Using Arts and Culture to Stimulate State Economic Development
ART ECONOMY CONFERENCE 2015 24–25 MARCH 2015, JW Marriot Hotel Kuala Lumpur
SUMMARY 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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CONCLUSIONS AND SUMMARY OF THE CONFERENCE
The two day conference touch greatly on the importance of art in our daily lives in relation to cultural engineering, the role of government and the private sector in the development of art, as well as the future of the art world. According to Claude Mollard, there are two systems in our society, i.e. the artistic system and the cultural system, which are divided into four families: creators, audience, decision makers and mediators. There should be a good relationship among all four to deliver optimal results. Claude Mollard also emphasised on the importance of interaction between art and culture, and that government plays an important role in making sure this interaction takes place. Art is very profitable and the cultural investment is universal. The French government, for example, created 40 projects that cost 15 billion Euros and these projects took 5 years to become very profitable. In Round-table Discussion I, Claude Mollard talked about a marriage between the cultural market and cultural policy and also the relationship between art and nature in France. There is a huge market to promote art but it is controlled by profit and speculation. At the same time, in Southeast Asia (SEA), the art world is still at an early age. The government should passionately support local art because SEA has many good artists but a limited market. Local artists need to have representation in a regulatory body so that their voices will be heard by policy makers. There were four questions from the audience that basically questioned the role of government in promoting art. France has introduced art and artists into schools to promote art among young people. The government may provide finance but it should allow freedom of choice. In Malaysia, art is not considered an important subject in school therefore young artists must persevere to become known in the world. Round-table Discussion II discussed the role of educators, museums and public galleries in the public sector. The private sector must not compete with the public sector but complement and be a partner in education. We should not forget the role of decision-makers because without them, nothing will be achieved. The private sector 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. There are two kinds of art institution – non-profit and profit-making – usually profit-making institutions offer more attractive courses and their graduates get better jobs and have better prospects. Innovation is a big word 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. The state does not support costs in education anymore. Therefore there must be collaboration between the public and private sectors. To support innovation, we must have investment, which is not the government’s role. The government cannot afford to invest in art but it should act as policy maker. By definition, art is subjective so why must we put rationally to economics when this is so? During Round-table Discussion III, the role of the commercial sector in art was discussed in depth. Julia de Bierre, who owns art gallery, stated that the art scene has changed in tandem with technology. These days, we can buy art online but this does not happen in Malaysia. According to Patrice Vallette, the art market is very much the same as in the old days. U-Wei, being a film maker, mentioned that the role of film maker and art collector are intertwined. According to him, it takes many years to build up a collection, evaluate and appreciate art. This is why time is crucial. The art gallery provides a platform for Page 4 of 5
artists, collectors and curators to build up a relationship. This platform provides opportunities for Malaysian artists to evoke interest from the west and showcase their works of art to the world. For the future and the arrival of a new generation, the Earth Tree may symbolise the relationship between artists and nature and it will become a centre of ecology. Artists are always connected to the future but development will bring more pollution and we, human beings will have to pay the price. The Earth Tree in Paris and China will have wooden architecture through 8 pillars because 21st century architecture may be symbolised by wood. The fourth Round-table discussed mainly about the sustainability of mankind and environment and how art and architecture can be a part of nature. Architecture needs to express the beauty of life. As for the way forward, the conference and gallery will play a vital role in providing a platform for the artist to promote and sell art, as well as the middleman. The artist must become a brand in order for their art to endure the passing of time. The discussion about the future of art continued in the last Round-table Discussion. What will be next? When we refer to art, it represents the artist, gallery (space) and collectors. The National Art Gallery (NAG) had already discussed Art Commerce back in 2010 and the creative industry. The NAG and the private sector are the prime movers and artists are the implementers. The AEC conference must become the venue for artists and entrepreneurs to meet and exchange ideas. Artists, especially newcomers, will be inspired if they have a platform to introduce their arts and hopefully this conference and others besides will create a loose forum; a round-table to brainstorm their ideas and share their views. We must move forward by working together through activities for the art industry towards getting an art museum, more galleries, finding artists, etc. and publishers must be a part of this venture. We need art history books in Malaysia, as they are not published locally and this could be a step forward for ITBM. The artist must be the catalyst for change. A way forward is by promoting themselves more. Exchange programmes between Malaysia and France are in the pipeline. In 2016 there will be a programme for 10 local artists in France. Through the AEC, an interest in art in Malaysia will be generated. We need more support by professionals. Culture is heritage and eventually culture itself will create heritage. The government and private sectors indeed have to work side by side to sustain the life of art.
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