Namun terdapat sebilangan karya yang amat menarik tetapi tidak dimasukkan untuk pameran kali ini kerana fokus pameran ini terhadap karya media campuran (mixed media) dan tidak melibatkan karya media pelbagai (multi media) yang menggabungkan bahan/media bukan visual seperti audio, video dan animasi komputer.

MOHD SUHAIMI TOHID, ‘Journey’, 2001, Campuran, 143 x 88cm, BSLN 2001.043

Hasil geledahan repositori Himpunan Tetap ini akan dipamerkan di ruang Pameran Tetap karya-karya bahan campuran secara turutan penghasilannya dengan kumpulan tahun 50an, 60an dan 70an dalam satu jangkawaktu, manakala kumpulan karya 80an, 90an dan 2000 hingga kini dalam jangkawaktu yang berikutnya.

JOSEPH TAN CHIN JIN, ‘Love me in my Batik’, 1968, Campuran, 203.2 x 71.1cm, BSLN1975.002

Semestinya pameran ini akan menjadi sebuah pameran yang penuh informasi untuk pengkaji, pelajar, peminat seni dan pelukis sendiri bagi melihat perkembangan karya berbahan campuran di dalam sejarah pengumpulan karya seni visual di Balai Seni Lukis Negara.

07

ART !

REVIEW

exhibition was held at 23 Feb - 7 March at the Bangsar Shopping Centre. The exhibition was presented by Häagen-Dazs and supported by the Ministry of Women, Family and Community Development, officiated by Datuk Seri Sharizat.

All art pieces is an interpretation of the theme ‘Celebrating Women, and the original artworks and photographs will be on sale for charity.

Participated Galleries: NN Gallery, Metro Fine Art, Archana Gallery, The Gallery@Starhill and Shalini Ganendra Fine Art.

Rahman Roslan, Testimonial, Light jet printing on Kodak, endura paper, Edition of 1/5, 41” x 25”

Participated Artists/Photographer: Tew Nai Tong, Ahmad Shukri, Kim Mun, Suk Tai, Rahman Roslan, Soon Lai Wai, Kah Mun, Soon Lau, Eston Tan, Tan Wei Kheng, Zac Lee, Nur Hanim Khairuddin, Haffendi Anuar, Nirmala Karuppiah and Faizal Sidik.

Nur Hanim Khairuddin, Petals of Hope, Oil & Collage on canvas, 76cm x 76cm, 2009

Suk Tai, A Quiet Chat, Oil on Canvas, 67.5cm x 88cm, 2009

Soon Lau,Flowers, Photopaper, 24” x20”, 2009

SOH BOON KIONG – MERAIKAN 20 TAHUN KARYA DENGAN PAMERAN SENI di KUALA LUMPUR pameran seni solo pertamanya

Semenjak kira-kira 20 tahun lalu, artis

kelahiran Malaysia Soh Boon Kiong mengambil keputusan untuk berpindah ke Jepun. Semenjak itu beliau telah membuktikan bahawa tindakan berani beliau ini telah menghasilkan suatu pengalaman baru yang memberangsangkan sebagai seorang insan pengkarya seni yang matang.

The Flowing Music, Acrylic on Canvas, 128.5x128.5cm, 2009

For the Seine, Acrylic on Canvas, 190x130cm, 2009

LATAR BELAKANG PELUKIS Artis Malaysia yang bermastautin di Jepun, Soh Boon Kiong dilahirkan pada tahun 1966 di Kuantan, Pahang. Beliau menuntut di Sorbonne and Ecole Nationale Superieure des Beaux Arts de Paris dari 1988 sehingga 1993. Beliau telah menetap dan bekerja di Amagasaki, Japan sejak 1998 bersama isteri beliau yang berbangsa Jepun dan dua orang anak mereka. Hasil karya Soh banyak dipengaruhi oleh pelukis-pelukis Impressionis Perancis disamping gerakan Expressionisme Abstrak yang bermula pada tahun 50an di Paris. Beliau turut mendapat inspirasi dari lukisan “San-Sui” (landskap) Cina lama disamping lukisan kaligrafi China. Hasilnya terbentuklah suatu gabungan unik estetika timur dan barat yang mengagumkan. Di samping kehebatan seninya, Soh juga boleh bertutur dalam lima bahasa yang berbeza.

Hasil pengamatan dan pengalaman selama pengembaraan seninya kini dipersembahkan kepada dunia bertempat di Metro Fine Arts Gallery, Tingkat Bawah Legend Hotel, Kuala Lumpur yang dijadualkan dari 19 Mac sehingga 3 April 2010. Sekiranya tiada aral melintang, Soh juga akan mengadakan pameran solonya di Paris.

Pameran ini telah dirasmikan oleh Tuan Yang Terutama Mr Marc Barety pada hari Jumaat, 19 Mac 2010.

Para pengunjung disajikan dengan hasil karya yang menakjubkan yang bertemakan “La Poesie de l’Eau” atau “The Poetry of Water” atau “Puisi Air” yang memperlihatkan 15 hasil karya lukisan akrilik di atas kanvas terbaru yang dipamerkan buat pertama kali.

EXHIBITON

Celebrate HERWORLD being in the market for

To 50 years in 2010, the Her World Celebrates Art

EXHIBITION HIGHLIGHTS

HER WORLD CELEBRATES

08 EXHIBITION HIGHLIGHTS

| AZIZAN TALKIS |

FLIGHTS OF FANCY

An inspiring artist who graduated from the University of Technology Mara (UiTM) in 2006. He has exhibited his artworks every year in the last four years. His recent solo exhibition is done at House of Matahati (HOM)in late 2009. In his artworks he is more inclined to the fixation of horrors and surrealism style of painting infused with pop icon .

creative minds find the freedom to express themselves. A group exhibition by Azizan Talkis, Eric Keoh, Mohd. Fairuz Paisan and Hoo Kiew Hang. This group show features recent works of like minded individuals with the aim of nurturing the growth and development of art in Malaysia thus providing support and encouragement amongst each other. For the first time ever, these artists are joining forces in showcasing recent works that are truly inspiring; voyaging through different idealism of life, hence the title “Flights of Fancy”, which is set to portray this sought after thoughts of imagination and idealism.

Where

| HOO KIEW HANG | Began his career as a contemporary painter in 2006 after graduating in Fine Arts at Dasein Academy of Art, Kuala Lumpur. He has participated in numerous exhibitions both locally and abroad and has been involved in community art projects. His visual art has very much been influenced by the characteristics of pop art and poetic/comic visual art with the use of bold colors, images and written words.

As the nature of the gallery is to promote aspiring and emerging new talents, there is always a larger creative pool available, and this time, the exhibition will showcase works from artists; Azizan Talkis, Eric Keoh, Fairuz Paisan and Hoo Kiew Hang, four very talented artists with a truly unique combination of distinct styles and flair for art.

Flights of Fancy will inject a breath of fresh air in portraying a dedication to the total freedom of expression, all in the name of art. It is their hope that this platform of appreciation, support and friendship will lead to a greater understanding of the true nature and purpose of art.

| ERIC KEOH | Ipoh born Eric obtained his BA (HONS) Fine Art, majoring in Painting from the Central State University of Oklahoma, USA. At the university, his work received various recognitions, including a Red Ribbon for Oil painting and Sculpture, as well as a Blue Ribbon in Print Making.

He was also named the outstanding artist of the year in 1989. Eric’s work has been collected by individuals from Malaysia, Singapore, Taiwan, New Zealand, the United Kingdom and the United States. Eric’s paintings not only mirrors his individualism, but that can also be reflected by many. Being a music lover, his paintings entwine musical notes, art and soul.

FLIGHTS OF FANCY : AN ART EXHIBITION 26th February – 31st March 2010 Venue : Art Lives Gallery, 37-2, Jalan 23/70A, Desa SriHartamas, 50480 Kuala Lumpur For further enquiries, please contact : Ms. Annusalya @ 03 – 62035223

SAMSUDIN WAHAB, “Manusia Setengah Dewa”, Collage, acrylic, bitumen on canvas and plastic frame, 16 x 25cm, 2009

THE 15TH RIMBUN DAHAN RESIDENCY EXHIBITION

| MOHD FAIRUZ PAISAN | Graduated from University of Technology Mara (UiTM) Shah Alam, Selangor with a Bachelors Degree (Hons) Fine Art, Mohd Fairuz has participated in various art projects in Malaysia including being the art director for numerous local TV programs. He has also joined various art exhibitions such as the Phillip Morris and the Nokia art award. His social commentary artworks depict manifestation of human life with metaphors such as nature and animals.

Black and white are the choices of color for the artist due to his fascination with themes of life values that we so often need reminding of.

ROCHELLE HALEY, “Pendulous Heart”, Reflective film, metallic paint and etching on glass, 30 x 21cm , 2009

artists

Rimbun Dahan hosted its annual exhibition at the end of February, 2010. A much anticipated event on Klang Valley’s arts calendar, the 15th Rimbun Dahan Residency Exhibition showcased artworks

by Monika Behrens (Australia), Rochelle Haley (Australia) and Samsudin Wahab (Malaysia).

All three artists were residents of Rimbun Dahan, the family compound of architect Hijjas Kasturi and Angela Hijjas in Kuang, outside Kuala Lumpur.

Under the guise of still life oil paintings comprised of playful, nostalgic and seductive objects Behrens works subversively with serious and insidious ideas. Her work is based broadly on themes of loss, violence, deceit, power plays within society and the subsequent impact on the vulnerable.

In this exhibition, her works highlight on contemporary political issues within Malaysia.

Rochelle Haley is a Sydney based artist working

MONIKA BEHRENS, ROCHELLE HALEY & SAMSUDIN WAHAB dates 28th February – 14th March 2010 venue RIMBUN DAHAN, Kuang, Selangor www.rimbundahan.org broadly within the fields of experimental drawing and installation. Central to Haley’s work is the exploration of the relationship between the human subject and their physical and social environment.

Recently this concern has been expressed through a series of incised paper works investigating the relation between the land, the body and its representation. Imaging the landscape using unusual methods of ‘drawing’ with blades and carving into heavy white paper, Haley creates artworks that require a viewer to negotiate light and texture.

Samsudin Wahab a.k.a. Buden has won the Malaysian Emerging Artist (MEA) Art award in 2009, and his first solo exhibition was the 2008 Enough! event at Taksu Gallery. Buden creates artwork to portray the people, the culture, the society and the politics surrounding him. He was the re-Cover Artist for our SENIKINI #04 2009.

The exhibition was held in the underground gallery at Rimbun Dahan which is set within 14acre grounds with an organic herb & spice garden, orchard, forested & wetland areas, a centuryold restored kampung house from Perak and an Anglo-Malay bungalow from Penang.

MONIKA BEHRENS, “Grafted Soil”, Oil on linen, 150 x 100cm, 2009

Turn left turn right, 42 x 30 cm, mixed media on paper, 2008

| Wening Cheah

09

RE-COVER ARTIST

Gemilang,Cemerlang, 110 x 159cm, acrylic on canvas,2009

LIM KEH SOON (K.SOON)

Together with the FINDARS members, we had organized few art exhibitions and became exposed to different types of art forms & artist, such as experimental sound art, performance art, independent music scene, electric music and so on.”

In

year 2006, I was first introduced to K.Soon’s work when I was browsing an art & design forum which is a platform to share his art. His simplice but weird images have captured my eyes and it also attracted a group of followers for his blog (junkie-monkey. blogspot.com).

For this issue, SENIKINI has invited K.Soon to be the Re-Cover artist and I also got the chance to interview K.Soon about his journey of artwork-making.

HOW DID YOU FIRST STARTED TO BE INVOLVED IN ART? “I like to doodle since I was a kid. One of the first influences I received was from the Hong Kong comic. I remember when I was studying at the primary school, I and my classmate will collaborate to publish a comic book, and we will imitate the comic drawing and start to create our own story. It sound childish but it does help me to develop my drawing skill and my creative imagination.

DESCRIBE YOUR DAILY ACTIVITY BESIDES MAKING ART. “I always hang around at the kopitiam(coffee shop) where I can really connect to the ‘down-to earth’ fact. I will read newspaper to keep myself update while I enjoying my cup of hot coffee and I like to talk to people like foreign workers and customer there. Beside that, I like to walk around my housing area as well. I observe the surrounding and observe the people then I get inspired!”

WHAT’S NEXT? “For my new series of work, I plan to continue exploring the creation of composition and subject matter and preparing myself on large canvases. Beside of applying my art on canvas, I will also participate in art festival, mural painting, installation, performance and etc. I give myself total freedom of expression on this exploration stage, never try never know!”

After I graduated from the secondary school, I started to realize that there are specialized institutes to study ARTS. At that time, I totally have no idea about art; I just enjoy doodling around, no art history, no art theory, no proper training drawing skill but my strong passion in drawing. But unfortunately, the expensive tuition fees made me hesitant.

My Little Sunshine, 21 x 15cm , Ink on paper, 2007

RE-COVER STORY : LIM KEH SOON (K.SOON) I start to use a very basic tool such as computer program “Paint” to generate my drawing during the time that I worked in the call centre in 2006.

One of my colleagues encouraged me and helped me to publish my artwork through internet via Blog. Eventually, I need a name for my 1st blog, as I’m born in Monkey year (1980), this is how JUNKIEMONKEY came. From time to time, I will post my latest comic series & drawings in my blog.

After working for two years, I entered the Malaysia Institute of Art (MIA) to pursue my interest in art in 2001, majoring in the Illustration & Design. During the three years college life and the years after graduated, I had worked several part-time jobs as VCD seller in night market, animator, display artist in shopping complex, direct sales, operator in call centre, and etc. I was going through a very difficult time at that point as I have lost my enthusiasm in art.

The next phase of my art journey was in year 2006; I took up my drawing again after I have stopped involve in art for three years after graduated from art college. In February 2008, FINDARS art group was founded; not long later, FINDARS SPACE is officially opened at The Annexe Central Market in September.

Family Potrait-2, Acrylic on paper, 60 x 84 cm, 2009

Name: Lim Keh Soon Nickname: 1. Private part + my name, 2. Saru(Monkey in Japanese) Hometown: Sungai Buloh Favourite Toy As a Child: Stone on railway, air longkang, pasir, guli Favourite Toy Now: no favourite toy for today Heroes: Street cleaner, eco worrior, hard-working foreign workers Likes: sleep, eat, shitting, Doraemon, Ultraman Dislikes: Insomnia, hungry, constipation, stomach-ache 3 of Your Favourite Movies: What’s Eating Gilbert Grape(have Johnny Depp), Survive Style 5 (Japanese movie), Shower (Chinese Movie), Transporting 3 of Your Favourite Books: Acid House, Manga books by Minoru Furuya and Mochizuki Minetaro, East Asia Modern History If not working in art, what would you be doing: farmer, cleaner Theory of Life: apa boleh buat, buat saje ( Do what I can do) Wildest Desire: travel to the moon Most inspired statement/quote, heard or said: “I don’t know”

I draw whatever comes to mind yet the content of my drawings are a depiction on the life of office workers in dark humour. The illustration on satirical social phenomena is also slowly developed, the use of metaphor and symbolism can strongly see in my artwork. During the creative thinking process, these elements respond to my feeling on the society, environment and everything happens around me.

Last year (2009), I had my first solo exhibition “JUNKIEMONKEY” at the FINDARS SPACE. This exhibition is a small summary for my past 3 years art-making journey.

FEATURES

10

LIMPAS BAYU BORNEO l Hasnul J Saidon

Gabungan

projek-projek penyelidikan dan seni visual dari SENI UMS (Sekolah Pengajian Seni, Universiti Malaysia Sabah) dan Persatuan Seni Visual Sabah.

Muzium & Galeri Tuanku Fauziah (MGTF) Universiti Sains Malaysia (USM) dengan bangganya mempersembahkan LIMPAS BAYU BORNEO, sebuah gabungan menarik yang memaparkan enam projek penyelidikan oleh para penyelidik dari UMS dan lima puluh tiga karya seni visual oleh lima belas orang pengkarya dari Sabah. Gabungan ini adalah sebahagian dari TAUTAN RENTAS SAMUDERA USM-UNIMAS-UMS yang bertujuan untuk mempergiatkan lagi usahasama penyelidikan, penerbitan dan akademik antara USM, UNIMAS dan UMS dalam bidang kesenian dan kebudayaan. Disamping itu, lokasi universiti-universiti awam ini (seberang lautan) yang berada di luar dari ketepuan tarikan pusat (Kuala Lumpur) membawa banyak potensi untuk membangunkan bidang-bidang pilihan yang lebih segar dan belum diterokai.

LIMPAS BAYU BORNEO menandai anjakan dari segi kaedah kuratorial dalam mana kedua-dua penyelidik dan pengkarya seni visual dibentangkan sebagai peneroka ilmu dan pencari hikmah yang saling bersinergi, sentiasa dipacu oleh perasaan ingin tahu dan dipandu oleh keinginan untuk menggali semula kekayaan warisan negara. Dalam hal ini, fokusnya adalah kekayaan warisan budaya tradisi Sabah yang unik. Menerusi gabungan ini, Sabah sebagai sebuah teks budaya, ditandai secara rasional dan emosional, secara akademik dan intuitif. Namun demikian, gambaran terhadap Sabah boleh dibaca menerusi pelbagai cara yang terbuka menerusi projek ini.

LIMPAS BAYU BORNEO menampilkan dokumentasi terperinci tentang dastar Iranun, sunduk Suluk, tatu Murut, gambus Brunei, kartunis Dusun dan rumah Dusun.

Kajian-kajian ini kebanyakannya bersifat deskriptif, mencerminkan minat mendalam untuk menggali semula beberapa peninggalan budaya Sabah yang kaya namun masih kurang diketahui umum. Pendekatan projek ini yang bersifat pengumpulan dan penerangan membolehkan pengunjung mentafsir dan membentuk pembacaan tersendiri tentang bagaimana Sabah sebagai sebuah teks budaya digambarkan atau harus digambarkan. Banyak yang boleh dipelajari dari kepelbagaian budaya Sabah.

Dalam kes-kes tertentu, budaya ini ditandai oleh dikotomi politik Malaysia timur dan barat, juga oleh kedudukan geografinya yang sering dianggap kepinggiran jika dibandingkan dengan apa yang sering ditafsir sebagai ‘pusat’ amalan seni kontemporari dan wacana budaya. Ia juga ditandai oleh bentuk-bentuk penentangan binari yang lain yang sudah sebati dalam wacana sosio-budaya – seperti antara kemodenan dan tradisi. Bagaimana jika Sabah dibaca sebagai pusat, manakala dunia yang lain dianggap sebagai pinggiran?

Gabungan ini boleh dianggap sebagai sebuah perjalanan menerusi beberapa tunggangan. Perjalanan

ini digambarkan dengan sesuai (secara fizikal dan metafizikal) oleh penggunaan satu motif sunduk Suluk yang juga kelihatan seperti sebuah bot tradisional Suluk dipanggil lepa. Istilah ‘limpas’itu sendiri merujuk kepada ‘memohon untuk lalu’yang dikaitkan dengan bayu, merujuk kepada Sabah sebagai negeri di bawah bayu.

Malah, kematian itu sendiri, berdasarkan banyak bentuk tradisi, bukanlah pengakhiran yang mutlak. Ia adalah permulaan untuk ‘laluan’, perjalanan dan jumpaan yang lebih panjang. Ia juga membolehkan sesuatu yang baru dilahirkan.

MGTF USM menjemput anda untuk menyertai dan menjadi sebahagian dari gabungan, perjalanan dan penemuan menarik ini.

Antara penyelidik dan pengkarya yang terlibat termasuklah Prof. Madya Hj. Inon Shaharuddin Abdul Rahman, Prof. Madya Ismail Ibrahim, Zaimie Sahibil, Mohamad Azareen Aminullah, Mohammad Puad Bebit, Jennifer Linggi, Christianne Goonting, Datuk Mohd.

Yaman Hj. Ahmad Mus, Dzulkifli Abdul Rahman, Datu

Ruslan Sulai, Datin Maimun Pg. Bagul, Tina Rimmer, Zulwawi Hashim, Suzani Suhaimi, Awang Azmi Awang Bakar and Muslim Matajim.

Gabungan ini disatukan oleh saya selaku Pengarah MGTF USM, dengan koordinasi bahan oleh Mohamad Puad Bebit dari UMS, Christianne Goonting dari Persatuan Seni Visual Sabah, Abdul Rasyid bin Abdul Razak dari Galeri Seni Melayu Pulau Pinang dan bantuan kuratorial dari Afzanizam Mohd Ali, Nur Hafizah Abd. Aziz and Nor Mohamad Abd. Rahim.

Limpas Bayu Borneo adalah projek kedua dibawah TAUTAN RENTAS SAMUDERA USM-UNIMAS-UMS yang dimulakan oleh pameran IQRA’- TAMAN HIKMAH, anjuran MGTF USM yang dilangsungkan di Fakulti Seni Gunaan dan Kreatif (FSGK), Universiti Malaysia Sarawak (UNIMAS) pada tahun lepas. Projek ketiga adalah pameran hibrid oleh FSGK UNIMAS di MGTF USM pada bulan Julai 2010 akan datang.

11

CROSSING BORDERS@ GALLERIA, KUCHING l Irene Lim

DAF also finds the time to keep a blog to show and explain some of his work and to do his writing and quotes, you can visit at www.deedaf.blogspot.com.

Melton Kais is a Sarawakian Bidayuh Artist who has willingly shared a part of his culture and traditions through his paintings.

“My presentation for this exhibitions encompasses a multitude of subject matter which are very familiar to myself. Being a Bidayuh I willingly share a part of my culture and traditions through paintings like “Sacred Ornaments”, “Shamans Dream” and “Resurgence” which is about the hope and dreams of a Bidayuh medicine men. My appreciations for other culture, races and their traditions can also be seen in “Postcard from Sarawak”, a nostalgic lifestyle of the fishermen in the eastern coast of Sarawak and “Table No.38” depicting a dinner table no.38 which is covered with red cloth, a lucky number and colour auspicious amongst the Chinese communities.

Dayak Bidayuh Settlement, 30 in x 40 in, Acrylic on Canvas, 2009

“Crossing Borders” was the final theme of this exhibition after a series of discussion and deliberations between the Sarawakian artist Melton Kais, the Irish sculptor and the Galleria proprietor, Irene. An artist crosses borders in more ways than one in his mind and his work and for those people who cannot do it for themselves, this is where the artist plays his part in society and as human being. It is in our DNA to express ourselves and artists do it by “Crossing Borders”.

Derek Anthony Fits Simons, well known as DAF is better known as a sculptor from Irish for his stone work and has worked on the three continents, and again to quote DAF “I call myself a ‘Lucky Artist’ in the sense that it was my stone work that brought me around the world and of course here to Sarawak but working the stone as I was for 25 years non stop and on my own can be very tiring on the body not to mention the stone dust you breathe in 10 to 12 hours a day. Now I am working on local clay and I am re-inventing myself as an Artist in that the clay has allowed me to push the boundaries of my imagination out that I do not know what’s going to surface”.

Watershed, 2ft x 3 ft, Acrylic on Canvas, 2009

DAF is working on a theme now in the clay ‘MY PET’ and “Crossing Borders” is showing ‘MY PET’ (1) and ‘MY PET’ (2) and in these two works you can see the mind crossing borders at work. At this time now he is working on ‘MY

Hantar penyertaan sebelum atau pada 31Mei 2010 kepada : Sekretariat, MALAYSIA FLORA PHOTO CONTEST 2010, KEMENTERIAN PELANCONGAN MALAYSIA, Tingkat 22, Menara Dato’ Onn, PWTC, 45, Jalan Tun Ismail, 50480 Kuala Lumpur, MALAYSIA. Tel Faks

: 03-2693 7111 : 03-2691 3358

www.motor.gov.my

1

Hadiah Pertama RM 5,000 Tunai

3

Hadiah Ketiga RM 2,000 Tunai

15

2

Hadiah Kedua RM 3,000 Tunai

Saguhati RM 500 Tunai

5

Saguhati Antarabangsa

“Crossing Borders” the title to this art exhibition is worth your time in visiting” quoted DAF.

Exhibition from 5th Feb to 31st Mar Galleria is located at Wesberly House, Rubber Road West, Kuching.

Monday to Friday: 8am to 5pm, Saturday: 10am to 2pm Please call Irene: 016-8865278 for further enquiries. http://www.wesberly.com.my/gall.html

Lucky Lot, 3ft x 4 ft, Acrylic on Canvas, 2009

EXHIBITION HIGHLIGHTS

PET’ (3) and when completed will stand six feet tall.

“When viewing these works no two people will have the same feelings or understanding towards the work, says DAF and for me to create the work is right for me, for me to move your emotions through my work is right for you”.

12 Bayu Utomo Radjikin BEING, acrylic on canvas

Wong Chee Meng A METER AWAY acrylic on canvas

Hamidi Hadi FLOAT, acrylic on canvas

EXHIBITION REVIEW

Jeganathan Ramachandran CRYING BUDDHA acrylic on canvas

A

METRE PERSPECTIVE

l Simon Soon

Saharudin Supar INTERNAL NO 14 RISING 2K clear lacquer on steel

Daud Abdul Rahim ULAT LOGAM-PEMBURU DI BURU steel & aluminium

A

Metre. A basic unit of length. Being derived chiefly from the Greek word metron, denoting ‘measure’.

But measurement not only provides us with a technically precise knowledge of scale, it further suggests a grammar of art. For a metre is also the poetic value of a creative resolve.

In poetry, it describes the rhythmic structure of a verse. ‘I think more of a bird with broad wings flying and lapsing through the air, than anything, when I think of metre’ observed the Englist novelist, D.H. Lawrence.

The confluence between the technical and the poetic is found in A Metre Perspective, an exhibition featuring both emerging and established artists in Malaysia. In many ways, the guiding principle of the exhibition, that participating artists should create artworks measuring one metre by one metre, establishes the rule of the game, through which artists are challenged as well as encouraged to take their practice to another level.

Like the value of the metre, as a system of measurement that is conventionally defined, the established one metre by one metre guideline for this exhibition is also arbitrary at best. However, it is by setting up the constraint as an ordeal, a task, a hurdle, or whatever you want to call it, that creativity as an approach to problem-solving, as a triumph over limitation, is underlined. Yet, this isn’t a logical endeavour.

Art never is. Was it not Samuel Taylor Coleridge

Hamir Soib MIMPI BULAN DISEMBER mixed media on canvas

Marvin Chan THE MAGI , oil on canvas

Ahmad Zuraimi Rahim AYAHKU SEORANG GREAT MASTER mixed media on steel

who opined, ‘Poetry is not the proper antithesis to prose, but to science. Poetry is opposed to science, and prose to metre’?

Given that most participating artists are inclined towards creating artworks on a larger scale, the exhibition provides a refreshing perspective into the diverse range of artistic skills by firstly taking artists beyond their comfort zone (in this instance, the familiarity of painting on large canvas), and then secondly, giving us an opportunity to experience their work on a different scale (for viewing a one metre by one metre work of art makes us see differently than viewing a bigger piece of work).

The task is then setting this confinement of scale as an opportunity for the artists to rethink their practice and hone their poetic metre. And interestingly enough, artists in this exhibition have taken up this challenge and interpret it in a number of ways.

One way is to consider it as a mirror, a reflective surface through which artists can continue to explore themselves as painted subjects. Both Jalaini Abu Hassan’s “The Fascist” and Ahmad Fuad Osman’s “Victim of Circumstances” are self-deprecating portraits playing the role of a political megalomanic and an object of derision respectively. Elsewhere, Ahmad Zuraimi Rahim’s “Ayahku Seorang Great Master” pays a filial homage to the paternal figure of the artist life as a progenitor of his creativity. In Bayu Utumo Radjikin’s “Being”, the artist continues to fashion himself as a Malay warrior, embodying the spirit of courage and strength as elements central to his creative pursuit.

Jalaini Abu Hassan THE FASCIST mixed media on canvas

In other instances, we can consider the metre perspective as a binary between transcendence and materiality. Mohd. Saharuddin Supar’s “Super Internal No. 14 Rising 2K”, Ramlan Abdullah’s “Connection”, Sabri Idrus’s “Revisiting Architecture”, Ahmad Shukri Mohamed’s “The Great Wallpaper #21”, Wong Chee Meng’s “A Meter Away”, and Hamidi Hadi’s “Float” evince both emotive and analytical interest in artmaking.

Here abstracted forms articulate the tensions and dynamism between an artistic interest in the materiality of the artworks and the desire to evoke the emotional tenors that existed within the chosen medium.

Another approach is to consider the works of the artists as windows looking out to our social reality. Phuan Thai Meng’s “Perspective” highlights youtube and Internet as a channel for social commentary; often capable of exposing the unsettling absurdities of the world we live in. In Kow Leong Kiang’s “Whatever”, the artist revisits his well known portraits of kampung Malay girls, capturing them in the melancholic beauty of their rural surrounding, encapsulating the spirit of youthful abandon.

Other works look into the issue of creative expression, often employing surrealist vocabulary to articulate a dream-like statement. Jeganathan Ramachandran’s iconoclastic “Crying Buddha” develops an emotive iconography in response to the conventional image of the serene Buddha figure. Hamir Soib’s “Mimpi Bulan Disember” explores the deeper recesses of our psyche through the use of bitumen as a medium to suggest a primeval state of consciousness. Masnoor Ramli Mahmud’s “Pukul Berapa Datuk Harimau” makes cinematic references to legendary Malaysian director

Ahmad Shukri Mohamed THE GREAT WALLPAPER #21 mixed media on canvas

Kow Leong Kiang WHATEVER, oil on linen

Birth, Digital Print, Ed. 8, 60cm x 60cm, 2010.

Ramlan Abdullah CONNECTION, aluminium

Masnoor Ramli mahmud PUKUL BERAPA DATUK HARIMAU

ZAC LEE NEW SPECIES C-4 @ KL PAC, SENTUL 12 - 28 MARCH 2010 winning artist, Zac Lee, develops the series New Species, C-4, with visual vibrancy and humour. The durian fruit, known as the king of fruits, is native to parts of South East Asia. Different species of the fruit are identified through letters and numbers. Lee uses this iconic fruit to comment on prickly issues, in a most appealing way.

Award Sabri Idrus REVISITING ARCHITECTURE Resin, slade, metal & wax

Ahmad Fuad Osman A VICTIM OF CIRCUMSTANCES Mixed Media

P. Ramlee, bridging artistic impulses towards storytelling that narrative painting and film share.

Marvin Chan’s “The Magi” narrates the anxiety of the artist embodied in the figure of the amagician, who is unsure of whether the butterflies of his creation might overcome him.

Similarly, in the only sculptural work in the exhibition, Daud Abdul Rahim’s “Ulat Logam- Pemburu” di Buru is a playful title alluding to the creative exploration of form as an act of hunting and being hunted by ideas, inspiration and experimentation.

A Metre Perspective can hardly Phuan Thai Meng PERSPECTIVE , oil on canvas be called a thematic exhibition.

Its subjects too varied, ideas too complex, styles too diversed. The single binding feature that all participating artists share is the challenge to translate their visions and ideas into a scale that is unfamiliar to their repertoire.

This calls for a re-evaluation of art making, a chance to consider the possibility of creating maximum poetic effect in the restriction of space. After all, creativity blossoms in moments of great constraints. These are some perspectives through which we can come to appreciate this imaginative undertaking.

By visually creating a new species of durian and naming it a fictional C-4, Lee embraces references to unrest, political struggle and national power, through analogies with the nature of the fruit (prickly with unpleasant odour but delicious and sensual).

The new works reflect Lee’s dynamic imagination, characteristic mastery and skill, combining painting, silk screen and digital media techniques.

Hybrid Twins, Oil on Jute, 24cm x 48cm, 2010.

About ZAC LEE Lee’s fluid strokes study sublime behaviors and relationships, presenting ‘trace evidence’ of primal instincts and interactions. Objects and forms are metaphors for individuals and community, and often involve inquiry into contemporary and extra-territorial applications of traditional folklore and national iconography.

Trained in local and other painting traditions, Lee has developed techniques that combine or incorporate elements of painting, silk screening and digital images. He plays with realism, abstraction, language and illustration to present psychological puzzles and make elegant social commentary.

14 Hikayat Dua Taman, Acrylic, Enamel Paint, Graphite on Board, 2009

ART

REVIEW

SAHARIL :

BERHARMONI DALAM MENJENGAH SEKSUALITI dan GENDER yang KACAU l Alina Abdullah

Saharil Hasrin Sanin, iaitu seorang ilustrator, penulis dan pereka bentuk grafik telah melangkah setapak lagi dengan menambah label “pelukis� pada diri beliau.

Dengan berbekalkan teknik pop art, iaitu semestinya mendapat sedikit pengaruh daripada latar belakang beliau sebagai pelukis ilustrasi, Saharil berupaya menjengah dunia seksualiti dengan sedikit rencah satira.

Seolah-olah rencah satira ini berupaya melenturkan tema yang hangat ini.

Penggunaan warna yang agak minimal, iaitu kelabu dan putih yang menjadi asas bagi kebanyakan latar lukisan, serta warna warna pastel lain seperti merah jambu, biru, dan juga ungu dapat dilihat dalam karya beliau yang bertajuk Donut Tak Ingat dan Terlalu Banyak Masalah (sekadar memberikan beberapa contoh).

Penegasan warna yang diberikan pada imej-imej seperti kuih donut, belalai sotong, cili dan sebagainya memberi penekanan dan mesej penting pada imej-imej tersebut.

Tetapi sedikit agak berbeza dengan dua buah karya iaitu yang satunya bertajuk Hikayat Dua Taman, sebuah figura dua wanita yang diwarnakan putih dengan dua kuntum bunga yang diwarna-warnikan secara harmonis.

Manakala Semua orang Suka Jagung Muda pula figura lelaki yang diwarnakan putih juga, dengan jagung yang mempunyai pelbagai kroma warna kuning-hijau.

Dari segi tampaknya, kesemua karya yang dipamerkan dibahagi tiga dalam satu bingkai. Menurut Saharil, pemecahan kepada tiga ini untuk menunjukkan bahawa pemecahan anggota-anggota badan atau figura sehingga tidak menampakkan lagi bentuk asal.

Hampir menjengah alam penganut Kubisme. Aliran Kubisme yang gemar objek dipecah-pecahkan, dianalisa dan disusun kembali dalam representasi abstrak. Artis Kubisme menterjemahkan subjek dalam pelbagai sudut dalam konteks yang lebih besar, bukan hanya sekadar melihat daripada satu sudut sahaja.

Tetapi Saharil pula cuma memecahkan imej melalui pembahagian kanvas.

Menurut Saharil, tujuan beliau memecahkan badan, memotong-motong jadi tiga panel, memenggal/ menutup kepala dan jari adalah kerana kepala dan jari adalah anggota fizikal yang memaknakan seseorang manusia.

Beliau mahu memansuhkan makna manusia tersebut, dengan memenggal, menutup serta mewarnakan putih, lalu menonjolkan objek-objek yang menutup tubuh

tersebut untuk membawa tema objektifikasi tubuh (the objectification of the human body).

Beliau juga sebenarnya sedang menguji peraturan seni di dalam Islam, bahawa jika melukis tubuh manusia, haruslah dilukis tidak lengkap, atau dipotong kepalanya. kerana segala bentuk lukisan manusia tentunya tidak dapat menandingi ciptaan Tuhan. Namun, pada akhirnya, walaupun dipenggal-penggal, diwarnakan putih, dan ditutupi objek, tubuh manusia adalah imej yang kuat dan masih menonjol.

Makanya, dapat dikupas bahawa selain daripada tema tentang pemenggalan objek tubuh, imej utama juga memainkan peranan utama dalam keseluruhan bahasa visual. Dapat dilihat penegasan imej-imej utama yang berwarna (seperti yang dijelaskan tadi) pada keseluruhan karya Saharil ini iaitu donut, jagung, bunga dan sebagainya ini sebenarnya terletak pada bahagian titik dan garis Rule of Third itu sekaligus memberi penekanan visual mata pada imej dan warna menurut prinsip Rule of Third dan Nisbah Keemasan (Golden Ratio) itu.

dijelaskan tadi) merujuk kepada nisbah keemasan ini, sama ada disedari ataupun tidak oleh pelukis.

Hal ini mengarah kepada dikotomi bertimbal balik kepada pemecahan imej, iaitu anggota badan.

Saharil merangka suatu ketidaksempurnaan (dengan pemecahan anggota badan) yang berhasil kepada suatu keadaan yang sungguh sempurna (Golden Mean). Ketidaksempurnaan dalam keadaan yang sempurna.

EXHIBITION REVIEW

seksualiti dan politik sejak mutakhir begitu banyak dibangkitkan dalam forum dan artikel. Tidak kurang juga artis atau pelukis turut mengangkat isu dan tema ini ke dalam lukisan mereka. Hal ini dapat dihadam dalam pameran lukisan terbaru saharil yang diadakan pada 14 hingga 31 Mei 2009 di Galeri Annexe, Central Market.

Pameran ini turut dijayakan bersama seorang lagi pelukis, iaitu Munkao.

Persoalan

Pemikir moden dan lampau menyedari bahawa terhadap asosiasi rapat dalam matematik antara keindahan dan kejujuran. Yang membawa kepada suatu kesempurnaan yang lengkap. Manakala pemikir Greek pula percaya ada tiga inti dalam keindahan iaitu proporsi, harmoni dan simetri. Ini membawa kepada elemen-elemen penting dalam pendekatan formalistik.

Karya Saharil ini mampu menjengah bukan sekadar akal dan rasa, tetapi juga visual secara psikologis.

Bukan sekadar cantuman warna dan rupa tetapi juga mencabar teori yang bertunjang bahawa seni bukan sekadar hanya bersantai melepas emosi tetapi suatu penerjahan terhadap masalah matematika, fizik dan juga kognitif.

Harmoni dalam kekacauan. Ya. Saharil cuba membentuk harmoni dalam kekacauan sama ada dalam hidup atau pun dalam tema dan karya yang dijengah dan dihasilkannya yang membawa kepada kesempurnaan.

Semua Orang Suka Jagung Muda, Acrylic, Enamel Paint, Graphite on Board, 2009

Rule of Third merupakan prinsip komposisi dalam seni visual seperti lukisan, fotografi atau rekabentuk. Menurut prinsip ini, sesuatu imej hendaklah dibahagi tiga sama rata secara horizontal dan dua bahagian sama rata secara vertikal.

Dan penegasan objek pada imej itu hendaklah diletakkan pada setiap titik pembahagi garisan horizontal dan vertikal ini. Teknik ini dapat menimbulkan kesan yang lebih dinamik, serta mewujudkan minat dan tensi yang lebih pada komposisi.

Manakala dalam matematik dan seni, Nisbah Keemasan menjadi dasar pada Rule of Third ini, yang bermaksud konsep matematik yang menjelaskan tentang dua kuantiti hubungan timbal balik antara dua bahagian pada keseluruhan bahagian. Nisbah keemasan ini telah memukau sekian ahli intelektual Barat sejak daripada zaman ‘Greek’ lagi.

Dan terdapat ramai pelukis secara sedar atau tidak menggunakan Nisbah Keemasan dalam karya mereka.

Contohnya Leonardo da Vinci dalam Monalisa, Salvador Dali dalam The Sacrament of the Last Supper, Mondrian yang menggunakan prinsip ini dengan meluas dalam kebanyakan karya beliau, serta yang lain lagi.

Dan dapat dilihat secara holistiknya bahawa pembahagian tiga imej dalam satu kanvas (seperti yang

Alina Abdullah merupakan salah seorang tenaga pengajar seni visual di Universiti Pendidikan Sultan Idris. emel: hegiraz@yahoo.com blog: alinaabdullah.wordpress.com

Cita-Citanya, Bila Sudah Besar Nanti, Mahu Jadi Nelayan, Acrylic, Enamel Paint, Graphite on Board, 2009

Menurut Saharil, tujuan beliau memecahkan badan, memotongmotong jadi tiga panel, memenggal/ menutup kepala dan jari adalah kerana kepala dan jari adalah anggota fizikal yang memaknakan seseorang manusia.

Installasi khas untuk Monson Series

15

juga menyatakan bahawa beliau ingin lari dari konsep asal berpameran dengan meletakkan lukisan ini lari dari posisi asal seolah-olah kita melihat bingkai dan kanvas tidak selari dengan keadaan senget. Ini bagi beliau bukanlah sesuatu yang baru, kerana di peringkat antarabangsa teori sesuatu perlu pada kedudukan asal mengikut grid yang telah ditetapkan adalah membosankan. Lantas beliau mencuba untuk membawa sesuatu agar ianya kelihatan lebih moden dan terbuka.

`Monsoon Series’ oleh Suzlee Ibrahim l Zuriyadi Sarpin

Winson Loh tidak disia-siakan oleh beliau. Menerusi tema terkini - ’Monsoon Series’ terus mengejutkan warga KL dengan nafas baru dalam karya beliau.

The Night Wind ll, Acrylic & Oil on Canvas, 36” x 36”, 2009

Series.... Mendengar atau membaca sahaja tajuk ini di mana-mana membuat kan penulis tersenyum kerana Pelukis ini pernah dikenali suatu ketika dahulu. Pelukis yang pernah mendidik walaupun tidak secara langsung memandangkan subjek ’Drawing” hanya untuk 2 semester ketika itu, namun cukup untuk mengenali Pelukis ini walaupun hanya secara luaran.

Monsoon

Suzlee Ibrahim, pelukis yang beraliran abstrak expressionisme ini bukanlah baru di dalam dunia seni visual Malaysia dan Antarabangsa. Menyoroti susur galur Pelukis ini, dilahirkan di Kuala Terengganu dan dibesarkan dalam suasana kampung dimana beliau di kelilingi oleh para penoreh getah, petani dan nelayan menjadikan beliau seorang yang amat peka terhadap persekitaran beliau.

Interaksi secara verbal mahupun non verbal serta pengalaman yang dilalui sendiri sebagai anak kampung menjadikan beliau seorang yang matang. Pengalaman semasa kecil telah banyak mempengaruhi karya beliau dimana persekitaran itu tidak lari dari menjadi asas pembentukan lukisan beliau. Beliau mula melukis secara serius bermula tahun 1987 ketika masih menuntut di Institut Teknologi MARA kini dikenali Universiti Teknologi Mara.

Tanggal 16 Januari 2010 yang lalu menjadi satu lagi tarikh yang amat penting bagi beliau, dimana satu lagi pameran secara solo telah berjaya diadakan.

Bertempat di Galeri Pink Guy di Jalan Pinang, Kuala Lumpur peluang yang diberikan oleh saudara

Penggunaan warna yang terang dalam karya beliau pada kali ini benar-benar memberi impak serta kekuatan dalam siri ini. Berkisahkan musim monsun yang tiba setiap penghujung tahun mendekatkan lagi karya beliau dengan tanah kelahiran beliau di Terengganu kerana angin monsun dan pantai timur itu sendiri tidak mampu dipisahkan. Ombak-ombak yang kuat tidak memungkinkan nelayan untuk turun ke laut. Bermain dengan situasi alam dalam penceritaan karya beliau walaupun secara abstrak tetap mampu memberi kesan secara mendalam bagi pengunjung pameran ini. Dalam siri ’monsoon’ ini, penceritaan dalam karya beliau tertumpu pada kegelapan dan kesuraman ketika monsun melanda, kekuatan ombak dan angin juga digambarkan melalui sapuan berus yang bersahaja, kasar dan spontan. Penggunaan warna yang kadangkala terang, kadangkala gelap juga menjadi asas kepada penceritaan alam dalam ’Monsoon Series’ ini. Komposisi yang menarik dan penggunaan warna yang minimum telah menguatkan lagi perjalanan cerita dalam pameran ini.

Merupakan pameran solo ke 16 bagi pelukis ini, tidak dinafikan ianya satu pencapaian yang mampu dibanggakan selama 20 tahun beliau berkarya, siapalah Pelukis tanpa lukisan. Pengalaman, jatuh bangun dalam dunia seni mematangkan lagi beliau dan membuatkan beliau lebih berhati-hati dalam menghasilkan karya terbaru. Perubahan dalam karya beliau menampakkan pengalaman intelektual dan teoritikal digabung dalam proses menghasilkan karya dengan lebih bersahaja.

Merujuk petikan ini “Hasil kerja Suzlee diletakkan oleh pengkritik seni tanah air sebagai karya yang mempunyai aliran abstrak ekspresionisme yang kuat kerana tidak mementingkan imej yang jelas. Kesan sapuan berusnya kasar, sesekali besar dan halus berubah menjadi garisan, lebih bersifat art of emotion”.

– Berita Harian, 16 Februari 1999.

Ternyatalah apa yang dinyatakan di dalam petikan tersebut jelas menggambarkan keadaan sebenar Pameran ’Monsoon Series’ ini. Gaya persembahan pameran ini adalah sesuatu yang perlu dipuji kerana pemilik Galeri iaitu saudara Winson Loh sangat berani menongkah arus dengan menampilkan gaya berpameran yang lari dari konsep tipikal, beliau berani dan bersedia dikritik oleh pencinta seni. Jarang atau belum kita lihat lukisan berkanvas dipamer diatas kolam air dihiasi dengan lampu ‘spot light’ dipancar terus ke dada kanvas sekaligus menampilkan ciriciri kontemporari dalam berpameran. Kedudukan ’caption’ yang diletak di tepi kolam seolah-olah ini adalah pameran arca menambahkan lagi suasana eksklusif kepada pameran ini. Saudara Winson Loh

Seterusnya apa yang dapat dilihat pengaruh William de Kooning dan Jackson Pollock sememangnya tidak dapat dipisahkan dari karya Suzlee. Pengalaman beliau mengkaji karya-karya Pablo Picasso dan Francis Bacon secara tidak langsung telah mematangkan karya beliau dalam pameran ini. Biarpun pengaruh barat sinonim dengan beliau namun gaya penceritaan dalam karya beliau lebih bersifat tempatan seperti karya beliau antaranya yang bertajuk, Starry Night, Awakening 3, The Burning Wave, The Tragedy, Tengkujuh 1 – The Masterpiece dan sebagainya adalah rentetan dari peristiwa yang berlaku ketika monsun.

Beliau bukan sahaja berpameran di dalam malahan luar negara, beliau telah mempamer karya melebihi 500 pameran secara berkumpulan seperti di London, Amerika, Denmark, Jerman, Perancis, Belgium, Itali, Brazil, Cuba, Sepanyol, kanada, China, Jepun, Argentina, Greece, Poland, Emiriah Arab Bersatu, Australia, Bangladesh dan Nepal mengukuhkan lagi pengalaman dan nama Suzlee Ibrahim di persada dunia Seni tempatan sekaligus mengharum nama negara di persada antarabangsa. Karya beliau juga sering menjadi pilihan pengumpul seni (art collector) sama ada secara perseorangan mahupun melalui agensi seperti, Balai Seni Lukis Negara (Movement Series, highgrove, 2001), Bank Negara (Movement Series, Tulip 1,2004) dan EMAAR Properties, Dubai, UAE (Space Series, Construction 4, 2005 dan Lautan Biru – 2005 yang merupakan karya terakhir bagi Movement Series merupakan koleksi Yang Di-Pertuan Agong Sultan Mizan Zainal Abidin.

Pelukis juga selalu ditembak oleh soalan sinis mengenai karya beliau yang bersifat kebaratan, namun katakata ini boleh dijadikan panduan atau setidaknya bahan fikiran ”Kita tidak mempunyai asas seni lukis (catan) untuk dirujuk. Pelukis terawal ialah kumpulan Pelukis cat air Pulau Pinang yang muncul pada 1930an. Sedangkan sewaktu portugis menyerang Melaka (1511), potret Monalisa telah lama siap,” - Utusan Malaysia, 03/04/1999. Oleh itu tidak dapat dinafikan muncul istilah ’Suzleeisme’ bagi menghormati beliau sebagai salah seorang pelopor generasi baru seni abstrak expressionisme di Malaysia selain dari Kelvin Chap dan Zakaria Shariff (sekadar menyebut beberapa nama). Sekurang-kurangnya beliau telah berdiri dengan sendiri melalui pameran ini dan mewarisi dari mereka yang terdahulu seperti Latiff Mohidin dan Yusof Ghani (hanya menyebut beberapa nama). Dengan jumlah keseluruhan 16 buah pameran solo dan ratusan pameran berkumpulan, Suzlee Ibrahim akan terus diingati oleh peminat dan pencinta seni malahan karya-karya terbaru beliau akan sentiasa dinanti oleh peminat mahupun pengkritik seni itu sendiri.

Rujukan: Suzlee Ibrahim, Abstract Painter, 2009 Monsoon Series, 16th Solo Art Exhibition by Suzlee Ibrahim http://suzlee99.tripod.com/

EXHIBITION REVIEW

CERITA ALAM DI DADA KANVAS

16

CREATIVE INDUSTRY EXHIBITON REVIEW

A

special preview of “Warna Tenaga”, the latest creation

by YBhg Datuk Syed Ahmad Jamal, National Art Laureate was held on Monday 22nd March 2010 at the Balai Seni Lukis Negara(BSLN) Malaysia. ‘Warna Tenaga” represents a collaboration between the Asia Pacific Brands Foundation, YBhg Datuk Syed Ahamd Jamal and BSLN in conjunction with The BrandLaureate Awards 2009-2010.

2009 / 2010

“Warna Tenaga”

The BrandLaureate Awards 2009-2010 honor the best of brands from the multinationals, private listed and government linked companies. The theme of the BrandLaureate Awards 2009-2010 is “Your Brand, the Masterpiece”. In her welcome address, Mr. Chew Bee Peng, the General Manager of the Asia Pacific Brands Foundation and The BrandLaureate said, “In the line with the theme, we invited YBhg Datuk Syed Ahmad Jamal to paint a custom piece and to put on canvas, his interpretation of the kaleidoscope of branding. We are honoured that Datuk agreed to be part of this program.

Brands as we all know, play a very important role in our lives. We are practically consumed by it – we wake up to brush our teeth with Colgate have our cup of Nescafe, drive our Protons to work and our employers are Maybank, PNB, Sime Darby and so forth.

According to YBhg Datuk Syed Ahmad Jamal, “Warna Tenaga”, is inspired by the concept of “energy” – the energy that permeates all life and the universe, and the energy that branding has brought to businesses in Malaysia and throughout the world.

Brands are also key drivers of growth for organizations and for the country and for them to be successful and have a global presence, they need to build it up to be masterpieces that can withstand all challenges and most important have strong brand value, well over the years”.

According to YBhg Datuk Syed Ahmad Jamal, “Warna Tenaga”, is inspired by the concept of “energy” – the energy that permeates all life and the universe, and the energy that branding has brought to businesses in Malaysia and throughout the world.

This collaboration with Datuk Syed Ahmad Jamal is part of the CSR (Corporate Social Responsibility) program of the Asia Pacific Brands Foundation. Proceeds from the sale of Warna Tenaga will be donated to charitable organization.

This collaboration also marks the start of the Asia Pacific Brands Foundation involvement in promoting, educating and instilling the love of art amongst Malaysians and to showcase the work of great Malaysia artistes.

Warna Tenaga, Acrylic on canvas, 183 x 183cm, 2010

For more inquiries, kindly contact MRM at : -

PERTANDINGAN

REKABENTUK

MALAYSIA 2010

`Cultural Creative Industry’ From Traditional to Modern Design

MALAYSIA DESIGN COUNCIL Tel: 03-5510 4714/ 4715/ 4717 Email: info@mrm.gov.my www.mrm.gov.my

BSLN SANA SINI

UTM SKUDAI, JOHOR 26 MAC - 4 APRIL 2010 Bulat air kerana pembetung Bulat kata kerana muafakat Bulat atau LAT, adalah ikon inspirasi kepada kemuafakatan gagasan 1Malaysia. Sesungguhnya Lat mengembalikan kesedaran dikalangan generasi kini terhadap bentuk permuafakatan yang wujud dalam masyarakat sejak awal lagi. Pameran LAT 1Malaysia memperlihatkan karya-karya terkini oleh Lat disamping mengimbas karya-karya terdahulu termasuk beberapa karya reproduksi dari koleksi rujukan BSLN. Pameran ini merupakan kerjasama antara UTM Skudai Johor, kurator jemputan Nur Hanim Khairuddin dan BSLN.

PHILLIP WONG ART AND THE NECKTIE

12 DISEMBER 2009 - 22 FEBRUARI 2010 Inspirasi ini dizahirkan menerusi pameran pengenalan semula terhadap blok batik dengan menyerlahkan ciri reka bentuk, prosesproses pembuatan dan teknologi seni batik itu sendiri. Kesempurnaan dan keunikan seni batik itu juga dapat dilihat melalui perkataan itu sendiri iaitu “secara keseluruhan” (as a whole) yang membawa maksud keseluruhan proses penghasilan batik dan keistimewaannya. Pameran yang memberi pendedahan kepada orang ramai tentang penghasilan batik, jenis, corak dan cara pembuatannya dari awal sehingga akhir.

2 FEBRUARI 2010 Pameran ini adalah cetusan idea dan rekaan daripada artis Malaysia Phillip Wong. Selain, mempamerkan sebanyak 500 rekaan necktie, majlis itu diserikan seramai 10 orang model tempatan memperagakan rekaan tersebut disamping penjualan kepada yang berminat untuk membelinya.

1MALAYSIA ORANG ASLI (GUA MUSANG) 8 - 11 MAC 2010 Balai Seni Lukis Negara dengan kerjasama Majlis Bekas Wakil Rakyat Malaysia (MUBARAK) dan Pejabat Pelajaran Daerah Gua Musang telah melaksanakan program ‘SENI DI SINI’ 1 MALAYSIA pada 8 – 11 Mac 2010 di SK Kuala Betis, Gua Musang, Kelantan. Majlis perasmian program ini telah disempurnakan oleh YB Encik Mat Yusoff b. Ghani, ADUN Kawasan Neggiri pada 10 Mac 2010 di SK Kuala Betis, Gua Musang, Kelantan.

Antara aktiviti yang dilaksanakan ialah pertandingan mewarna bagi kanak-kanak( 6 - 9 tahun), melukis (10 – 12 tahun) dan lukisan mural graffiti dinding sekolah. Seramai 300 pelajar orang asli dari 5 buah sekolah di daerah Gua Musang telah menyertai program ini.

UNDERWATER SCENERIES OF MALAYSIA INTERNATIONAL MOTHER LANGUAGE DAY ART EXHIBITION OF BANGLADESH ARTISTS 19 - 28 FEBRUARI 2010 Pada 1999, UNESCO telah mengisytiharkan Hari Bahasa Ibunda Antarabangsa yang berlangsung pada 21 Februari 1952. Kedutaan Bangladesh meraikan hari tersebut dengan mengadakan Pameran International Mother Language Day Art Exhibition of Bangladesh Artist dengan anjuran bersama Balai Seni Lukis Negara, High Commission Bangladesh di Kuala Lumpur dan Buriganga Arts & Crafts.

6 MAC - 6 APRIL 2010 Pameran fotografi eksklusif ini adalah sebuah persembahan istimewa yang mempamerkan keindahan 42 imej terbaik yang telah terpilih. Karyakarya ini memaparkan landskap bawah laut yang sangat mengagumkan serta keunikan hidupan marin di celah-celah karangan laut Malaysia yang sukar untuk diterjemahkan dengan kata-kata. Hasilhasil seni yang dipaparkan ini adalah sebahagian daripada karakter imej di dalam Projek Album Digital Malaysia In 24Hrs(MI24H) Beautiful Destination – UNDERWATER SCENERIES OF MALAYSIA, dihasilkan dan dikeluarkan oleh Stephen Ronee Lau, pengasas siri “Malaysia In 24Hrs”. Seramai 42 penyelam dan jurugambar bawah laut telah menyumbang koleksi imej bawah laut mereka untuk diasimilasikan kepada projek ini serta dipamerkan kepada orang ramai. www.mastercontest.com

18

OPPORTUNITIES EXHIBITON REVIEW

Mohd Daud bin Abdul Rahim, Metal Worm, Alluminium & Iron, 2009

Aznan bin Omar, 1 Generation 2 Generation, Steel, 52 x 20 x 22cm, 2009

Mat Ali Mat Som, Silat Warrior, arrior, Metal & Stone, e, 33 x 29 x 42cm, 2009

Tan Vooi Yam, Growth of Life #2009, Ceramic, 128 x 58 x 148cm, 2009

Jamil Zakaria, Our Souls, Steel Wire, 2009

Nizam Abdullah, Jaguh (Self Potrait), Steel, 2009

CIndy Koh, The Call of Independece, Rod Metal & Flat Bar, 90 x 65 x 100cm, 2009

Mohd Azli b. Wahid, Kasut Batu, Granit & Copper, 2010

Asian Sculpture” yang ke-10 kini kembali lagi untuk menjemput para seniman di Malaysia menghasilkan karya berbentuk arca bagi tujuan mempertandingan karya mereka di peringkat Asia. Seperti biasa Balai Seni Lukis Negara(BSLN) telah menjadi wakil untuk mencari seniman di serata Malaysia bagi memilih karya yang terbaik. Dari bulan Ogos 2009 hingga November 2009 dan sepanjang tempoh itu, hanya 10 buah arca telah dihantar ke BSLN untuk dilihat dan diadili sebelum dihantar ke Jepun bagi tujuan pemilihan akhir dan dipamerkan di Asakura Fumio Memorial Sculpture Museum.

“Oita

l Syahrulniza Zaini

Pada 29 Disember 2009, BSLN telah menjemput YM Tengku Sabri Tengku Ibrahim, Puan Law Sweehar(Terry Lim) dan YM Raja Khairul Anuar sebagai panel Hakim Malaysia untuk memilih karya yang terbaik untuk dihantar ke Jepun bagi proses penghakiman seterusnya. Kriteria pemilihan karya menitikberatkan syarat-syarat yang terdapat dalam borang pertandingan dan juga kriteria yang paling utama ialah karya mestilah mencerminkan identiti Malaysia. Para juri bersependapat bahawa karya peserta telah dinilai dengan penelitian dari beberapa sudut,; termasuklah dari segi kekemasan karya (finishing), saiz yang ditetapkan, proses kerja yang dilampirkan, penggunaan media dan bahan serta maklumat/penyataan karya yang lengkap.

Daripada 10 karya terpilih sejumlah 3 karya telah terpilih untuk penghakiman di Jepun. Karya tersebut telah dihantar melalui penyertaan pelukis di internet dan mereka ialah Mohd Azli Wahid dengan karya bertajuk ‘Kasut Batu’, Jamil Zakaria dengan karya bertajuk ‘Our Souls’ dan seterusnya ialah karya oleh Nizam Abdullah dengan karya bertajuk ‘Self Portraits Si Jaguh (A Champion)’.

Sebanyak 10 karya saringan pertama di Malaysia telah dipamerkan di Akademi Seni dan Warisan (ASWARA) pada 19 Februari – 19 Mac 2010.

Antaranya ialah arca oleh Cindy Koh, Mohd Daud Abdul Rahim, Aznan Omar, Chin Wan Kee, Tan Vooi Yam dan Mat Ali Mat Som. Pameran ini telah menjadi rujukan pedagosi dan pemangkin kepada para pelajar seni tampak di ASWARA.

19

SENI & KRAF GEMILANG

CURA T.O.R.

REVIEW

RUMAH

EXHIBITON

l Abby Zain

WHEN I started learning still

life after my third baby was born...

I have never looked back since then and I am very blessed that Rumah Seni dan Kraf Gemilang (RSKG) is in operation today. For the love of painting, drawing, colouring, expressing on paper and canvas, for the love of educating children, teens and adults, I am here with a cause and mission to share my experiences and passion to enrol others to find meaningful contributions through arts and crafts .

Throughout my experiences painting and drawing, I learn to know more about myself, abount people, the world, animals, children and the enviroment.

My expression is about my transformation from being in a cocon into a butterfly...,so to speak. Each and every artworks bears personal message of joy, freedom, happiness, self fulfillment, motivation, love, success and sometimes my dreams. I enjoy the vibrant colors of fun and happiness. I love the imperfect and honesty in my artworks. I am showing and revealing the true me.

My works during the early years consists of Evolution , Butterflies. Later I moved into KL ku Series which I had the chance to be playful with different media such as crayon, colour pencil, acryllic, pastel and more. I felt the enjoyment like a child’s mind, I love the concept of being naive, bold and straight to the point. KL ku Series plays more of my mind and my dreams. The surroundings had influenced me... Kuala LUmpur and me... the animals, the place i live...Bukit Antarabangsa... KLCC Tower from my window...

I could see this magnificient view. All that I have expressed has a sense of grateful and peace.

In line with my concern about the three main issues,

children, animals and the enviroment, Rumah Seni dan Kraf Gemilang has become the site where i make this stand. It will pay its contributions to organisations which are related to these issues. As an art gallery, art and craft learning centre and artatabby shoppe, it aims to spread these messages to the local society and the world through arts and crafts.

Among the VIPs present are Mr Liew Kian Yap of ARTMALAYSIA, and Dato Ismail Kijo, UMNO Ampang.

Exhibiton consists of Abby Zain ‘s collection of works from 2001 until 2009 . Guest Artists were Bennylita Ramlee and Felicia Loh.

During the opening ceremony of RSKG by Yg Bhg Toh Puan Mahani, she urges the Malaysian society, parents especially to pay special attention to visual arts and craft as it is a vital subject in the early childhood education. This encouragement should continue until children become teenagers. Today , our Government through the National Art Gallery has provided facilities and activities to encourage the growth of visual arts and carfts industry.

An art auction was successfully done and a sum of RM 1000 was collected and donated to the SOCIETY OF PREVENTION OF CRUELTY TO ANIMALS SPCA, Ms Christine Chin the Chairperson of SPCA was there to give a few words to promote the society .

A launching of ARTATABBY designs on Tshirts and Bags also took place whereby students of RSKG wore and parade the lion, elephant and giraffe designs .

Three best students of RSKG were Farhana Baharudin, Amira Azman and Pritha .

RUMAH SENI & KRAF GEMILANG

Shoosie Sulaiman, God Saves the Queen, 30 x 24cm, 2009

EXHIBITION HIGHLIGHT

20 works by Eiffel Chong (Malaysia), Shooshie Sulaiman (Malaysia), Mintio (Singapore), Zhao Renhui/The Institute of Critical Zoologists (Singapore), Michael Shaowanasai (Thailand), Tanapol Kaewpring (Thailand), Frankie Callaghan (Philippines), Wawi Navarroza (Philippines), Agan Harahap (Indonesia), Sara Nuytemans and Arya Pandjalu (Indonesia) and Wimo Bayang (Indonesia).

Featuring

Artists produce alternate visions and (sur)realities that entertain and challenge audience perception.

CUT 2010 explores these parallel universes through the fictions and tilted perspectives of the photographic lens.

The authenticity of photography as a conveyor of truth has been distorted and empowered throughout its evolution from daguerreotype to film and digital. Experimentation within the medium continues to enable artists the opportunities needed to create ambitious technical illusions as well as compose staged tableau and capture uncanny moments from the everyday.

Exploring dichotomies such as fairy tale and nightmare, dystopia and utopia, the exhibition reveals grandiose fantasies and skewed realities that entertain our perceptions of what is real and what is imagined.

The exhibition takes as its starting point the notion that photography is a mechanism for imagination, adventure and escape through its technique and subjects. Like theatre and film, it has the potential to immediately animate and provoke our senses, encouraging powerful and complex emotional responses. These new worlds of possibility explore the hopes, dreams, insights and observations of

their creators to become amplified spectacles of shock, desire, delight, sadness, humour and enlightenment. With seemingly limitless visual inspiration and ongoing technical advances photography as a medium, constantly pushes the boundaries of visual sensation and understanding.

CUT 2010: PARALLEL UNIVERSE, provides numerous entry and exit points into the ideas presented by each artist. In its entirety, these imaginary worlds within worlds, presents personal and public consideration of ongoing questions surrounding the evolution of cultural and gender identity, sub cultures, religion, landscape and the urban environment. Combining elements of nobility and farce, pathos and critique super heroes laugh at body builders, online gamers jeer at religious utopias, architecture becomes a ghostly stage and mysterious scientific expeditions shy away from erotic dolls and unforgettable human characters. These existential obsessions, hallucinations and ambiguities of both photographer and the people and objects on display are revealed for audiences to recognise and question. What seems familiar can at once become alien and disturbing, playful and fantastical. The unfamiliar suddenly resonates with universal truth.

CUT2010 :

NEW PHOTOGRAPHY FROM SOUTHEAST ASIA : PARALLEL UNIVERSE

Now in its third instalment, CUT: New Photography from Southeast Asia continues to establish itself as a dedicated platform for photography in Southeast Asia. It aims to contribute fresh thoughts on the status of the medium in the region as well as the aesthetic and academic impetus of the diverse subjects being explored by individual practitioners in photography today.

CURATED BY EVA MCGOVERN

3 – 27 MARCH 2010, KUALA LUMPUR

CUT2010: New Photography from Southeast Asia: PARALLEL UNIVERSE runs from 3 – 27 March 2010 at Valentine Willie Fine Art 1st Floor, 17 Jalan Telawi 3 Bangsar Baru, 59100 Kuala Lumpur Opening Hours: Mon - Fri: 12 - 8pm; Sat: 12 - 6pm.

Closed on Mondays and Public Holidays. For general or press enquiries about this exhibition, please email: liza@vwfa.net or call 03 22842348 For general enquiries: info@vwfa.net Please visit: www.vwfa.net

Mintio, xXxLUVxXx, Digital print on archival paper, 58 x 73 cm, 2010

These existential obsessions, hallucinations and ambiguities of both photographer and the people and objects on display are revealed for audiences to recognise and question.

Agan Harahap, Neuschwanstien 1945, C-print on Kodak Endura Paper, 74 x 100 cm, 2009

MELUKIS 31 Julai - 02 Ogos

LEMBAGA GA MUZIUM NEGERI TERENGGANU

Untuk maklumat lanjut, sila hubungi En. Sobri Muda, Tel: 09-6221444 atau emel : webmaster@muzium.terengganu.gov.my http://museum.terengganu.gov.my

21

CURA T.O.R.

GRAFITI BATIK

KONTEMPORARI MALAYSIA PAVILION SHANGHAI EXPO 2010

(Dari kiri) Herman Duang, Tony, They, Bibichun

Ekspo

ini bertemakan Better City Better Life. Sempena ekspo ini Malaysia telah memilih senibina Minangkabau sebagai mewakili pavilion Malaysia.

Bagi melengkapkan ciri-ciri rekahias bumbung pavilion ini, lukisan batik kontemporari telah dipilih dan dikomisyen oleh Tourism Malaysia.

Ianya telah diadaptasikan dalam lukisan kontemporari dengan teknik grafiti lukisan berus angin. Balai Seni Lukis Negara telah memilih beberapa orang pelukis grafiti yang yang terdiri daripada Mahathir Masri (They), Muhamad Noor Md Yusoff (Tony), Khor Zew Wey (Bibichun) dan Herman Duang.

Pengawai Penyelaras projek ini ialah Mohd Majidi Amir yang merupakan kurator pameran di Balai Seni Lukis Negara. Misi ‘Pengeboman’ bumbung Grafiti Batik Kontemporari telah terlaksanakan dalam 25 hari.

Petikan kata-kata:

Arahan saat akhir + masalah tiket penerbangan + masalah pas keselamatan + kawalan hotel ketat melampau + harihari kena raba + beg asyik kena selongkar + minuman asyik kena imbas + masalah komunikasi + sejuk melampau + kurang kerjasama mereka yang terlibat + rekaan tidak ikut scale + peralatan kurang kualiti + cat salah + permukaan tanah lemah + permukaan bumbung kurang berkualiti + janji tidak ditepati + masa kerja terhad + kos internet mahal + kos cetakan mahal + angin kuat + bumbung lembab + cat tanggal + penyambut tetamu peramah + pemandu tepati masa + teksi murah + bilik selesa + masak sendiri + basuh baju sendiri + makanan kedai mak sedap dan murah + anak emak cantik + 555 + S20 + Suzuik + Hongho + VW Santana ………… = MADE IN CHINA. Untuk pengalaman yang lebih terperinci sila layari mediartpassion.blogspot.com

“Saya takkan benarkan mereka naik selagi plat besi tidak disediakan!” merujuk kepada permukaan tanah yang hancur dan menenggelamkan tayar jentera skylift yang digunakan.

“Buat besar untuk impak yang lebih baik” merujuk kepada saiz motif yang dilukis.

“Gila punya disiplin diaorang, kenapa orang kita tak boleh buat macam ni?” merujuk kepada pengawal keselamatan yang merangkumi polis, askar dan pengawal keselamatan biasa yang bertugas /berdiri tegak dalam hujan dan suasana sejuk melampau tanpa bergerak.

“Bangsa yang mempunyai tamadun yang lama mengambil berat tentang kesihatan sama seperti mereka menilai seni” merujuk kepada pendapat Tony yang perasan tak jumpa orang gemuk atau buncit selama di Shanghai.

“Walau sekontemporari mana pun kita, kalau tak mengenal dan menyanjungi akar budaya sendiri, baik pindah Negara lainlah”.

“Korang dah fikir habis ker nak bom bumbung ni? Bahaya gila”.

“Aku tak percaya sesiapa lagi kat Shanghai ni selain pemandu kita” selepas tidak mendapat kerjasama seperti yang dijanjikan.

“Kami tak ada apa-apa kepentingan pun dalam projek ni selain tanggungjawaab yang telah diberikan”.

BSLN Publication

BAKAT MUDA SEZAMAN 2006

50@50 (Sehari Dalam Kehidupan) SYED AHMAD JAMAL : PELUKIS Buku ini memaparkan perjalanan Seniman Negara (Datuk Syed Ahmad Jamal), ketika kecil sehinggalah beliau mencapai kegemilangannya yang tersendiri dalam bidang seni tampak Penerokaan idea dan kreativiti seni beliau dikagumi bukan setakat di Malaysia tetapi juga dipersada dunia. Sebagai seniman terawal yang mendapat anugerah melanjutkan pengajian dalam bidang seni lukis ke luar Negara, beliau merupakan seorang seniman perintis seni visual yang mencorakkan sejarah dan senario seni lukis Negara ke tahap berdaya saing

Katalog ini dihasilkan daripada pertandingan fotografi yang mempamerkan persekitaran harian yang menarik melalui lensa kamera bertema “Sehari Dalam Kehidupan Di Malaysia� yang memaparkan tentang kehidupan masyarakat serta budaya hidup di Malaysia setelah 50 tahun merdeka. Mengandungi gambar-gambar dan imej rakyat Malaysia setelah 50 tahun merdeka dengan penceritaannya mengenai kehidupan cara hidup, warisan, kebudayaan, pekerjaan, permainan dan sebagainya mengikut bab sebelum kemerdekaan, zaman kemerdekaan dan selepas kemerdekaan.

600 halaman m/s 154 Gambar hitam-putih 78 Gambar berwarna ISBN : 978-983-3497-43-0

206 halaman m/s 265 karya berwarna ISBN 978-9833-4871-57

RM 250

RM 40

LAT 1 Malaysia Katalog ini merupakan kerjasama diantara Balai Seni Lukis Negara dan juga Universiti Teknologi Malaysia.

Ianya memaparkan secara ringkas perjalanan kartunis Lat atau dikenali sebagai Dato’(Dr) Haji Mohd Nor bin Khalid. Karya-karya beliau banyak memaparkan isu-isu masyarakat majmuk di desa dan di kota.

20 muka surat 8 Gambar berwarna 28 Gambar hitam putih

Katalog Bakat Muda Sezaman 06 merupakan pameran karya pemenang-pemenang terpilih dari anugerah seni dwi tahunan yang paling inovatif dan dinamik di negara ini.

Pertandingan peringkat kebangsaan anjuran BSLN semenjak 1974 ini juga menyediakan persada untuk para pengkarya Malaysia di bawah umur 40 tahun untuk memperlihatkan kreativiti dan kredibiliti dalam berkarya. Sejumlah 191 penyertaan telah diterima cuma 43 karya sahaja yang layak untuk dipamerkan termasuk lima pemenang.

enBLOC Pameran adalah sebuah wadah persembahan batik yang teristimewa. Dalam mendirikan sebuah pameran batik sebagai pengisian kepada Kuala Lumpur International Batik Week 2009, Kementerian Penerangan, Komunikasi dan Kebudayaan melalui Balai Seni Lukis Negara terpanggil untuk mengambil peranan selaku peneraju pembangunan seni Visual Negara untuk mencetus inspirasi kreativiti dan inovasi menerusi kesinambungan tradisi.

SENIKINI ISU #01-05 Buletin seni yang mengetengah aktiviti seni semasa dan terkini.

Diterbitkan 6 kali setahun.

Boleh didapati secara percuma di BSLN.

90 Gambar blok batik hitam putih Planner 2010 ISBN : 978-983-3497-46-1

39.8 x 28.5 cm 20 m/s 2009 ISSN 1985-7233

RM 88

48 muka surat 14 Gambar fotografi 50 Gambar Karya berwarna ISBN 987-983-3497-21-8

RM 50

RM 30

RM 10

NEW!

NEW!

DEADLINE 31 JAN 2010

NOV - JAN 2011

01 MAY - 16 MAY 2010

MARCH - MARCH 2011

JUNE 2010

28 OCT - 1 NOV 2010

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

WHAT’S

ON

POSTCARD STORIES 27 Mar - 2 May 2010 Lobby, G Hotel, Persiaran Gurney Penang 04 2380000

SONY WORLD PHOTOGRAPHY AWARDS (SWPA) 2009/2010 GLOBAL TOUR EXHIBITION GALERI PETRONAS, Aras 3, Suria KLCC “Sony World Photography Awards Global Tour 2009/2010” 4 February – 30 April 2010 (Tue – Sun 10am – 8pm) T (60) 3 2051 7770 / F (60) 3 2051 2895 www.petronasgaleri.com.my

GALERI PETRONAS presents the highly-anticipated Sony World Fotoghraphy Awards (SWPA) 2009/2010 Global Tour exhibition on 4 February 2010. The exhibition showcased photographs by the winners of the 2009 Sony World Photography Awards, spanning a variety of genres including fashion, architecture, advertising, sport and music, from across the world. The Kuala Lumpur exhibition is part of a global tour. Which has taken in leading photographic institution in New York, Toronto, Mexico, Paris, Hong Kong, and London. Shown in Kuala Lumpur for the first time, the exhibition is hosted by GALERI PETRONAS to provide a valuable window to the latest in world photography enthusiasts. Curated by 2009 Honorary Judge Zelda Cheatle, the exhibition presents 75 images across genres, from amateurs and professionals.

Also on schedule is an exciting series of weekend photography sessions and workshops for art and photography enthusiasts.

SOLO ART EXHIBITION: “BRAIN IMAGING: WHAT YOU SEE AND WHAT YOU WANT TO SEE” 17 March 2010 to 3 April 2010 Pace Gallery,Section 12 Petaling Jaya Daily: 11am - 7pm www.chngart.com Chng Huck Theng’s (Chng) solo exhibition entitled ‘The Journey’ touring Jakarta, Penang and KL in 2007/08 was a success, Chng new art series: ‘Brain Imaging : What You See and What You Want to See’ in Pace Gallery, Kuala Lumpur from 17 March to 3 April 2010 will be yet another fascinating and exciting presentation. Unlike ‘The Journey’ that conceptualized natural disaster such as the volcanic eruption to portray human perception and behavior, this up coming presentation; ‘Brain Imaging’ focuses on humans’ perceptions and experiences. Childhood fairytales and grownups’ myth combining with both legendary and mystical beings will provide the audience opportunity to recite their past experiences and knowledge in order to comprehend Chng’s latest creation. This new work of art promises audience of all ages to open up their minds to allowing them to explore their own mystical adventures that are long forgotten through time.

ONG OH HUP HOE:7TH HEAVEN SERIES 1 Feb - 31 March 2010 Core Design Gallery, Subang Jaya viewing by appointment 0126117976,0122052804 scar@coredesigngallery.com This exhibition showcases three different sets of paintings from Penangite Ong Oh Hup Hoe, revolving around sleep, dreams and waking. His foreword sounds like he was tripping, so keep your mind open.

An exhibition of original watercolour works by Chin Kon Yit, one of South East Asia’s most eminent watercolourists. Chin Kon Yit has been a full time artist for over 30 years, preferring to document heritage architecture and artefacts, and regional rural and city scapes. Kon Yit’s detailed and fine compositions incorporate a variety of styles, including pointillism and the delicate strokes of pen/ ink. He is the famed illustrator of the Sketchbook Series - The Penang Sketchbook, The Kuala Lumpur Sketchbook and The Malacca Sketchbook. In Postcard Stories, Kon Yit shows the watercolour techniques and ability to accurately capture the flavours of street scenes and locations, which have secured his name in Malaysian art history.

“In my dreams of dreams, my fantasies and reality seem to blend and before my eyes lay the most beautiful and colourful things I have ever seen.

Mythical animals appeared and spoke to me about the greater universe. I listen in awe, fascinated and showered by the umbra of energized light. Then as if fed by their wisdom I began to grow and expand beyond the boundaries of my human frame yet still connected by a bluish cord. When I turned and looked back, the sight I saw was so vibrant, teeming with colours that were full of energy and yet remaining calm and soothing.”

BETWEEN BREATHS: WORKS BY TAY BAK CHIANG 18 - 28 March 2010 Artfolio Gallery, KL Tay Bak Chiang has constantly re-interpreted the norms of traditional Chinese painting with his use of western style compositional elements and vibrant colours. In this exhibition, he has once again broken new ground with a further abstraction of familiar forms, and a radical change to a mainly black-and-white palette. In the Lotus series, he brings abstraction to a new level as the familiar lotus plant is viewed from the perspectives of the pond inhabitants whilst texture and form takes centre-stage in the Stone series, as a charcoal-like pigment is used together with traditional Chinese ink to create a layered look for granite.

BEHIND THE SCENES: CONSERVATION IN FOCUS ISLAMIC ARTS MUSEUM MALAYSIA 10 March 2010 - 10 June 2010 www.iamm.org.my

HEAD UP Wei-Ling Gallery, Jalan Scott, Brickfields KL MonFri 12-7pm, Sat 10-5pm, Closed Sundays 03-22601106, 017-8877216 weiling@weiling-gallery.com www.weiling-gallery.com

The work of the IAMM Conservation Centre receives little exposure but represents a constant battle to preserve the artistic and cultural heritage of the Islamic world. In Southeast Asia, especially, conservation is a ceaseless struggle against the ravages of time and an inhospitable climate.

To ensure the provision of suitable facilities and skilled professionals, the IAMM Conservation Centre was established six years ago. Since then it has developed into a respected and pioneering institution with committed staff. Despite their work often being viewed as inaccessible, the conservators’ talents are fully on view. The exhibition features 30 artefacts that have been selected on the basis of showing either an essential conservation treatment or revealing an important discovery. There are displays of the different materials with which they work, showing everything from bookbinding techniques to making pottery.

For the technically inclined, there are gadgets galore.

For centuries artists have been fascinated with the human face, with many commissioned to paint portraits of their wealthy patrons over the course of time. With the onset of photography, portraiture was largely displaced, but artists around the world have continued to create representations of the human countenance for the face is intrinsically a reflection of one’s feelings and expresses our thoughts and emotions. Just as art is a reflection of the soul, portrayals of the face is mankind’s way of capturing the essence of itself. In this way, it can be said that portrait painting is the art of art, and the portrait painter is the artist of artists.

In striving to accomplish in representation what many artists strive for in abstraction, the portrait artist embodies the struggle of all art to define the meaning of self. The artists participating in this exhibition are Chong Choon Woon, Ng Bee, Kim Ng, Marvin Chan, Mohd Al-Khuzairie Ali, Chee Eng Hong.

HIJAU - GROUP EXHIBITION 20 Mar -11 Apr 2010 Art Village Bangsar, KL 03 22826992/019 2114697(Kenny Teng) Hijau is a group exhibition taking stage at Art Village Bangsar South. This exhibition will feature three very promising nature realistic Malaysian artists - Johan Marjonid, Abdul Rasid Yusof and Zaharuddin Sarbini.

Each of them has their unique ways in praising the nature with their palettes.

Johan Marjonid brings us his latest, The Lost World Of Brinchang series, which portrays a new perspective in looking at the rain forest at a high altitude. For Abdul Rasid Yusof, peace is the soul of his works. His arts tries to find the sense of peace and calmness that penetrate your soul. A bird watcher and a farming enthusiast from Sekinchan, with fishing and bird watching as his hobbies, this all was incorporated quite wonderfully in Zaharuddin Sarbini’s work.

TO ADVERTISE IN PLEASE EMAIL TO... wening@artgallery.gov.my

SOLO EXHIBITION BY HASNUL J SAIDON 1 - 30 April 2010 Museum & Balai Seni Lukis Pulau Pinang 04-2613144 muzium@po.jaring.my Solo Exhibition on artworks by the present Director of Universiti Sains Malaysia dan Galeri Tuanku Fauziah. He was awarded for Malaysia Art Award 2009 Multi Dimensional Category.

FREE ADMISSION

arts

festival

music mus siccppoetryy tre community theatre

artbbazaar t

dance d nce come e dy

2PM - MIDNIGHT SAT 27 - SUN 28 MAR 2010 SOLARIS DUTAMAS

www.mapkl.org

won tra naisyalaM

WEIVER NI SRAEY YTNEWT> OENROB

UYAB SAPMIL>

etaeruaLdnarB ehT> :0102/9002 sdrawA LAMAJ DAMHA DEYS KUTAD

evitcepsreP erteM A> ’NARUPMAC NAHAB ARATNA’CBA> PATET NANUPMIH IRAD ARAGEN SIKUL INES IALAB

#06