Aec 2015 Conference Report

Using Arts and Culture to Stimulate State Economic Development

ART ECONOMY CONFERENCE 2015 24–25 MARCH 2015, JW Marriot Hotel Kuala Lumpur

CONFERENCE REPORT

INTRODUCTION

The Art Economy Conference (AEC) 2015 was a joint initiative by Institut Terjemahan & Buku Malaysia (ITBM), the Vallette Gallery and Balai Seni Visual Negara.

The conference was held to discuss direction and creative cooperation in order to create an understanding regarding the significance or potential of this field as a generator for the development of the country.

The conference was aimed at producing ideas for implementation towards the generation of higher national income in the future, particularly through tourism.

Graced by the presence of the Deputy Prime Minister and Minister of Education of Malaysia, YAB [The Right Honourable] Tan Sri Dato’ Haji Muhyiddin Haji Mohd Yassin, the conference organised two keynote address and five open round-table forums concerning global art issues with a panel of local and international experts such as Claude Mollard (cultural expert and author of L’Ingenierie Culturelle [Cultural Engineering]), Professor Emeritus Dr Ismawi Haji Zen (one of the panels of architects, Masjid al-Haram), Professor Luo Qi (China Central Academy of Fine Arts) and many others who participated.

Issues discussed in the forums included the direction, potential and future of the arts commercially in Malaysia.

Participants who attended the conference consisted of professional artists, art aficionados, curators, academics, intellectuals, scholars, representatives from government agencies and the private and commercial sectors, architects, university students and the general public.

In conjunction with this conference, Rekayasa Kebudayaan, the Malay translation of Claude Mollard’s book, L’Ingenierie Culturelle, was launched by YAB [The Right Honourable] Tan Sri Dato’ Haji Muhyiddin Haji Mohd Yassin. This book is included among prominent French works that have been produced and utilised as text and reference books in French universities.

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Day 1 included the Keynote Address I, Round-table Discussion I and Round-table Discussion II. Day 2 included the Keynote Address II, Round-table Discussion III, Round-table Discussion IV and Round-table Discussion V. Keynote Address I: Cultural Engineering Presenter: Claude Mollard Keynote Address II: The Policy of Great Architectural Works in the Culture Field of Franҫois Mitterand Presenter: Claude Mollard Round-table Discussion I: The Role of Government and Communities in the National Strategy for the Development of the Arts Moderator: Prof. Dr Hamidin Abd Hamid Panellists: Claude Mollard & Raja Ahmad Aminullah Round-table Discussion II: The Role of Educators, Museums & Public Galleries in the Public Sector Moderator: Martin Bradley Panellists: Farid El-Alaoui, Prof. Abdul Rahman Mohamed & Lok Hang Weng Round table Discussion III: The Role of Commercial Sector in Art Moderator: Martin Bradley Panellists: U-Wei Haji Shaari, Julia de Bierre & Patrice Vallette Round-table Discussion IV: The Future of the Art World – Viewpoints and Creative Platform for Cooperation Moderator: Martin Bradley Panellists: Claude Mollard, Prof. Emeritus Dr Ismawi Hj. Zen, Prof. Luo Qi & Dr Cheah Thien Song Round-table Discussion V: AEC 2015 – The Way Forward Panellists: Mohd Khair Ngadiron, Patrice Vallette & Dato’ Prof Mohd Najib Ahmad Dawa

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Keynote Address 1: Cultural Engineering Presenter: Claude Mollard Definition of Cultural Engineering  The ability to deliver optimal solutions in terms of quality, cost and deadlines required by partners in cultural life.  The cultural system is divided into four families, namely creators (artists, authors, poets, directors…), the audience (professional or amateur, general public, users, subscribers, consumers of the cultural industry…), decision-makers (public authorities, financial establishments, cultural companies, producers…) and mediators (critics, journalists, intellectuals…).

Artistic System and Cultural System  The artistic system is a relationship where creators meet their audience directly without a middleman.  The artistic system is one of special relationships, exclusiveness and reserved for a few.  In a social field marked by the democratisation of cultural practices and by the growth of the mass media, the artistic system requires partners, mediators and decision-makers, who transform it into a cultural system.  The cultural system includes and completes the artistic system.  Works of art created today will in turn become future heritage.  The more new works of art, the more cultural spaces are produced to host the audience.

Economical-political-cultural Complex  The cultural system increases due to two principle factors, i.e. democratisation and financialisation.  There is an economical interest in this issue.  It is the industry of the future.  Two very important fields are cultural policy (the budget allocation by the Ministry of Culture is an assurance that the government in future will invest more in culture) and the cultural market.  The “no public” is a audience that never involve themselves in or attend any art fairs, museums, etc., thus we need to promote this culture among them in order to increase their appreciation.  A good relationship between creators and audience opens up the field.

Effect of Cultural Policy  Cultural democratisation (division of attendance types classified by social types).  Development of a cultural engineering project - The project involves partners throughout its development - At the beginning, there are artists (to control quality) and decision-makers (to ensure the most favourable)

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Conclusion  We must ensure that the four stages of the project follow through properly and we should evaluate all phases.  Culture remains when we forgotten everything else.  Culture is heritage and eventually culture itself will create heritage.  Further reading on the book Rekayasa Kebudayaan is suggested for a better understanding of the subject.

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Keynote Address II: The Policy of Great Architectural Works in the Culture Field of François Mitterrand Presenter: Claude Mollard Video presentation: The Policy of Great Architectural Works in the Culture Field of François Mitterand A review of the video presentation by Claude Mollard:  President Francois Mitterrand was a man of culture like Louis 14 th and Francois 1st who invited a Chinese architect to France.  Art and culture must always be an interaction of vision.  Why built these kind of cultural projects? o To leave a mark in history o Great projects create enthusiasm o To stimulate local artist to emulate great projects o Great culture projects create a solution to the needs of the public – employment & contribution to the number of tourist  There will be critics from the opposition regarding costs.  There is a need for exchange between politicians, artists, local authorities and private sectors to create … emulate and to take the initiative.  France’s government created 40 projects that involved 15 billion Euros. These projects have a direct and indirect effect. The returns took 5 years to become very profitable.  Investment in education is not great but useful.  The arts are very profitable as more and more exhibitions are being organised in France, i.e.

100 exhibitions per year.  Works of art are like a human being – it has life. New buildings are needed to house these works of art by young artists, emerging artists and contemporary artists.  The cultural investment is universal – we created the museum of humanity (imagination), which contains art works from all over the world.

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Translation of the Video Transcript of “The Policy of Great Architectural Works in the Culture Field of François Mitterrand” Day of Mr Mitterrand’s investiture as President at Palais de l’Elysée.

As an idea of Jack Lang’s, the then young national commissioner for culture in the socialist party (PS), Mr Mitterand visited the patheon. [built between 1758 and 1790 within the Latin neighborhood, the Pantheon’s aim is to honour great French historic personalities.]

Jack Lang’s nomination in the Government did not follow any formal structure, or any specific procedure: François Mitterrand, to avoid leaks, wrote using a typewriter the names of his Government members. He called Jack Lang and announced to him that he was now Minister of Culture.

In the 60s, as a director of a theatre and professor of law (public and constitutional law), Jack Lang built a great theatre festival in Nancy [380km east of Paris]: the World Festival of University Theatre, (Festival Mondial du Théâtre Universitaire), which was an historical event in French theatre.

Nominated by Olivier Duhamel [former Minister in the Pompidou presidency], Director of Chaillot Theatre (today one of the four French national theatres situated in Trocadero Place), Jack Lang became closer to the socialist party in the early 70s.

Then, François Mitterrand asked him to accomplish a political mission more than a cultural one.

Jack Lang asked him: “Try to bring artists and intellectuals who used to be close to the communist party, closer to the socialist party. A sure strategy!”

Thus, they proposed to apply a very old communist idea: 1% for culture.

In other words, allocate 1% of the total budget for the cultural sector.

In 1981, [when François Mitterrand became President], only 0.5% was allocated for culture, but Jack Lang was convinced that money is truly the basics of success. He persisted.

In June, Mitterrand showed prudence: “1% at once is absolutely unreasonable, too much money for a too short a period. Let’s start with 0.75% for the first year and then observe for the next 4.”

Jack Lang: “I don’t know how he came up with 0.75%... But eventually, it was the former budget doubled…”

But, in the council of Ministers, Laurent Fabius announced the financial law project. Jack Lang discovered that the Ministry of Finance had decided to allocate only 0.70% for culture.

Jack Lang wrote to François Mitterrand, who told the Council at once that there were two or three things that needed to be changed, including the increase of the cultural budget. The 0.75% was secured and in one minute, the Ministry of Culture gained 500 million French Francs.

François Mitterrand on the TV “Why did I ask for the Cultural and Research budget to be doubled? Because I wanted the French people to receive stimulation, especially the youth… Their imagination, their energy, their actions, their joy of living. That would give France the opportunity to be better that it ever used to be, a renewed country, the country of opportunity.

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Claude Mollard’s witness After Beaubourg’s experience [National Centre for Art and Culture after Georges Pompidou’s inauguration in 1977, Claude Mollard was secretary-general in 1970], and after all these cultural Parisian developments, we wanted to extend the cultural experience to the French provinces.

We desired that the whole French population could get to know and meet artists in their own environments.

Thus, we created regional contemporary art collections and funds, and established relationships between the state area and the new ‘counties’ [new counties appeared in 1982, and transformed the face of French administration. The country afterwards became less centrally governed, and gave greater freedom to the counties]. A “message in a bottle” … We told them “if you give one, we will also give one. If you give 5, we will do the same”. Finally, we doubled the budget.

Incredible: a unanimous response.

The National Parisian museums contested that fiercely: “in counties, they will never know how to make good choices, they will buy poor works of art… All these personalities played up! They said “What is this, these young runts, whipper-snappers, who are claiming all this… Only we, were competent in Paris, we studied in famous schools, they cannot give us instructions”!

Abstract from Antenne 2’s, TV news, when Jack Lang was invited, as Secretary of State for Cultural Affairs.

77% of the young population approved of the creation of rock music venues, 74% of the 55-65 year olds approved of the improvement of French TV shows, and the majority of young people approved of the creation of the Festival de la Bande Dessinée d’Angoulème for comics, although 17% disagreed, as they did not think of it as literature.

52% of men approved of the creation of a fashion museum, giving the industry a proper recognition, and 48% of women thought the same. But only 27% of people were in favour of the Maison de la culture [House of culture].

Jack Lang remained convinced that more could be done regarding the artistic education of children and teenagers.

Jack Lang was described as the most popular of ministers in the government and someone who was deeply committed to helping theater, dance and street artists. But the public remember him best for the Fete de la musique [Music party], based on an idea by Maurice Fleuret.

Jack Lang explained that it was never a thoroughly orchestrated idea, but more of a juvenile decision to have a little fun after a long day’s work.

Pictures, Jack Lang during the Fête de la musique François Mitterrand inherited the projects started by his predecessor Valéry Giscard d’Estaing: the Cité of sciences and of Industry at La Villette, and the Orsay Museum.

Pictures, François Mitterrand during the inauguration of the Orsay museum.

François Mitterrand was very fond of history and art that he wanted to leave his own mark on his time in office, an ambition born out of his time as a student in Paris. He announced the decision to relocate the Treasury out of the Louvre, and an architectural contest to be held in order to Page 8 of 21

make an extension to the museum. Ieoh Ming Pei’s pyramid was eventually chosen by the President and the renovated museum was open on 4th March 1988.

Between 1986 and 1988 [when the socialist party failed in the 1986 legislative elections], Jack Lang left the Ministry of Cultural Affairs but was asked to come back when François Mitterrand was reelected, in 1988.

Then the President created a position for a Minister of State for Major Work, to be part of the Ministry of Cultural Affairs, headed by Emile Biasini.

This department benefited from its own independent budget and would be at the base of the completion of the Louvre, the Grande Arche de la Défense and the Bastille Opera according to Jack Lang’s idea.

François Mitterrand then launched the construction of a new library, as suggested by Jacques Attali. Since the time of Napoleon, Paris had never seen such transformation.

Though history will probably characterise Mitterrand’s rule as one of “major works”, it should be described as “cultural industry”. In 1981, Jack Lang imposed the “single price of books” measure, dedicated to the acknowledgment of books as goods of consumption and thereby preserving them from market forces.

At the same time, fiscal actions were imposed to favour cultural activities, which became increasingly considered as part of a dynamic and expanding economy. Culture was no more considered a luxury and a change of heart took place at the time.

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Round-table Discussion I: The Role of Government and Communities in the National Strategy for the Development of the Arts Moderator: Prof. Dr Hamidin Abd Hamid Panellists: Claude Mollard & Raja Ahmad Aminullah Claude Mollard  There is a marriage between the cultural market and cultural policy – a worldwide phenomena.  People need to know the direction of art through the development of art fairs and an exterior extension of people between nations and what is specific to each nation.  There is a relationship between art and nature (environment) and how nature can inspire new ideas, and this relationship is not specific to one nation but international.  There is freedom in the market to promote art but the market is limited because of profit and speculation.  Priority must be given to the market especially with regard to controlling an excess of art in the market.

Raja Ahmad Aminullah  The marketing of art and its presentation is still at an early stage in SEA.  There should be more support for art by the authorities, i.e. policy makers, stakeholders or those who are interested in art.  The contribution of Malaysian communities – there are many undertakings in villages such as Menora, Kuda Kepang and Mak Yong. But the question is how can this be presented to a wider audience in order to generate income nationally and internationally.  In terms of visual art, we have many good artist but the question is how policy makers and stakeholders promote their art. Local authorities such as the RSOG need to play their part in promoting art and artist.  Civil servants may also be involved by becoming more art friendly.  The corporate sector must help to preserve Malaysian art for the benefit of tomorrow’s citizens.  We must have the government’s support for art issues.  The French appoint those knowledgeable in art and culture as their decision makers. Thus we need people who understand art and culture to be in charge.  It is important for people in the creative industry to have a voice to deal with policy makers.  Art is highly important in school. Schools need to invite artist to help educate the young generation and they must place emphasis on the role of art.  The issue of market and speculation cannot be avoided. A regulatory body must control speculation.

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Q: What structure is required to inculcate appreciation of art?

A (CM): In France we have brought art and artists to school. Violence has disappeared. Peace ensues.

We must keep students attention through the project of bringing visual artists in schools. 60 schools have been brought together by using artists to train teachers.

Q: Art should be free and independent. Will this help the market?

A (CM): We must equalise the relationship between the market and collector. Art usually ends up in the museum regardless. It is important to allow freedom of choice by being independent. There should be no government interference. Government provides finance but never regulates exhibitions or the choice of art.

Q: What is art from the aspect of education?

A (RAA): In the last 10 years, an independent art scene/space has come up. In education, artists are severely lacking in art history. Young artist who want to make themselves known in the art world must persevere. They must acquaint themselves with different aspects of the art world: galleries, art spaces and, collectors. Schools must teach such subjects too.

Q: How do we differentiate between the role of the artist, government intervention and role of the market?

A (CM): There must be agreement between all three. There is no actual proper answer.

A (RAA): In the 80s-90s, people acquired art in Malaysia solely for love of art, not for investment.

Q: Art must move around the world. Malaysia has no museum of modern art. If it wants to overtake Singapore, this must be implemented.

A (RAA): Everyone must play their part to achieve this. Collectors, artists, professors, students, etc. must bring Malaysian art to the next level.

A (CM): What would you do if you were Minister of Culture in Malaysia? You should have university professors to compile the art history of Malaysia, although it is complex.

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Round-table Discussion II: The Role of Educators, Museums & Public Galleries in the Public Sector Moderator: Martin Bradley Panellists: Farid El-Alaoui, Prof. Abdul Rahman Mohamed & Lok Hang Weng Q: According to your own perspective, what is the rule of the public sector in art and education? How is this different from the private sector?

A (FEA): The state opened my eyes to art. From my perspective as a person from the private sector of education, my mission is not to compete but to complement and be a partner in education. But since there are too many art schools, it creates an unhealthy competition. The main difference between these two sectors are the fees, which are more expensive in the private sector.

Q: What is the role of educators in the private and public sectors?

A (ARM): Educators always stress on creator, but as stressed by Mollard, we must take into account the decision-makers because without them, no action will be taken. They must support artists and the art community. Educators are eager to produce creators or people to manage art, but they forget to stress on the importance of art. For example in Holland, some old places are rented out to minimise fees and in New York, old factories are turned into beautiful art spaces (studios and galleries). The public and private sectors can both play a role in this.

Q: Who should take on this role in the public and private sectors?

A (ARM): It is both the private and public sectors’ responsibility. Aid and premises should be provided.

The public sectors can make the decision by earmarking a specific area to be developed as an art institution or art centre. The private sectors can give back to the community through donations.

A (LHW): Art institutions are of two kinds: profit-making and non profit-making. The profit-making ones offer more attractive courses and their graduates get better jobs and have better prospects. Graduates from the non profit-making institutions are struggling.

Q: Which is the best way for the private sector to encourage innovation, investment and competitiveness?

A (LHW): The private sector can provide leadership in education and absorb more talented artists into private institutions.

A (ARM): Innovation is a big world in art; artists are all innovators, each painting is an innovation and no two works are alike. To be innovative, you have to be hands-on, but more than that, the history of art has to be learned. Ideas should be conveyed through art visually and verbally to produce something new.

A (FEA): Nowadays, we must pay for everything. The state does not support costs in education anymore. Therefore there must be collaboration between the public and private sectors. The new generation is changing the concept of art. To support innovation, we must have investment. This is not the government’s role.

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Q: What is art? Is it Monet, Picasso or Dali? Is it the selfie, street art or digital art? Is it digital art or is it commerce?

A (ARM): 20-30 years ago, there was a gap between artists and non-artists. Now, the gap has become narrow. Even layman can produce graphic design. What is the difference since the arrival of digital art?

Digital art is here to stay.

Q: Artist has always used the technology of the day, though, haven’t they?

A (ARM): Today, they call themselves digital painters. But for those who do not use digital art, they don’t have to worry as conventional art will survive.

A (LHW): Innovation must be taken into consideration, regardless of the type of art.

A (FEA): Where does art stop and entertainment begins? Most kids are out to entertain, not to produce art.

Q: When we produce something digitally, do you think we are changing the whole value of art? In the digital world, we go back to the merit of the work and not its value financially.

A (ARM): Traditional art still survives. It lives alongside digital art and is in demand.

A (LHW): Digital media is a process but not an end product in my line of work.

Q: Do we no longer think of the two sectors are being related?

A (LHW): These sectors complement each other.

A (FEA): My company has a link to the Louvre in Paris. We send our students there as it will benefit them in future, as with the Museum of Public Art in Paris. This will bring jobs to the students in the future.

Q: Must decision-making be in the hands of the public sector? Can it not be a join decision with the private sector?

A (ARM): In Malaysia, we collaborate with the private sector. But the final say is with the ministry.

A (LHW): In my mind, both sectors contribute in a whollistic education. What is important is jobs for graduates.

Q: Do you face the same problems in the West?

A (FEA): What goes from the West goes to the East and vice-versa. Art education has come to the stage of being paid for. There is no more free education, but we must never close the door to innovation.

A (ARM): There is no more free education in Malaysia. Less and less people apply for art courses. How to get a job? How to find one? What are the prospects? That is why parents encourage their children to study professions outside of art.

Q: The time must come where students in art institutions must learn business to balance their art studies.

A (LHW): The art curriculum must become more innovative. We must nurture the artist.

A (FEA): For this generation, the state cannot make investment in art a priority.

A (LHW): Governments should act as policy makers, not as an investors in art.

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A (FEA): By definition, art is subjective. Why must we put rationally to economics when art is subjective?

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Round-table Discussion III: The Role of Commercial Sector in Art Moderator: Martin Bradley Panellists: U-Wei Haji Shaari, Julia de Bierre & Patrice Vallette Q: What is your role in the arts private sector?

A (JDB): To promote artists, house their art, give attention to their art and sell it. I run a commercial gallery with no help from the French government. There has been a change in the art scene as artists can now promote their work through the internet. I deal with such artists as well. I live in Arle that has a big unemployment problem, so it is art and tourism that helps keep the town running. I took part in the Art in KL exhibition last year to raise the profile of art in KL as there are several ways to run a gallery. I choose to accept artists who have an internet presence. I have also done shows with the Victoria and Albert museum in London.

Q: Certain people from galleries have problems with auction houses. What is your opinion?

A (JDB): Auction houses set the price and galleries have to go along with that. There should be a symbiotic relationship between them.

A (PV): Auction houses and galleries need each other. This is an emerging market in Malaysia. We need direction and rules in this area. This is a positive development. Galleries must join forces and promote artists. Here in Malaysia we are not affected by the online situation. My role in the gallery is to build up relationships with the gallery. Artists do not need to build relationships with auction houses.

Q: What about the collector of art? What is your role?

A (UWEI): The role of film maker and art collector are intertwined. My discipline is film making. Beside the cost involved, time is crucial when collecting art. It take years to built up a collection, evaluate and appreciate it. Information about the work and artist is essential in order to make it rewarding to be a collector. I personally only collect Malaysian art.

Q: What do you look for in art?

A (UWEI): I expect nothing and everything. I try to understand something that is hard to understand.

Q: Do you follow artists or go only by works?

A (UWEI): Certain artist I follow. But I do find other work I appreciate.

Q: How do you view collectors and provide them information?

A (JDB): I will bring artists on site and organise informal gatherings. Many galleries have permanent collections.

A (PV): Art for me is about building a relationship with the artist. Art is about feelings, love and imagination. I am an entrepreneur but I collect art. Because I decided to support artists, I decided to do business. From home, I then moved to a gallery.

A (JDB): It’s also about building a relationship with collectors too. A gallery is not just about selling art but also human interaction.

A (PV): In Malaysia, there is much opportunity. Here there are great possibilities to build up relationships with artists.

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A (UWEI): In Malaysia, we have a group of 20 collectors. The art scene in Malaysia would increase if collectors opened up their collections to the public.

Q: It is a different experience of viewing a collection in someone’s home than that in a gallery. In displaying works of art in a gallery, how does that differ?

A (JDB): I do not restrict myself to displaying in a ‘white cube’. I have use cellars or garages in addition to my gallery. But as I display photos, I am not so restricted.

A (PV): I have a gallery and three houses. Art is a part of my life. Collections are personal, galleries are about creating and exhibiting.

Q: How does a film maker arrange his art?

A (UWEI): Galleries work on a specific theme, personal collections are another issue.

Q: Businessmen are not usually artists and artists are not usually businessmen. What is your opinion of this?

A (PV): In Malaysia, we have a market where artists need support. We must create more awareness internationally for Malaysia. We should awaken interest from Europe and America for Malaysian artists and art so that they can show their work internationally. We must create a platform for this to occur. The state may have a responsibility, but the private sector has a bigger responsibility.

A (JDB): I have showcased Malaysia art in my gallery house in France, having a Malaysia artist in residence for several months. I’m planning to hold this “Malaysian House” of art once every two years.

Q: What about the relationship between collectors and gallery?

A (JDB): This classic route is through museums, art showcases, etc.

A (PV): A collection of art is an adventure. We build a relationship first with the artist by meeting and looking at their art – desire for art (passion). It is the start of a relationship before we look at the business side of it. We should set up exhibitions as a platform for artists. Everything starts from collecting.

Q: What is the intent and purpose of gallery?

A (PV): It is a personal thing about showing the personal side. In a gallery, it is about creating a story for a certain period of time. The objective is to create an exhibition and it is up to people to judge it.

Q: What is the idea of direction and production of art?

A (PV): When creating something, make it less important. Galleries have their own themes, artists have their own themes and at home it is about your own theme.

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Round-table Discussion IV: The Future of the Art World – Viewpoints and Creative Platform for Cooperation Moderator: Martin Bradley Panellists: Claude Mollard, Prof. Emeritus Dr Ismawi Hj. Zen, Prof. Luo Qi & Dr Cheah Thien Song Video presentation: The Future of Art in China A review of the video presentation by Claude Mollard: The video presents a way forward for the future and the arrival of a new generation. The earth tree symbolises the relationship between artists and nature. It will become a centre of ecology. Artists are always connected to the future but development will bring more pollution and we as human beings will have to pay the price. The earth tree in Paris and China will have wooden architecture and 8 pillars as 21st century architecture may be symbolised by wood.

Q (MB): We have here an incredible ecological architecture project. Perhaps you have an opinion on the concept?

A (IZ): To solve the problem we are facing at this moment, we have to create environmentally friendly architecture but how? The sustainability of man depends on the sustainability of the environment. And the concept of the earth tree is a good thing. I’m one of the advisors for the sacred mosque in Makkah that emphasises on architecture that is nature friendly as the way of looking forward.

Q (MB): We need to step back a little bit by asking Dr Cheah to talk about the history of Nanyang. Many great artists come from Nanyang.

A (CTS): Talking about wood – is it a step back or a step forward? This is a matter of the history of art itself as it is an ancient one. In the development of art, even if something is antique it can also be viewed as contemporary nowadays. The development of art can be looked at from two different aspects: eastern and western. From the 90s onward, east went west so that eastern culture found a way to be among westerners and west went to east to complete the circle. The future prospective of art will be universal. Why do we call Nanyang art? In 1937, Chinese-Japanese migrated to Malaya and Singapore because China was unstable. These artists were exposed to eastern and western influences and due to integration, art became localised and multicultural. In the 50s, my teacher promoted Nanyang art.

Q (MB): Prof Luo Qi, What about your method of relooking at Chinese calligraphy and how is characterisation a new way forward in abstract in China?

A (LQ): Much architecture in China uses wood; houses are made of wood but are considered underdeveloped. Through the years many things have changed. Human instinct dictates that people want to be close to nature and wood architecture makes them feels close to nature. Nowadays people live in glass to be close to nature. Wood has advantages and disadvantages. China is developing and destroying itself.

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Q (MB): What about artistic in a way forward? What about collaboration?

A (LQ): Today, the conference is important. People of different industries attend and I have just attended a forum on the development of the economy in art in China. China is very rich. My background led my interest in western art. I found I had to entertain my art friends and in order to be a host to them I needed a place. Now I have 3 galleries which required investors, artists and curators. So now, I’m more of a curator and my friends are no longer just artists as they have become my business friends through selling art. Art is spiritual that reflects the way we live. Art in China is very much alive despite the corruption and I believe there is a whole world of art still in China.

Q (MB): Let’s talk about the way forward.

A (LQ): Nowadays people live at a fast pace in a world where time is paramount and many people can’t afford to waste it. People no longer appreciate art and view it in terms of profit. The middleman is very important. The artist does their art and the middleman promotes the artist’s works. The gallery promotes the work to bankers and investors.

Q (MB): Dr Cheah, what is the way forward regarding Nanyang style and brush painting in Malaysia?

A (CTS): As collectors usually don’t have knowledge of art, the artist does not have to work so hard to create art. The concept for the whole market of art is branding. If your art is a brand, it will definitely remain. Art is life and the artist illustrates their experience in art. It is difficult for Nanyang art to remain alive. From my experience in the industry over 60 years, at the beginning it was hard to sell art. As for the Ministry of Culture or galleries, do they create a platform for artists? Because of ethnic issues, we (Chinese art – calligraphy) are marginalised. Local works are suppressed to give way to international works. However, young artists are becoming more and more successful on the international scene.

Q (MB): Visual art and architecture link with the universe (nature), the earth tree and the future of architecture itself.

A (IZ): We need to integrate the idea of art into architectural expression and concern for the environment. Not just creation of form but also the creation of a message of the spirit of the public.

Q (MB): In terms of the way forward, what would you build?

A (IZ): Something that is integrated – a living environment. We need to find a solution but at the same time develop a relationship with nature. This doesn’t just involve art but also science. We need to consider issues related to society.

Q (MB): In the city, the electric car will be used more and more.

A (IZ): Again, this is integration with the environment. In the future, leisure won’t just be through machines. Architecture needs to express the beauty of life.

Q (MB): We must use existing architecture that is architecture within the environment.

A (IZ): Rumah kutai (the traditional house) is part of the evolution of life. To accommodate this relationship, architecture has a responsibility.

Q (MB): Architecture is about glorifying itself then considering the environment. Is this what is happening in France?

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A (CM): The earth tree has its own life system. The project will be very impressive once completed and becomes a revolution between art and architecture. Is it architecture or art? We ourselves are uncertain.

A (IZ): We should integrate art school with architecture. Architecture needs to be about responsibility, not about glorifying itself.

Q (Representative from Jordan): Art is multicultural. Some curators tend to falsify art and it has become more artificial. How can we make art alive?

A (MB): Nanyang art is about multicultural living.

Q (Representative from France): Architecture is something nice to look at but we also need to consider people. Urban architecture is aimed at people living better.

A (MB): We need to look to the future.

Q (Representative from France): Should architecture take into consideration urbanisation?

A (IZ): Synchronisation of building and infrastructure is the issue. Mass transportation is a good thing on one hand but how are we going to incorporate transportation into our architecture? Architecture needs to consider the whole system of urbanisation. Green buildings may help but are not necessarily the best solution.

Q (MB): What would you suggest?

A Representative from France: Town planning should also play a role in any intended construction.

Why build more when the roads are getting smaller and the traffic situation is worse?

A (MB): Yes, urban planning seems to fail but that’s what happens when we try to move forward.

A (IZ): The plan of Kuala Lumpur 2020 has been debated by architects. But unfortunately, entrepreneurs also play a major role.

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Round-table Discussion V: AEC 2015 – The Way Forward Panellists: Khair Ngadiron, Patrice Vallette, Dato’ Prof Mohd Najib Ahmad Dawa MN: I represent the NAG (National Art Gallery). This event began with the book launch yesterday.

Reengineering is about moving forward, learning from friends in France, China, etc. When we refer to art, it means the artist, gallery (space) and collectors. The NAG discussed about Art Commerce back in 2010 and the creative industry. The NAG and the private sector are the prime movers and artists are the implementers.

PV: When I looked at the possibility of this conference, it took time to bring everyone together. But the result is the conference today. This is the avenue for artists and entrepreneurs to connect. The success of this conference is the start today but it will continue afterwards.

KN: I was asked why I became involved. Why not? Patrice approached us to be a part of the conference. Art and books go hand in hand. We have published a number of art books. Art is the way to show our culture to the rest of the world.

Q: How do we present art through publishing?

A (KN): Through bookshops and online.

Q: How will the AEC influence artists?

A (PV): We went into this venture to raise up something important. Artists will be inspired if we encourage business and support artists. After this conference, we should create a loose forum, a round table to brainstorm and share our views. We must move forward with activities by working together for the art industry towards getting an art museum, more galleries, finding artists, etc. and books are a part of this.

A (MN): The point of this conference when I consider its outcome is how do we move forward? We have artists, galleries and auction houses, but what has been the result? In 2010 it only generated 7-10 million ringgit. We need the input from people, like U-Wei as he is a collector and director, so he has influence. These issues must be promoted. The problem is how do we put Malaysian art in an international context? We must not buy Thai art (because it is cheaper) to house in Malaysian institutions.

A (PV): One of the ideas of Claude Mollard was to have the Malaysian Week of Fine Art in France, to create awareness outside Malaysia. We need Art History books in Malaysia, as there are none. This could be a step forward for ITBM. Q: How can we get government involvement financially and economically?

A (KN): The start is a loose forum. The government will listen more to the people. It is up to the artists to get their work recognised. The artist must be the catalyst for change. A way forward is promoting themselves more and more.

A (PV): Is this conference going to be one of a kind? We must continue and not stop, as the AEC needs time to prove that this project can be successful. We must aim for 2016. We must also aim for a contemporary art museum.

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A (MN): We must put forward the idea for a contemporary art museum. We need to nurture young artists. To move forward is to propose change. We must provide opportunities. Artists must be managed.

Q: What will the AEC do to manage and package artists?

A (PV): Exchange programmes between Malaysia and France are in the pipeline. In 2016 we will have a programme for 10 artists in France. Through the AEC, interest in art in Malaysia will be generated.

We need more support by professionals.

A (KN): We at ITBM will do our level best to publish more books in the field of arts. We are always open to suggestions. Let’s take small steps which are meaningful.

Q: What will happen after today (AEC 2015)?

A (KN): The AEC must have our participants feedback to move forward to the next AEC in 2016 – what can be improved?

A (MN): I will suggest to the NAG what is the next step. We have not done enough: the NAG, the galleries or the artists.

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