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04 3rd International Art Expo Malaysia 2009
06 Urbanscapes 2009
10 KUASA Design Power Asia 09 @ wREGA
09 Samsudin Abdul Wahab aka Buden
08 Louder than words: Leon Lim, our man in New York
20 Sebiji Padi: Gelanggang untuk permulaan
Yeoh Kean Thai: Commonwealth Art Recidency
Award Winner 2009
16 Temple City, Paintings and drawings by Orissan
artist Kishore Sahoo
16 Thou Art Women
17 Contagion
12 The art of recycling the Nandos way: Aesthetical
aspects of sustainable art
19 Build up in beautiful Queensland
18 Emil Goh
25 My Child is a Malaysian Artist!
03 10th Oita Asian Sculpture Exhibition
24 National Art Calligraphy Competition 09
BSLN Programs and Activities
22 ART FOR ALL: Keistimewaan dihargai Nakhon
Nayok, Thailand 2-7 Julai 2009
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The publisher, National Art Gallery Malaysia,
hold copyright of all editorial content.
SENIKINI (ISSN : 1985-7233) is published six times
a year by National Art Gallery Malaysia.
All Rights Reserverd.
Copyright2009 SENIKINI Malaysian Art Now
Printed in Malaysia.
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
P : 603 4026 7000
F : 603 4025 4987
w w w . a r t g a l l e r y . g o v . my
l EDITOR-IN-CHIEF Dr. Mohamed Najib Ahmad Dawa l MANAGING
EDITOR Chng Huck Theng l EDITORS Zanita Anuar & Ooi Kok Chuen l
Sei Hon, Ben Jaafar, Suraya Warden, Rosyidah Mohd Rozlan, Kishore
Sahoo, wREGA, Syafq Aliam, Bed Samat, Seki Ng Sek-yan, Ooi Kok
Chuen, Vanessa Bates dan Ismaliza l DESIGN Nuzaihan Mustapa &
Shamizar Rahim l PHOTOGRAPHY Muhamad Akmal Hakim and Mohd
Fitri Abd Rahman l
Cover : DATUK SYED AHMAD JAMAL Semangat Ledang, Acrylic on canvas, 203 x 274.5 cm, 1999
In conjuction with his 80th birthday,a retrospective exhibition of Malaysias foremost National Visual Arts Laureate,
Datuk Syed Ahmad Jamal will be held at the National Art Gallery of Malaysia. Entitle Syed Ahmad Jamal: PELUKIS,
the exhibition will showcase rare, never before seen and iconic works from various genres and discipline.
When one gazes at Syed Ahmad Jamals Semangat Ledang one realises
that much of the energy that this great artist transfers into his art surely
transforms and disperses into waves of energy that touch others. And with
that invaluable mode of contact only artists may enjoy, one can only be
more inspired. We celebrate for all artists when we honour Syed Ahmad
Jamal with the special exhibition, Syed Ahmad Jamal: PELUKIS in the royal
presence of HRH Yang di-Pertuan Agong Al-Wathiqu Billah Tuanku Mizan
Zainal Abidin Ibni Al-Marhum Sultan Mahmud Al-Muktaf Billah Shah this
Much of the inspiration for this issue of revolves around the waves
of artistic energy. From mega events like the 3rd International Art Expo
of Malaysia coordinated by Art Expo Malaysia Sdn Bhd and the KUASA
Design Power Asia 09 hosted by wREGA to the laudable yet quieter
individual efforts by Commonwealth Art Award recipient Yeoh Kean Thai
and then theres Seki, sharing his opinion that a mother should declaring
proudly her son is an artist.
We are served with rice and chicken specialties in Ben Jaafars piece
on Sebiji Padi and Rosyidahs Nando Chickenlands aesthetics. Suraya
Warden writes about her trip to Australia with an article on GoMA as we
anticipate what the Sixth Asia Pacifc Triennial this December would hold
for Malaysian artists.
Samsuddin Wahab proves why he deserves artistic licence to SiSiTV us
and the rest of the world as the re-cover artist of 04 while our
curatorial staff members Tan Seihon and Zubaidah(Bed) proclaim the
power of community art and young and emerging special artists.
Indeed the semangat of the octogenarian Syed Ahmad Jamal inspirationally
permeates and is permutated infnitely beyond these pages and for
generations to come .
Dr. Mohamed Najib Ahmad Dawa
stage is set for another blockbuster
international art show. The 3rd International
Art Expo Malaysia (AEM) 2009 will again bring together
some of the fnest galleries and their featured artists from
all over the world.
The world fnancial turmoil earlier on has not marred or
dampened the enthusiasm and momentum of Malaysias
exciting showcase and hub of art commerce, networking
and impulses.

The show must go on as it is both a commitment as well
as a labour of love as until this year, it was only the only
two such Expos, the other being the Singapore Art Fair,
said AEM Sdn Bhd managing director Vincent Sim. This
year, Manila and Jakarta have also mounted their own
art Expos, both with generous government funding and
The 3rd AEM will once again be held at the Matrade
Exhibition and Convention Centre (MECC), from
November 19 to 23. The National Art Gallery, which has
been supportive of the last two AEMs, is actively involved
this time as co-organiser.
This year will also be a local celebration of sorts as more
established galleries have joined to show off some of
the more interesting creations and expressions of diverse
range and media.
Artseni, Pelita Hati House of Art, ArtCase Galleries and
City Art Gallery have once again confrmed participation.
Prepare for a greater potpourri of Malaysian art with
the participation of RA Fine Arts, Richard Koh Fine Art,
Gallery Chandan (Threehundredsixty Gallery), Metro Fine
Art, Sutra Dance Theatre and Gallery, Artfolio, Yahong
Art Gallery, a2 Gallery, The Annexe Gallery, House
of Matahati and Art Salon @ Seni by The Art Gallery,
Despite the economic gloom, there are more exciting
things afoot at AEM3. e-Art will make a strong presence
with Digital Art China video art/animation while Japan
will make its debut through Noda Contemporary, which
has bases in Nagoya, Japan, and Beijing China.
There will also be galleries from Spain, Hungary, Myanmar,
India, Indonesia, China, Japan, Singapore, Thailand, the
Philippines, Taiwan, Hong Kong while confrmations were
being worked out elsewhere at press time. The South
Korean artists cooperative, International Art Cooperative
Organisation (IACO), led by its accomplished
watercolourist Lee Byun-Lyol, has become an annual
staple with a changing but strong line-up each time and
it will form the biggest foreign participation again.
Digital Art China features six vanguard digital-based
artists namely Miao Xiao Chun, Feng Jiangzhou, Bu
Hua, Zhang Xiaotao, Li Qintan and Feng Mengbo. The
superstar among them is Miao, whose panorama based
on Michelangelos Last Judgement several years ago
was a crowd attraction. This time, he will be giving a
modern update on Hieronymus Boschs The Garden of
Earthly Delights in a work called Microcosm.
The other fve artists are Feng Jiangzhou, Bu Hua, Zhang
Xiaotao, Li Qintan and Feng Mengbo.

India, which has seen some of the most spectacular rises
in contemporary art in recent years, will be represented
by Janus Art Gallery and Samanvai Art Gallery. Janus
comes from a strong Bengal art tradition epitomised by
the likes of Abanindranath Tagore (1871-1951). Samanvai
Art Gallery will also be hosting Portuguese artist Mario

Chit Fung, Hong Kongs premier house of Chinese art, will
again make its presence felt.
Singapore which has Jasmine Fine Art and Linda Gallery,
will not only show works by artists from Singapore but
those from China, Myanmar and other South-east Asian
countries as well. Jasmine Fine Art will be concentrating
on its MAD Museum of Art and Design show.
Two galleries directly from China, Haya Art Shop and Zhe
Jiang Independent Art Centre will be making their debut.
Galeri Joquin of the Philippines will bring a wider range
of works of Pinoy Art with their strong Spanish art historical
link while Indonesia will be represented by Koong Gallery,
Puri Art Gallery and H Gallery.
Thailands Number 1 Gallery and Myanmars Summit Art
Collection and ACD Gallery will offer glimpses of art north
of Malaysia.
Making a hattrick is the reputable ATR (Art To Rent)
Gallery of Spain with two of its highly visible emerging
artists, Jesus Curia and Guillermo Oyaguez, while
Hungarys father-and-son team, Zoltan and Daniel Ludvig
will be showing off their new works.
Taiwan is also making a strong presence with Licence Art
Gallery, William Contemporary Art Space and Capital Art
Centre under York Hsiao.
Besides the digital art show, the organisers have also lined
up the 19 Dons from China featuring works of 19 leading
professors from the Central Academy of Fine Arts.
These China double-header is also to celebrate
Malaysias 35 years of diplomatic relations with China
when then prime minister Tun Abdul Razak Hussein
made his historic visit to the then newly opened Bamboo
Curtain in 1972.
The honour of the Special Tribute Pavilion to a Living
Legend Artist this year goes to academician-artist-
ceramist Cheah Yew Saik, the founder-principal of the
Kuala Lumpur College of Art (1968-2002). Cheah has
also been active in founding and heading watercolour
societies. It is timely as Cheah will be 70 this December 19
and it will celebrate 50 years of his serious involvement in
Previous tribute pavilions showcased the works of Datuk
Chuah Thean Teng (1912-2008), Datuk Syed Ahmad
Jamal, Dr. Chung Chen Sun (all Malaysia), Prof. Li Chi
Mao (Taiwan) and Prof. Jang Soon-Up (South Korea).
Two other major special projects initiated by the
organisers are the Malaysian Art Idols: New Directions/
Different Voices exhibition and the 1Malaysia Canvas
Mosaic. The Malaysian Idols show offers a sampling
of artists (under the age of 50) who have at different
times and in different ways pushed the boundaries of
contemporary practices with their unique work in terms of
subjects or forms.
1Malaysia Canvas Mosaic will be showcased in AEM3 but
will continue until early next year where the accumulated
works of 5in x 5in strip of canvas will be assembled into
a large canvas. Whatever is completed will be shown
at AEM3, and it will be based on impressions of selected
artists on the concept of 1Malaysia, the main thrust of the
administration of Prime Minister Y.A.B. Datuk Seri Najib Tun

The young editors behind the online art magazine, arteri,
has come up with a real teaser and interactive show
called Suitcase of Stuff. Find out what it is all about.
Those interested in the Henry Butcher Art Auction
scheduled for early next year in Kuala Lumpur can visit a
special booth for enquries as well as for a sneak peek.
As with previous AEMs, the organiser has reserved
a section for charity as part of its corporate social
responsibility and once again, Have a HeArt comprising
works of young artists with special needs, will pique
The International Art Expo Malaysia is most fortunate to
have the patronage of the art-loving Raja Puan Muda
Perlis DYTM Tuanku Hajjah Lailatul Shahreen Akashah
Khalil, S.P.M.P.
l by Ooi Kok Chuen
Images courtersy : AEM Sdn. Bhd.
Zhou Chunya, Green Dog, Back to Back, 325 x 95 x 240 cm, Stainless steel sculpture, 2008.
Represented gallery: Richard Koh Fine Art, Malaysia.
5 6
Haron Mokhtar, Rumah kecil tiang seribu siri 2, 122 X 92 cm, Acrylic on canvas, 2009.
Represented gallery: Pelita Hati, Malaysia.
Liu Ruowang, Rise of the East, 45 x 93 cm, 2008.
Represented gallery: Heng Artland, Singapore.
Yu Hara, Flying Classroom, 130.3 x 130.3 cm, Oil on canvas, 2007.
Represeted Gallery: Noda Contemporary, Japan.
Cheah Yew Saik, Joy of Living, 107x137cm, Oil on canvas, 2008.
Represented gallery: City Art Gallery, Malaysia.
Kalyan Mukherjee, Shelter, 91.44 x 76.20cm, Oil on Canvas, 2009.
Represented gallery: Janus Art Gallery, India.
too long ago there was Urbanscapes. This
was before arts and crafts bazaars and
other multi arts events were held at the vfew happening
places frequented by Yuppies, BoBos and wannabes.
Conceived and organised by the lifestyle magazine KLue
and Junk, Urbanscapes made its ambitious debut in a
bar/restaurant called Grappa Soho in 2002. There were
short, experimental flms; photography; animation; music
performances and the visual arts. That one-day multi
arts and pop culture festival was a success as the venue
was jammed packed. There was already a growing and
insatiable demand for youth oriented alternative culture
and a sympathetic platform for artistic expressions on a
variety of issues, and Urbanscapes was it.
Many young and upcoming bands and not-so-young
and upcoming singer-songwriters have been featured
in or associated with Urbanscapes and KLue. Designers,
flm makers, actors, writers, activists, misfts and even
controversial types have graced the covers and in
between the sheets of its magazine. Things were
happening then.
Then, Adrian Yap, founder/publisher of KLue and Junk
along with his team, decided to move the second
festival, Urbanscapes 2004 outdoors to the parking area
above KL Sentral. It was a bold but ultimately costly
decision. Due to the huge fnancial losses incurred, the
organisers had to lie low and recuperate for some time.
They resurrected the project in 2008, held it at Kuala
Lumpur Performing Arts Centre (KLPac) in Sentul Timur,
with more sponsors, and an ever growing breed of young
talents eager to come to the fore. Tables, booths selling
D.I.Y. merchandise also doubled. More upcoming bands
and other new acts were featured. Urbanscapes was
This year, they managed to secure a bigger sponsor, and
judging from these pictures, one can conclude that it
was rousing success.
The tireless commitment of the organisers and
participants have over the years turned this mini festival
with humble beginnings into an important event that
many look forward to be part of. With limited media
coverage, no hype and a handful of upcoming acts, it
still managed to attract audiences whove made their
way to Sentul Timur located along Jalan Ipoh.
KLPac theatre manager Ian Chow estimated that
Urbanscapes 2009 drew nearly 10,000 attendees
throughout the day. What is special about Urbanscapes
is that it is organised by people who know the upcoming
movers, shakers and misfts in the local youth and
alternative scene. Said Adrian Yap: The satisfaction of
presenting the best in young, emerging creative talents
from around Malaysia to a wide audience (who are not
usually exposed to such talent) is one of the main driving
forces behind the project. It is not your typical Sure
Heboh! type of events centred around media hyped
personalities. These elaborate spectacles serve only as
a convenient platform for some politicians. These events
are also great money-spinners.
Back in the 80s and 90s, there were the multi arts
collective known as Anak Alam which comprised visual
artists, writers, poets and actors. They did street theatre
and music performances, puppetry, poetry recitals and
exhibitions. Centre Stage Performing Arts, too, was active
with its many events involving its casts of multi talented
artists and performers. Then there were the multi arts and
media performances organised by the Five Arts Center
(Alter Art, Skin Trilogy, Family, etcetra).
Later came the Chow Kit Fest! An independent multi arts
festival that involved numerous youth collectives such
as SpaceKratf, Rumah Air Panas, Space Spirit Studio,
Kino-I, with fnancial support from Artist Pro Active (APA),
another important multi arts collective made up of
various professionals.
The other participating collective, Lost Generation
Space, would go on to organise their almost yearly
fringe art fest called Notthatbalai for much of the new
millennium. Many now prominent and important visual
artists, writers, playwrights, performance artists, actors and
poets were part of these collectives and groups.
The challenges they faced were perhaps numerous but
dissimilar due to the different context and time from
which they operate. But one thing is certain; funding
is always lacking and is the factor that determines the
quality of the events and even the fate of the organisers
of such events.
Adrian Yap, too, faces the same predicament The
main challenge for us, like for most other art projects
in Malaysia, is to make it a self-sustaining project that
is funded primarily from ticket sales and not corporate
Whatever the shortcomings and challenges,
Urbanscapes is the most accessible, inclusive and
elaborate multi arts festival aimed at the youths that
Malaysia has up until now. With a little bit more support,
steady funding and its days extended, Urbanscapes
can only grow bigger and better. Adrian Yap himself
is optimistic. We hope to be able to make it a regular
Multi Art and Pop Culture Festival
Kuala Lumpur Performing Arts Centre (KLPac)
l by Tan Sei hon
Images courtersy : writer
So much to see, so little time! Free in door and outdoor concerts
featuring established and up coming acts. There was also a
performance by Tugu Drum Circle that involved members of the
Most if not all of the stalls were selling d.i.y merchandise. There were
some really cool, original and interesting stuffs for sale that day!
There were also flm screenings by the works of local flmmakers on
various social issues.
Numerous young up and coming designers and
artists were also invited to showcase their works
ranging from installation art, illustrations, new media,
multi media installations and hand made crafts.

Hmmm..which one to buy aaa?
Hard-to-fnd dvds and books on a wide range of
subjects were also available.
feature every year and to progressively include more
variety and diversity in what is showcased, and get more
and more people involved. Additionally, Urbanscapes
sums up what KLue is all about in a fun,
one-day festival.
For more info on Urbanscapes 09 plesase visit :
For information on Klue and Junk Magazines, visit: and
l by Tan Sei hon
vLeon Lim at the CAFA Museum in Beijing for the exhibition This Ability recently. He was the 1st Malaysian to have his works exhibited at this prestigious institution.
LIM was born profoundly deaf and
grew up in a small lower middle class
neighbourhood in Kedah. He remembers being a bored
and lonely precocious child who developed an interest
in art from browsing through images on music cassette
sleeves, comic books and magazines at a bookshop
located near his fathers work place. His father was a
travel agent while his mother was a tailor and dressmaker
from whom he believes he inherited a fair for design. His
interests in photography began when he was given a
Nikon 35mm high standard camera by his father when he
turned 15. Lim took up drawing and was encouraged by
his teachers even while in primary school where he won
many art competitions but stopped before moving to
Penang at the age of 12.
Lim, who was initially discouraged from pursuing a career
in the visual arts by his parents and did not know much
about the various thoughts and schools of visual arts,
was already using bulbs, discarded machines, lighting,
broken glasses, wires, plastic and electronic media back
in 1996-98 before going to the United States. He didnt
know what this type of art was called. He admits that
information about modern and contemporary art was
lacking and started to use the internet primarily as his
reliable source of reference in 1996 when he lived alone
in Penang for eight years. Being a cerebral type with
various interests, he prefers works that are intellectually
stimulating and creative and not just mere picture
making. He cites old masters such as Leonardo da Vinci,
Vincent van Gogh while growing up in Malaysia as his
main infuences and later, Andy Warhol, Dada Art, Christo
& Jeanne-Claude, Jeff Koons, Mark Rothko, and Andy
Goldsworthy. He is studying interior design, architecture,
photography and graphic classes at the Rochester
Institute of Technology (RIT).
Having been based in New York for more than 10 years,
Leon Lim is recognised as an emerging and versatile
contemporary artist from Malaysia who works in various
media. The areas that interest him are the human
condition, real-life situations and issues which he tries to
portray and address through his works, though the style
and methods changes or transforms according to the
locality or the country which he fnds himself in.
Interestingly, he has been insistent on the need to express
and convey ideas that are Malaysian in character
or rather refects what the ideal Malaysia should be.
The list of names which he submits as having played
an infuential role in shaping the view of the world
towards Malaysia include iconic cartoonist Datuk Lat,
contemporary artist Yee I-Lann, the late flmmakers
Yasmin Ahmad and Tan Sri P. Ramlee, and the late
art historian/critic Redza Piyadasa. In New York, he
is exposed to interesting works by artists such as Jeff
Koons, Andy Warhol, Pablo Picasso, Salvador Dali, Cai
Guo-Qiang, Takashi Murakami, Francis Bacon and Anish
Kapoor. These have not only given him the courage
and confdence to experiment and explore ideas and
materials, and expand his understanding and defnition
of art, but have also provoked him to think in terms of
injecting a more Malaysian character and identity into
his works. When asked for advice for those wanting to
try their luck in the Big Apple, Lim lists three factors. One
is being able to capture Malaysias history, culture,
icon and identity and apply them in ones artworks with
creativity and imagination. This he feels will only come
about when one has the freedom to apply a lateral way
of thinking to any discipline and situations. The second is
to be able to make works in different, cross disciplinary or
interdisciplinary approach and with quality materials. The
fnal is to be ever prepared with a good portfolio, press
kits and proposals to be given to reporters, art editors,
gallerists, museums, and art organisations. He believes
that artists should not create works with the market or
proft in mind but should stay true to their vision without
compromises. These are qualities in artists and their
works that serious curators, promoters and art lovers are
looking for. Examples are his two paintings, 010911 III &
010911 IV, reacting to the September 11 tragedy that
have been on display at RIT since 2001. The Committee
of the Sept 11 Memorial Museum had requested to have
his paintings for further exhibition in 2011. Also, recently
he was invited to exhibit his multimedia installation,
Silent Story at the Central Academy of Fine Arts
Museum in Beijing this year. HIs trip was sponsored by
the National Art Gallery of Malaysia. He had his work,
Discommunicativeness, exhibited in the Total Museum of
Contemporary Art, Seoul, South Korea in 2008. But Lim is
concerned especially with the state of contemporary art
in Malaysia. He sees the steady growth and development
of the art scene as encouraging but stresses that more
could be done through policies friendly to the arts and
artists. This includes certain incentives to encourage
direct funding and subsidies to non-proft organisations,
galleries, art groups and projects via public and private
fnancial institutions and corporations. Indirect support
can be solicited from donors and taxpayers through
tax exemptions. He is also concerned that not many
art academies and universities offer programmes on
curatorial studies, Malaysian Art studies or even arts
administration. He believes these programmes will help
create jobs and stimulate a creative industry. Whatever
the state of art in the country, Leon soldiers on the only
way he knows how, by producing works that are both
cerebral and sincere.
Leon Lim will further his studies at New York University
majoring in Interactive Telecommunication
Communication. He cites Danial Rozin, Daan
Roosegaarde, Rafael Lozano-Hemmer and Chris OShea
as recent infuences. He is working on architectural and
sculptural installations for the US Departments American
School for the Deaf.
For details about Leon Lim and his works, visit : and
Images courtersy : artist.
This is Mr. SisiTV; born after static and blur images of
the CCTV. The camera-head men with black suit always
appear in my artworks. It is a long story. I start to create
this wierd creature through drawings in my sketch book
and after that this Mr. SisiTV comes into view in my
print and painting works. Since I also do quite a few art
performances and short flm, this half-man ; half -alien
creature also appears in my flm and when I perform with
my band; Sosound.

Im very concerned about everything that happens
around me and its great if I can respond to it. With Mr.
SisiTV is how Im tried to react regarding the freedom,
transparency and intelligibility in practicing mass media
information in this world. It is how I use to create the
character of a man who is honest with the video camera
as his head that will capture and record all situations or
event that happenes to surround him with candid and
truthful observation. This SisiTV will also broadcast news
or information honestly and clearly.

Im really interested about old
propaganda posters and editorial
commentary cartoon. My work based
on my surrounding environment and
event that I concern to discuss and
share with the audience. I am not
the critic; I just want to document the
situation around me such as politic,
people, government, culture and all
of event that surround me.
Samsudin Abdul Wahab (b. 1984) also known as Buden, draws and paints
based on his expression and what his honest feelings are. He completed his
Diploma in Fine Arts in UiTM Seri Iskandar, Perak in 2005 before undertaking
further studies at the UiTM Shah Alam where he graduated with a Bachelor
(Hons.) in Fine Arts (Print Making) in 2007.
Over the years, Buden has won numerous awards and his works has
featured in various art exhibitions in Malaysia. He has held his 1st solo shows
Enough! at Taksu Gallery Kuala Lumpur in 2008 and he has recently
selected by Rimbun Dahan to be artist in residence.
Buden is one of the founders of Malaysia artist
group Sebiji Padi .

The Thinker (Who Always Think) (after Auguste Rodin), 82cm x 118cm, Linocuts, 2009
Eclipse of the Sun- after George Grosz, 183cm x 153cm, Acrylic, oil, bitumen on canvas, 2009
The Filmmakers, 31cm x 74cm, Linocuts, woodcuts, etching, screen prints, 2007
Designer: Tarek Atrissi, Tarek Atrisi Design, Lebanon, The Netherlands.
by w
Designer: Little Ong, fFurious, Singapore.
Designer: Sudhir Sharma, Design Consultant, Pune, India.
Speakers: (From left to right) Little Ong, Ahn Sang-soo, Freeman Lau,Sudhir Sharma, Tarek Atrissi & Hermawan Tanzil
Design Power Asia 09 is here to
spread the power of design
in Asia, with the convergence of the great design
minds from South Korea, India, Hong Kong, Indonesia,
Singapore as well as Lebanon/Netherlands. It will be a
one-and-a-half day conference This conference is all
about the new big voice of Asian Design. Asian designer
are drumming up worldwide attentions and wREGA is
bringing them to Kuala Lumpur, Malaysia with a line-up
of megawatt design icons and design powerhouses
from all over the region. In the recent years, Asian
designers are not merely speaking up about their rooting
Asian characteristics and infuences, but showing up
the bold and feisty side of their creative visions on the
modern day world. The conference will be the inaugural
conference organized by wREGA*. The association will
be the frst and only internationally recognized graphic
design professionals in Malaysia to organize a design
conference in the country. Finally we are able to
organise our FIRST design conference after talking about
doing one for years and years. Its fnally here, Mr. Koh
Lee Meng, President of wREGA as well as the Organising
Chairman of KUASA explained. He adds This event
comes to fruition with much help & support from fellow
designers & friends of wREGA who volunteered their free
time to help out because we all believe and share
the same goal - to uplift the local design industry with
better standards, create opportunities and respect for
the design profession. KUASA, which means power
in Bahasa Malaysia, is also derived from aKU ASiA or
I am Asian in the Bahasa Malaysia. We saw a gap
in the design conference circuit for an Asian themed
conference, which led to... KUASA Design Power
Asia. The conference will kick of with Ahn Sang-soo
as the keynote speaker. He will bring up a focal point
on Hangeul, imagination. Ahn Sang-soo has done
various individual and group exhibitions in many country
around the world. He is the 1998 recipient of the Grand
Prix of Zgraf8, and the 2007 Gutenberg Award from
Leipzig, Germany. One of his remarkable contributions
is his continual development of new Hangul typefaces.
Freeman Lau will talk on Magenta, Cyan, Yellow and
Black of my Design Life. He is recognised in the fne arts
world for his intriguing sculptures and public art. His iconic
Chairplay series has been exhibited in Hong Kong, Tokyo,
Beijing, Taipei and Holland, and auctioned at Sothebys.
Little Ong of fFurious, Singapore will share a subject
Todays Multi-discpilinary Designer; Creativity not bound
by Medium. His diversity of works are thoughtfully taking
a notion that creativity should not be bound by medium.
From banners listing-up coming shows at the Esplanade
to touch-screen kiosks at the National Museum,
evidence of fFurious quirky-cool aesthetic can be found
all over Singapore- The Straits Times Singapore.
Ignatius Hermawan Tanzil of LeBoYe will bring up a
title, A Creative Melting Pot. His aesthetic refects an
original blend of the Eastern infuences presented with
a modern sensibility. LeBoYe have won many national
and international design awards including Type Director
Club New York, Communication Arts, and featured in
publications such as Progetto Gravico Magazine and
the recent art4D Magazine, Thailand.
On a more business side, Sudhir Sharma will speak
about Creating Business for Designers. He believes
that ideas, innovations and processes from emerging
markets are the only future of sustainable growth for
businesses. He has been on the Automobile Awards
Jury for fve years and a jury on the prestigious inaugural
Cannes Design Lions 2008. He is about to launch a new
collaborative network initiative that will be a new form
of design service offering for clients around the world.
Then Tarek Atrissi will bring up Design and Typography
for the Middle East. His work has been exhibited at
the Guggenheim Museum in New York and is in the
permanent Design Collection of the Affche Museum in
Holland. His numerous awards include the Type Directors
Club, The Dutch Design Award, and two Adobe Design
Achievement Awards. Tarek lectures widely across the
globe and is the founder of www.arabictypography.
com, the online communication platform for Arabic
type. In 2004 his team designed Qatars country visual
Designer: Freeman Lau Siu Hong, Kan & Lau Design Consultants, Hong Kong China. Designer: Ahn Sang-soo, Hongik University Ahn Graphics, Seoul,
South Korea.
Images courtersy : wREGA
identity. He has worked with international brand
consultancies such as Wolf Ollins and Futurebrand.
Through each speakers background and experiences,
this design conference will give you the opportunity to
experience new friendships and alliances. In the name of
design, all to power up and resonate the designer in you.
To add further excitement to the conference and drive
anticipation higher, KUASA Designer Showcase + Party
offers a night flled with live music and art. Broughtto you
by local designers with unique artistic visions, there will
be a line-up of installations, performances and motion
graphic presentations throughout the 3-hour showcase.
Get yourself photographed with larger-than-life hand-
painted boxes by D.U.R.A., Pocotee and more. JayLim,
Chun-Woei, Dweey and Muid Latif and many more
other local designers showed off their work on a wide
clear panel while graphic designer-cum-DJ Jonvu takes
centrestage with his selection of electrifying music.
Partners for KUASA Design Power Asia 09 include
Transasia, LeePrint and Bashir. Sponsors include Skyline,
MagNaColor and igraphix. About wREGA wREGA the
Graphic Designers Association of Malaysia, is a non-
proft, non-political organisation with the objective of
encouraging professional practice and promoting
design excellence in the art and science of visual
communication in commerce, trade, industry and
education, both locally and internationally.
Issued on behalf of wREGA. For further information
on the press release, kindly contact :
Angela De Souza at
or 012-243 8692
Designer: Hermawan Tanzil, Leboye Jakarta, Indonesia

art and
design has
taken greater signifcance with global warming and
climate change. The focus has shifted from balanced
environmental factors and socio-economic and even
aesthetic concerns to one of the responsible and
equitable use of natural and manmade resources.
Such works were created as Land Art and Earthworks
during the 1960s and early 1970s, but the resurgent drive
is about visual languages and conceptual strategies and
using sites other than gallery and museum spaces.
Going green has become more popular in the new
millennium with the trend towards green building and
eco-friendly products that save energy and resources
and preserve the environment, as well as recycling.
There are, to name a few, the Head Royce (school), the
Cow Hollow Preschool in California and another one in
Bali; the Scripps Green Hospital and the Cooper Green
Mercy Hospital in the United States. The Green Living
manifesto of Greg Searle has inspired the rooftop of
Renzo Pianos California Academy of Sciences and the
vegetated walls of the Musee du quai Branly.
The impact is also visible in a more effcient way of
building and a sustainable architecture, and in eco-
brand products such as eco air-conditioning with less
CO2 emission, Green Label paint with low volatile
organic compounds (VOC). Brands such Nike, Adidas,
BMW, Levis, Ipanema Gisele Bundchen and Nandos
have tailored their design towards sustainability and
environmental issues.
In the Brundtland Commission named after former
Norwegian Prime Minister Gro Harlem Brundtland, the
principle spells out that sustainable development is
development that meets the needs of the present
without compromising the ability of future generations
to meet their own needs. It follows a two-pronged
concept, the frst concerning needs, in particular the
essential needs of the worlds poor, to which overriding
priority should be given; and, secondly, the idea of
limitations imposed by the state of technology and social
organisation on the environments ability to meet present
and future needs.
But artists face different challenges in visible-ising the
sustainable artworks without sacrifcing the aesthetic
But what is sustainable development and the aspect of
aesthetic of sustainability.

According to Victor Margolin, the principle of sustainable
development has connection with the Brundtland
Commissions: the strategy for sustainable development
aims to promote harmony among human beings and
between humanity and nature.
Margolin suggested three connections that are: harmony
among human beings, environmental justice, and
harmony between human and nature. His attention to
the need for sustainability is to emphasise the need for
struggle to achieve the sustainable goals. In some of the
art movements and projects, which might consider as
sustainable art or precedents for it according to Margolin,
falls into several categories: art that engages with the
land or landscape; art that incorporates sustainable
practices such as recycling; and art that responds
to social issues through the production of objects or
In discussion about the aesthetic of sustainability,
Dr Hildergard Kurt has stated that the aesthetical of
sustainability is based on the discussion of art and
sustainability with regards to form, practices and the
useful result. To her, art and sustainability should be based
on something that art provides as a basis for aesthetic
judgment, which concerned with sustainability.
More organisations are working with artists and artist
groups to help raise such concerns and awareness in
special projects.
One such artists collective involved in such collaboration,
Free Soil, believes that art can be a catalyst for social
awareness and change.
Artists thus need to look at the aspect of participation
and action apart from the mere production of objects.
As posed by Margolin, what do we think about art that
moves from discourse to action, and an art with an
intent to produce a useful result? Margolin stated that
artists want to achieve social results without identifying
themselves as accountable persons, and how should the
critical community respond? What forms, then, does art
take in a culture of sustainability? Are they vastly different
from the forms of art in mainstream visual culture? And,
why is the artists work given special status in a museum or
gallery if its aims are predominantly practical?
Dr Kurts view is that art in the modern context is a form
of knowledge. But, is it the same to be easily understood
in a new context? Her belief is that once art is recognised
as a cognitive medium, then integrating aesthetic
creative knowledge into the sustainability discourse
would enable art to bring aesthetic competence into
the cognitive process - which make it different from
science and is yet equal to it. Thus, by widening the
artistic possibilities, it has a positive result on the future
of art, particularly one that engages with issues of
It is also important that the production of object or
artworks must have new elements of artistic practice:
participation and action.
Recently, Nandos launched its second Peri-fy Your Art
competition themed The Art of Recycling The Nandos
Way in collaboration with NN Gallery. The competition
is an extension of the Nandos Going Green campaign
Clucking with Mother Nature with the aim of promoting
Nature-friendly (eco-friendly) artworks among the young.
Nandos, on its part, has also strived to reduce the use of
non-recyclable items such as plastic in its daily business.
In the competition, the contestants were to transform
recycled or recyclable items/materials into art as part of
the promotion and preservation of the environment.
2nd Prize 2D, Tan Piao Quan 1st Prize 2D, Ong Xing Zhuang


There were two categories namely 2D Hanging
Display and 3D Art Sculpture. For th e record,
Mohd Hirzaq, 22, from UiTM Shah Alam, and
Ng Zhi Min, 20, from Taylors College, won the
grand prizes of RM3,000 each in the 2D Hanging
Display and 3D Art Sculpture categories
respectively. The judges were Angela Hijjas,
an arts patron and the de facto manager
of the Rimbun Dahan Australia-Malaysia arts
residency; artist-curator (Rimbun Dahan) Noor
Mahnun Mohamed, Nandos Chickenland
Chief Executive Offcer Mac Chung Lynn,
artists Samsudin Wahab and M. Fazli Othman.
The winning entries were displayed at the NN
Gallery in Ampang, Kuala Lumpur, from July 21
to 31 this year, after which the selected artworks
as well as those unsold are displayed at various
Nandos outlets nationwide.
SEGi College Subang Jaya has a similar
programme through its MAD graduation showcase 09
called Paperland - The Robotic Box. It involves students
from the Graphic Design, Advertising Design, Interior
Design, Creative Multimedia and Video Animation
departments. They are to express their true identities in
their designs which are related to sustainability practices
such recycling used boxes into paper robots. All the works
will be sent for recycling after being exhibited.
Both these competitions are good strategies to
engage, arouse and move people through powerful
environments, innovative designs and practical
demonstrations. They help foster new forms of
environmentalism in the pursuit of Greening The Earth.
Rosyida Bt Mohd Rozlan
Faculty of Industrial Art & Design Technology
Universiti Industri Selangor (UNISEL)
Shah Alam Campus
Jalan Zirkon A7/A, Seksyen 7,
40000 Shah Alam, Selangor
Grand Prize 2D, Mohd Hirzaq Abd Haris
Grand Prize 3D, Ng Zhi Min
2nd Prize 3D, Phang Chin Lyn
1st Prize 3D, Ong Boon Koon
Exhibitors (at press time)
A2 Gallery Malaysia
ACD Gallery Myanmar
Art Case Galleries Malaysia
Artfolio Malaysia
Artseni Gallery Malaysia
ATR Gallery Spain
Capital Art Center Taiwan
Chit Fung Art Hong Kong
City Art Gallery Malaysia
Espi Fine Arts Malaysia
Galerie Joaquin Philippines
H Gallery Indonesia
Heng Artland Singapore
House of Matahati Malaysia
International Art Cooperative Organization (IACO) Korea
Janus Art Gallery India
Koong Gallery Indonesia
Licence Art Gallery Taiwan
Linda Gallery Singapore
Ludvig Gallery Budapest Hungary
MAD Museum of Art & Design by Jasmine Fine Arts Singapore
Metro Fine Art Malaysia
National Art Gallery Malaysia Malaysia
Noda Contemporary Japan
Number 1 Gallery Thailand
Pelita Hati House of Art Malaysia
Puri Art Gallery Indonesia
R A Fine Arts The Gallery Malaysia
Richard Koh Fine Art Malaysia
Samanvai Art Gallery India
Summit Arts Collection Myanmar
Sutra Gallery Malaysia
Tembusu Art Gallery Singapore
The Annexe Gallery Malaysia
The Art Gallery Penang Malaysia
The Gallery Contemporary Art Thailand
Threehundredsixty Malaysia
Times Art Gallery China
William Contemporary Art Space Taiwan
Yahong Art Gallery Malaysia
Zhejiang International Art Centre China
Menara MATRADE, Jalan Khidmat Usaha,
Of Jalan Duta, 50480 Kuala Lumpur
* Location map available in our website
Tel: +603 7728 3677
Fax: +603 7728 5677
Ofce Address
No. 61, Jalan SS20/1
Damansara Utama, 47400 Petaling Jaya
Selangor Darul Ehsan, Malaysia
Exhibitors (at press time)
A2 Gallery Malaysia
ACD Gallery Myanmar
Art Case Galleries Malaysia
Artfolio Malaysia
Artseni Gallery Malaysia
ATR Gallery Spain
Capital Art Center Taiwan
Chit Fung Art Hong Kong
City Art Gallery Malaysia
Espi Fine Arts Malaysia
Galerie Joaquin Philippines
H Gallery Indonesia
Heng Artland Singapore
House of Matahati Malaysia
International Art Cooperative Organization (IACO) Korea
Janus Art Gallery India
Koong Gallery Indonesia
Licence Art Gallery Taiwan
Linda Gallery Singapore
Ludvig Gallery Budapest Hungary
MAD Museum of Art & Design by Jasmine Fine Arts Singapore
Metro Fine Art Malaysia
National Art Gallery Malaysia Malaysia
Noda Contemporary Japan
Number 1 Gallery Thailand
Pelita Hati House of Art Malaysia
Puri Art Gallery Indonesia
R A Fine Arts The Gallery Malaysia
Richard Koh Fine Art Malaysia
Samanvai Art Gallery India
Summit Arts Collection Myanmar
Sutra Gallery Malaysia
Tembusu Art Gallery Singapore
The Annexe Gallery Malaysia
The Art Gallery Penang Malaysia
The Gallery Contemporary Art Thailand
Threehundredsixty Malaysia
Times Art Gallery China
William Contemporary Art Space Taiwan
Yahong Art Gallery Malaysia
Zhejiang International Art Centre China
Menara MATRADE, Jalan Khidmat Usaha,
Of Jalan Duta, 50480 Kuala Lumpur
* Location map available in our website
Tel: +603 7728 3677
Fax: +603 7728 5677
Ofce Address
No. 61, Jalan SS20/1
Damansara Utama, 47400 Petaling Jaya
Selangor Darul Ehsan, Malaysia


Sahoo, or
Kish as he
is affectionately called, is a young
graduate of Fine Arts of B.K. College
of Arts the only government Arts and
Crafts institution in Bhubaneswar, Orissa.
Temple City is one of the series of
exhibitions presented by Sutra Gallery in
2009, promoting Orissan contemporary
art. The others in the series feature well
known senior artists of Orissa such as
Dinanath Pathy, Ramahari Jena, Dillip
Tripathy and Arun Jena.
Temple City is Kishores frst solo
painting exhibition. The subject of his
paintings is inspired by the old part of
Bhubaneswar, which has one of the
highest concentrations of medieval
temple sites in India. These temples,
dedicated to Siva in his various forms,
(Bhubaneswar is another name of
Siva) are juxtaposed haphazardly with
temple water tanks, shanty shops,
market squares, tenement buildings
together with the ubiquitous cows,
buffaloes and goats. The traffc of
humanity, animals and even birds
together with the criss-crossing of
dusty alleys, telegraph wires and poles
completes the everyday pandemonium
of life in Bhubaneswar where Kishore
lives his most impressionable years.
In Temple City, Kishores water-colour
and acrylic paintings map his haunts
in Bhubaneswar with his inimitable
impressionistic style. The unique Orissan
red-fagged vimanas (temple towers),
medieval steps and archways are
glimpsed between shanty quarters.
His vision is captured in the sombre
mood of burnt sienna with gray and
dark colours, giving the impression
of romantic decay, connection and
disconnection of both the timeless old
and the make-shift new.
A frst-born and only male child, Kish
was brought up in Kendrapara, a village
town about 100 km from Bhubaneswar,
the capital city of Orissa. He had always
been interested in drawing and was
good in art at school. He remembers
his childhood as being close to nature.
Landscapes and animals are his
favourite subjects.
Kishores frst trip overseas brings him
to Malaysia. He looks at everything
with the fresh eyes of youth. He is
delighted, awed and wants only to
express this new found experience. For
the time being, life is an adventure,
and the future looks bright for Kishore
who will take up another art residency
in Aurodhan Gallery, Pondicherry this
coming October after his spell at Sutra
Temple City, Exhibition of Paintings by Kish was
exhibited at Sutra Gallery from
25 June to 23 July, 2009
Sutra Gallery
12 Persiaran Titiwangsa 3, Kuala Lumpur
Tel: 03 4021 1092
(offce hours weekdays)
exhibition, with its catchy title Thou Art
Women, will run in two parts and features
the artworks of two generations of local female artists.
The frst part - Vignettes of Early History, run from 4 to 12
August sees key artists from the sixties to present exhibit
works that defne their respective styles.
The frst part, which is a soft launch, will be held at the
gallerys modern space in Bukit Damansara. Audiences
will be treated to a showing of artworks by some of
the countrys leading artists that were working actively
from the mid-twentieth-century. These include pioneer
artists like Mrs Sivam Selvaratnam and Renee Kraal, both
members of the Wednesday Art Group (WAG) one
of the countrys frst leading groups of artists, led by the
enigmatic Peter Harris - and the countrys frst leading
ceramic artist, Ham Rabeah Kamarun, the frst to exhibit
abroad and bring the medium into the playing feld of
more traditional mediums.
Other luminary artists in the frst group of twenty
include former Anak Alam member Maryam
Abdullah, Dr Siti Zainon Ismail and Normah
Nordin, together with Sylvia Lee-Goh, Dr
Ruzaika Omar Basaree, Fatimah Chik,
Sharifah Fatimah Zubir, Ilse Noor,
Hamidah Suhaimi, Faridah Yusof,
Sharifah Zuriah, Kalsom Muda,
Khatijah Sanusi, Norma Abbas,
and Wairah Marzuki,
ex-director of the National
Art Gallery.
Thou Art Women is not
intended to be a mere
visual showcase of a
collection of artworks
but a comprehensive
project involving other
scopes of activities. Its
key focus is to start off
with some initial efforts to
collect and organize data
on women artists who have
contributed towards the progress
of art in the country. The showcase of
artworks then will be supplemented with video-recorded
interviews and written documentation of the artists
recent development, which shall be useful archival
materials for future reference.
To match Galeri Chandans savvy for the democracy
and effcacy of online documentation; part of these
documentation will be presented to the public through
the website before they are
published as a complete unit in a special volume. Galeri
Chandan hopes that this effort will shine a light on the
success of Malaysian women artists and assist in adding
a more exhaustive personal context to the readily
available documentation.
Thou Art Women is curated by a leading art practioner
in her own right, Nur Hanim Mohamed Khairuddin, and
the gallery is happy to welcome the support from the
institutions, women organisations, corporate and public
in this endeavour to celebrate Malaysias most notable
female artists.
DRAWINGS l by Orissan Artist, Kishore Sahoo
Goat ( I ) ,Artist - Kishore ,55 cm X 75 cm,watercolour on
paper,1993 RM 1600
Wairah Marzuki, Sun Rising,140 cm X 120 cm, Acrylic on Canvas
Sharifah Fatimah Zubir Barakbah, Mindscape, 138 cm X 123 cm,
Acrylic on Canvas, 1993
Faridah Yusoff,
Series 1, 13.5
cm X 25 cm X
8.5 cm, Semi-
Porcelain, 2006

yang dimaksudkan dalam pameran
Contagion ini ialah satu kesedaran
mengenai persembahan karya seni itu adalah satu
proses dalam situasi perbuatan dan luahan rasa atau
ekspresi seniman. Mengikut satu penulisan oleh Leo
Tolstoy yang bertajuk What is Art, beliau menyatakan
bahawa ramai ahli psikologis dan juga falsafah bersetuju
bahawa suatu perbuatan atau aktiviti yang penuh emosi
dan perasaan mampu mengurangkan tekanan rasa
emosi dan melegakan tekanan saraf. Hasil dari itu dalam
kedua-dua kegiatan iaitu : Kehidupan dan penciptaan
seni, seseorang yang meluahkan emosinya seringkali
melibatkan dirinya dengan sesuatu aktiviti yang lahir
dari dorongan dalaman yang memerlukannya mengisi
dan memuaskannya. Oleh kerana manusia itu makhluk
sosial dan bermasyarakat, ia merasakan lebih puas lagi
sekiranya ekspresi itu dapat disampaikan kepada orang
lain bagi berkongsi tentang rasa emosi yang dialaminya.
Kemampuan karya seni atau artis itu sendiri
telah pun banyak memberi infeksi terhadap tamadun
manusia seluruh dunia. Secara sedar atau tidak,
sebenarnya golongan seniman telah berkomunikasi
melalui karya yang wujud dari zaman batu lagi,
contohnya seperti terhasilnya lukisan gua yang
dinamakan Running Horse Attacked by Arrows jelas
membuktikan bahawa kebolehan manusia dalam
menghasilkan seni tampak pada sekitar 15,000-10,000
Sebelum Masehi di Lascaux, Perancis . Daripada bukti
itu secara tidak langsung telah bersuara kepada
masyarakat hari ini tentang kewujudan mereka.Kita juga
mempunyai golongan seniman tersendiri yang telah
wujud dari zaman kegemilangan kerajaan Melayu lama
hinggalah pada era millennium. Mereka ini juga terdiri
daripada golongan yang memperlihatkan pelbagai
cabang seni seperti kesusasteraan, muzik, tarian, kraf,
seni tampak tradisional dan juga seni tampak moden
yang terus mekar.
Walau apa pun cabang seni mereka, persamaan yang
terdapat pada seniman adalah ekspresi dan emosi,
dimana mereka telah melakukan aktiviti seni bagi
mendapat kepuasan ataupun melepaskan suara yang
terpendam melalui kaedah kesenian dan sosial. Namun
apa yang menariknya disini, tidak semua penghayat
seni dapat menghayati atau membaca semua hasil seni
tersebut, sekaligus tidak merasai apakah sebenarnya
emosi seseorang artis yang cuba untuk disampaikan.
Ada ketikanya karya seseorang artis itu dapat dihayati
ketika artis tersebut masih lagi di zaman hidupnya, dan
kurang bernasib baik juga terdapat karya yang hanya
dapat dihayati serta dirasai penuh perasaan setelah
artis itu meninggal dunia . Keadaan ini tidak perlu
dipersalahkan kepada sesiapa pun kerana ia adalah
perhubungan sesama manusia yang normal, tetapi
terlalu kompleks untuk dibicarakan.
Perihalnya, mungkin juga punyai perkaitan
dalam pameran Contagion ini yang menampilkan
empat orang pengkarya muda seni tampak yang
berbakat besar iaitu saudara Meor Saifullah, Mahadi,
Hafz dan juga saudari Deyana. Keempat-empat
mereka memilih catan sebagai media perantaraan
jeritan bisu mereka kepada masyarakat umum. Disini,
saya mungkin tidak membicarakan tentang tiap karya
mempunyai emosi semata-mata, kerana pada perkiraan
saya masyarakat sudah pun biasa dengan pernyataan
Mereka yang terlibat dalam pameran ini adalah terdiri
daripada graduan UiTM dalam bidang seni lukis dan seni
reka yang gigih berkayuh melibatkan diri dalam industri
seni tampak kontemporari di Malaysia melalui aktiviti
berpameran. Jika kita lihat dari sudut positifnya, ramai
daripada pengkarya-pengkarya muda seni tampak
seringkali menyatakan, karya mereka adalah satu bentuk
penyebaran ekspresi dalaman mereka. Bagi saya,
apakah luahan tersebut baik untuk masyarakat? Atau
hanya untuk menunjukkan sifat pengkarya itu sendiri?.
Sebagai contoh, seorang artis yang memperlihatkan
sifat protesnya kedalam karya dengan menceritakan
kemarahannya terhadap sesuatu, barangkali secara
tidak langsung menunjukkan beliau adalah seorang
yang mudah protes atau pemarah. Sebaliknya
pula jika artis itu meluahkan perasaan yang murni
untuk dihayati bersama, memperlihatkan artis itu
bersifat inginkan sesuatu yang positif buat dirinya
dan juga penghayat karyanya. Dari situ masyarakat
akan melihat pro dan kontra seorang artis itu dan
kelompoknya. Kadangkala sesebuah karya itu
mungkin dapat menterjermahkan dalaman artisnya.
Saya melihat, apa yang dimaksudkan oleh
Contagion ini adalah berunsurkan satu konsep
infeksi emosi dan perasaan artis terhadap karya
mereka melalui kaedah seni tampak. Empat orang
seniman muda ini meletakkan tajuk Contagion ini
agar diketahui umum bahawa seniman juga punyai
peranan dan perasaan serta emosi yang tersendiri
untuk didengari biarpun dengan suara yang sangat
kecil. Apa yang dipersembahkan oleh mereka
ini adalah karya seni tampak yang mempunyai
suara kepekaan mereka terhadap sesuatu isu atau
topik. Mereka menyampaikan kepekaan mereka
terhadap sesuatu melalui kaedah seni tampak yang
juga merupakan salah satu media komunikasi yang
dianggap sebagai penyampai ekspresi mereka.
Pameran ini mendapat inspirasi berdasarkan dari
konsep infeksi dan komunikasi emosi dalam seni, oleh
seorang ahli falsafah iaitu Leo Tolstoy. Dari kewujudan
konsep inilah tercetusnya teori yang disebutkan
sebagai Contagion yang membawa pemahaman
seni itu diibaratkan sebagai bahan yang mampu
mempengaruhi emosi dan perasaan sama ada
kepada artis mahupun penontonnya . Dengan
lebih mudah lagi diperjelaskan Contagion itu
membawa maksud satu infeksi atau kesan terhadap
sesuatu. Sebagai contoh yang ringkas, mereka
mengibaratkan sesebuah karya seni itu adalah
seperti wabak, seniman adalah pembawa wabak
tersebut dan penonton pula adalah penerima kesan
wabak tersebut.
Disini, mereka mungkin mengukur kemampuan infeksi
dan komunikasi tersebut melalui aktiviti kesenian itu
sebagai luahan rasa yang dapat dikongsi bersama
penghayatnya. Mungkin infeksi yang mereka bawa
ini mampu menembusi lapisan tersembunyi perasaan
pelihatnya, serta mampu menimbulkan sesuatu
yang mendorong kepada emosi dalaman manusia
seperti yang pernah dikaitkan oleh Socrates sebagai
Daimon .
Merujuk pada penulisan Mohd Johari Abdul Hamid
dalam Falsafah dan kritikan seni yang menyatakan
bahawa Artis juga sebahagian daripada
masyarakat..dan artis yang melibatkan diri dengan
masyarakat adalah artis yang istimewa.. yang
membawa maksud mereka (seniman) ini merupakan
golongan yang mempunyai keistimewaannya yang
tersendiri dalam sesebuah masyarakat . Walau
bagaimana istimewa sekali pun, seorang artis juga
sangat memerlukan interaksi sesama manusia untuk
bersosial bagi mendapatkan inspirasi, pengamatan
dan juga pengalaman untuk diaplikasikan kedalam
karya. Sejauh mana keistimewaannya barangkali
terletak pada kekuatan kesenian mereka dalam
memberi kesan kepada dunia industri seni. Mungkin
akan diketahui jawapannya atau tidak bagi
peringkat awal ini, namun apa yang pasti, infeksi
Contagion ini juga bergantung pada reaksi
penonton dalam pameran tersebut.
Untuk teks penuh layai
CONTAGION @ 360 l by Syafq Aliam
Deyanna Deraman, Journey to the centre of The Earth, Acrylic on canvas,
107 x 68 cm, 2009
Hafz Yusoff, The Untold Story- 1, Acrylic & Bitumen, 122 x 152cm, 2009
Mahadi Ayob, Best Man Win, Acrylic on canvas, 122 x 152 cm, 2009
Meor Saifullah Lullaed, Mr. Goat (Kambing Hitam), Acrylic on canvas,
107 x 102 cm, 2009

EMIL GOH 1966 - 2009
Emil Goh has passed away suddenly of a heart attack on
the morning of 7 September 2009 in Seoul.
The National Art Gallery Malaysia would like to pay our
respect to his outstanding contributions to art
and culture. National Art Galley offers its
deepest condolences to his family. May
God bless his soul and may he rest in
A memorior by Vanessa Bates,
an old friend of Emil
On Monday, my friend Emil Goh died. I
found this out on Twitter.
Theres already a lot of stuff in the
cybersphere about Emil, he created
an extraordinary body of work over
the past years. He exhibited in Australia
and internationally, he curated,
published, produced, photographed,
documented,video-ed and basically lived a
great life.
He received an Australia Council residency for
Seoul a few years back and he adored the place,
there was no better place or time for making art and
making friends- possibly his two biggest skills-and the one went
with the other, hand in hand.
It is the making friends bit I want to celebrate here because
everyone who knew Emil became a friend. Years ago I remember
laughing that you couldnt walk across Newcastles Hunter Street
Mall with Emil in under an hour so many people would stop
to chat with him. That was indeed years ago, before 94 when
we still lived in Newcastle - but I bet people said the same thing
about Emil in Seoul, London, Hong Kong, Melbourne, Sydney
We met when we were both at Newcastle University, in the early
90s, and we clicked, apart from anything else because we had
both lived in Malaysia (he was Malaysian and I was a RAAF brat)
and we both loved the Nonya food. We could drool together
over memories of makan(eat in English) cart banana fritters,
peanut pancakes and Char Kuay Teow although when it came
to the shaved ice desserts, laced with coloured sugar syrup,
evaporated milk and various beans, he was on his own.
And Emil was always making art. Different kinds of photographs,
playing with lomography and those funny plastic split lens
cameras that let you take 4 shots in one. More than that, hanging
out with Emil involved holding equipment, recording a script or
posing for him. You could be asked to sing an aria or run on the
spot in the half-light while his camera clicked and whirred, or just
be yourself.
He had one of his birthday parties at Singapore Gourmet; we
had the place to ourselves. We arrived early so we could help
him cover the window and tables with butchers paper and then
the dishes began emerging from the kitchen the tables were
decorated with tea lights, glowing through simple lanterns of
tracing paper with photocopied images of his childhood - his
mother, his father, a tiny spiky haired toddler Emil on the sand.
These were prototypes for creative works but until perfected they
provided a beautiful, quirky and very Emil-like accompaniment to
what was already a fabulously unusual birthday feast.
Then there was the infamous yum cha mornings. Enormous tables
of people gathered under his instruction, to eat dumplings, to
drink tea, to enjoy life. Emil was strict, there were rules; be at the
restaurant at 11am sharp or forget it, thats when you have yum
cha, its not lunch! Dont poke at the food with your chopsticks!
Turn the teapot lid over when the tea is gone I got into big
trouble from him when I confused the staff at our favourite
restaurant, putting a ffty-dollar bill on the table and then waiting
for change. No, it wasnt meant to be a massive tip! Cross
waiters made Emil unhappy. It meant fnding a new yum cha
The yum cha/dim sum love wasnt all about the food. He bought
a dim sum trolley back to Australia with himand made it into
art, an enormous gleaming silver trolley with bamboo steamer
baskets towering up to the ceiling.
We did an art piece with him when he was still living in Glebe.
C and I recorded a telephone conversation and our friend
Helen recorded an aria. The audience, each person clutching
a portable radio to their ear, trooped after Emil as he led them
along Bridge Road past his house. Along the way they stopped
on a corner to watch and listen as C lurked in a phone box
and attempted to lip-synch his end of the conversation into the
receiver. After some sort of dramatic gesture he sped from the
box to become another character doing something else. Im not
sure what it was exactly because I was poised between a desk
lamp and the closed blinds, ready to throw open my arms and
lip-synch to Helens aria as the audience trotted past, peering up
at the window, their ears full of soprano magic.
It was fun, making art with Emil. It was always fun. And thinking
back to those times it reminds me that making art should be
fun. Should be joyous. Sometimes when Im crushed down by
deadlines or rejection letters or my own insecurities it doesnt
seem like very much fun at all. And thats not very Emil of me.
Emil went to Seoul on his Australia Council residency and then he
stayed and stayed.
Wheres Emil? We would meet former yum cha compadres in
cafes and Chinese restaurants. Whats the latest? Have you
I hadnt, no. There had been an argument, stupid. Rules had
been broken and we both needed time to pass. C and I married
in 2004 and I fnally sent Emil a photo of my sisters and I in all our
wedding fnery. He was lovely, complimentary, happy and signed
off Emmyxxx. Things were going well for both of us and we talked
a bit about the art but mostly Emil sent me pictures of food and
coffee and chairs and kisses and various very silly photographs
for your entertainment. It was nice hearing from him, it helped
get my mind off the sad realities of infertility.
He loved life. He laughed lots. But we missed him when he was
back in Sydney, Im sorry!!!! he exclaimed in his email. And he
never met up with us again.
Im still processing this loss of this dear friend, this talented artist,
this lovely lovely man who was always smiling and fun and who
delighted in meeting people and showing people around.
I regret not staying more in touch with him, not making more of
an effort to see him when he was in town. But we always say this
whenever anyone we care about dies. I should have
What I do take solace in is Emils ability to live life to the fullest, to
fnd the art in everything. The fun in everything. More than anyone
else I know Emil knew how to maintain his curiosity, his sense of
humour, his generosity of spirit. He was a great host, either in his
own kitchen or the streets of a new city, he would take you under
his wing, he would show you things. He adored popular culture,
kitch, retro he always seemed ahead of the pack, he found
things frst, shared them and then moved onto the next discovery.
In the report I read of his death, he was with his girlfriend. And that
made me happier. That he wasnt alone, that he loved someone
and that someone loved him back.
But then, we all loved Emil.
And the world seems darker, less fun, and certainly much less
tasty without him.
Full text can be read at
to-2009-is-too- frigging.html
Born in Johor Bahru, Malaysia, Emil studied Photography & Sculpture at
College of the Arts and received a Masters in Art from Goldsmiths College,
London. Since then, he has developed an interest in urban phenomenon
and is fascinated with peoples relationships with technology, design &
inhabiting highly dense cities. He moves between urban centres in Asia,
Australia and Europe aiming to capture what is important to him as a
person living in this time. He chooses ephemeral moments and details from
everyday to be represented through his photographs and video works.
Much of the energy in Emil Gohs work comes from his ability to become
part of the phenomena he describes, not as a spy or observer, but as a
participant and social chameleon.
Emil has exhibited extensively throughout Malaysia and internationally.
He had exhibited at Australia Arts Centre, Sydney (2007), IF Museum Inner
Soaces, Poznan (2007), VWFA Kuala Lumpur (2006), Jakarta Video Festival,
Indonesia (2005), Charlottenborg, Copenhagen ( 2005), Busan Biennale
(2004), Parasite Art Space, Hong Kong (2003), National Art Gallery Malaysia
(2000 and 2005).
Emil Goh, MAPKIN Christchurch, 2006. Image courtesy the artist and
Valentine Willie Fine Art
Mapkin Christchurch,
2006 Site 1: Christchurch
Art Gallery Te Puna o
Waiwhetu, Worcester
Boulevard and
Montreal Street corner,
Christchurch Map
printed on cloth or
tyvek Commissioned for
the 2006 SCAPE Biennial
Emil Goh, emilgoh / emil goh, 2006. Image courtesy
the artist and Valentine Willie Fine Art
The 6th
Asia Pacific Triennial of
Contemporary Art (APT6)
5 December 2009 5 April 2010,
Queensland Art Gallery and Gallery of Modern Art
'APT6' Exhibition | Zhu Weibing, Ji Wenyu | People holding flowers (detail) 2007 | The Kenneth and
Yasuko Myer Collection of Contemporary Asian Art. Purchased 2008 with funds from Michael Simcha
Baevski through the Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

The view from elsewhere / Small acts, 7 October - 15 November 2009,
Gallery of Modern Art, Brisbane, Australia. l by Suraya Warden
ever-responsible and
creative efforts of Australian
curatorial teams to support and highlight
Contemporary Asian Art through major
institutions continue successfully in
Brisbane, Queensland. With its beautiful
setting, enthusiastic temporary exhibitions
and displays of works from impressive
permanent collections (including important
works by Simryn Gill), the dedication of
the Queensland Art Gallery and now its
offshoot the Gallery of Modern Art (GoMA)
to this area is both necessary and exciting
for all. Of course the local multicultural
society that includes an onshore Asian
Diaspora and frst or second generation
Australians of Asian heritage is especially
catered to here, but those offshore should
never forget that contemporary Asian
art benefts from world-class institutional
investigation and representation nearby.
Modern travel makes Australia - and
particularly the Gold Coast - extremely
accessible to people based in Kuala
Lumpur, and so I was fortunate enough to
be able to visit not only GoMA for the frst
time, but its group exhibition of video art
from Asian and Middle Eastern artists: The
View from Elsewhere/Small Acts.
A collaborative project with the Sherman
Contemporary Art Foundation in Sydney,
this exhibition displays a combination of
contemporary video art, cinema practices
(The view from elsewhere) and artists
performance videos (Small acts) in the
Media Gallery at GoMA, featuring some
fairly big names, including Mona Hatoum
(Lebanon), Yoko Ono (Japan) and Nam
June Paik (Korea). Within the dark, dark
gallery screens of various shapes and
sizes with two sets of headphones each
offered the different works, with many
artists are equally - if not more - intriguing
than the big names in this particular show.
Yoko Onos famous performance Cut
Piece (1965 & 2003) - in which she invites
audience members to cut pieces of her
clothing away - is shown in a little theatre
of its own at the end, or beginning if you like, of the exhibition.
This work, seeing her strangely disempowered bit by bit, is clearly
intended to be a draw card for this show and perhaps is, as it
is extremely watch - able if only to consider Onos undeniable
contribution to the profle of contemporary and performance
Among the highlights for this reviewer are Journey of a Yellow
Man no.13: Fragmented Bodies/Shifting Ground (1999) by
Chinese Singaporean artist Lee Wen, whose silent journey
through Brisbane streets as an obvious outsider - a freakish
foreigner? a yellow alien? - is heartbreaking to follow, and
the extremely fun Moslem (2008), by Kyrgyzstan - born artist
Vyacheslav Akhunov. In Moslem an Uzbekistan local indulges
his obsession of watching Western movies on a laptop whilst
dressed as a cowboy and surrounded by props, even a
presumably unusable bottle of whisky. His escape through
cinema gives him a temporary second life; while the interesting
sensory experience of contrasts between worlds is certainly
a gift that well - executed video art such as this gives to us as
viewers. Although these two works were most notable to me, so
many others also have interesting messages combined with an
impact from the participatory nature of the medium. Each work
in the exhibition is described well on the GoMA website.
In the lead up to the Sixth Asia Pacifc Triennial in Queensland
this December, this exhibition does so much to build an appetite
for Asian contemporary art. It should have many who are not
onshore excited to attend or at least follow the APT 6, for the
respect and professional insight with which the Queensland Art
Gallery approaches the careers of Asian artists. The exhibition
does not rival the video art shows sometimes held at Sydneys
MCA, but as support solely for Asian and Middle Eastern
contemporary art it is wonderful, clever and so on target
towards the continuing relevance and future of new media
art. There is no doubt that this exhibition and accompanying
catalogue have already proven invaluable in securing Asian
artists greater respect in the cut-throat world of performance
and video contemporary art, and in broadening the minds of
the participating artists and any visitors lucky enough
to attend.
Suraya Warden is an International Art Consultant and an Art History
& Curatorship First Class Honours graduate of the Australian National
Journey of a Yellow Man no. 13: Fragmented
Bodies/Shifting Ground (1999) by Chinese
Singaporean artist Lee Wen
Moslem (2008) by Kyrgyzstan-born artist Vyacheslav Akhunov
Cut Pieces (1965 & 2003) by Japanese artist Yoko Ono
Images courtersy : artists & GoMA, Australia
diligent and outstanding
Malaysian artist YEOH
KEAN THAI has won a
prestigious Commonwealth Artists Residency 2009,
awarded by the Commonwealth Foundation (UK).
Six award winners were chosen by an internationally
renowned panel of judges, in a highly competitive
review and selection process, for this biennial prize.
This year had a record number of entries from all
Commonwealth regions and had only one winner from
Yeoh Kean Thai opted to submit a proposal which
varied from the standard form of travel to the Western
Hemisphere. Believing in the richness of the environments
provided in Asia itself, Thai will spend a number of months
in Sri Lanka fulflling the objectives and specifcations
of his residency proposal which includes study of the
natural and social environments, tsunami affected areas,
rebuilding efforts, and archeological sites - impressions of
which are to be translated into works of art.
Metal objects - common and uncommon-are the
vocabulary of an artistic language developed by Yeoh
Kean Thai.
When Malaysian born Yeoh Kean Thai won the Phillip
Morris Award for Malaysia with a large canvas work,
stretched and interwoven within the hand crafted,
patiently rusted and irregular metal frame - a fascination
with all things discarded and rusted captured the
attention of judges and observers. That award was in
1997 and Thai had pursued this aesthetic topic and focus
for many years before, and would continue to do so for
many years after.
Thais technical skill is distinctive and outstanding. He is
adept with pen/ink, with paint - and is developing skill
with metal work. His thinking processes and investigations
present images and arrangements referenced to issues
and symbols of diaspora, marginalisation and integration,
from historical and contemporary perspectives, using
environmental issues as analogies.
His work has been shown internationally and he was
the frst Malaysian artist to be shown during New Yorks
Asian Art Week in 2008. His work was featured during the
Beijing Olympics, in the East Asia Show, sponsored by the
Chinese Ministry of Culture. He is a 2008 winner of the
Freeman Fellowship, Vermont Studio Center. (For popular
culture buffs, he has interestingly been recognized by
Wikepedia with a dedicated biography.)
The visual story of rust and metal, started with the antique
coal iron, a ubiquitous object in his earlier works, which
related a personal story of inheritance, both literal and
fgurative. The coal iron was his grandfathers and the frst
personal gift to Thai from his father.

Sebiji Padi
bukan sebuah komuniti seni seperti Matahati atau
jauh lagi seperti Anak Alam tetapi ia merupakan
semangat gelojak anak-anak muda yang terdorong ke arah usaha-usaha sebegitu.
Menghasilkan karya, menyampaikan sesuatu mesej dan berpameran.
Sebiji Padi merupakan sebuah studio seni yang telah ditubuhkan sekitar tahun 2007
oleh beberapa orang graduan UiTM Shah Alam, Selangor yang terdiri daripada 7
orang anak muda; Samsudin Wahab, Ruzzeki Harris, Tajol Azam, Haslin Ismail,
Mohd Safwan, Zul Husni dan Meor.
Menurut pertanyaan ringkas di email facebook mereka, apa maksud Sebiji Padi?
Pelbagai reaksi dan intepretasi khalayak tentang maknanya, bagi mereka setiap
orang boleh bagi open-intepretation tiada salahnya. Sebiji Padi ini lebih dilihat
berlandaskan persahabatan dalam mencapai sesuatu individual objektif dan ia cuma
sebuah landasan, pergerakannya perlulah seiring dengan usaha individu, tekad dan
nawaitu dalam mencapai keinginan tersendiri.
Sebiji Padi bak gelanggang seni untuk mereka, di samping menjadi tempat beradu
dengan angan-angan yang berisi agar dapat menempatkan mereka di arus perdana
seni visual kelak. Di ruang yang tersedia ini mereka menghasilkan
karya-karya untuk berpameran di galeri-galeri swasta sebagai alas perut kosong,
cari-cari makan dan memulakan karier sebagai pelukis sepenuh masa. Manalah tahu
dari ruang sempit itu boleh tercipta sebuah karya agung yang menjadi rujukan dan
rebutan instituisi, galeri atau kolektor.
So sound di pembukaan pameran B.A.C.A RA FineArt Galeri Dari kiri, Ruzzeki, Meor, Azam, Haslin, Zul husni, Safwan dan Buden
That iron, though largely autobiographical, represents broader narrative for
social identity and memory, discernment and treasure. The objects used in
Thais artistic language grew to include other culturally relevant tools:oil lamps,
beetle nut crackers and then, to incorporate a modernized and contemporary
world-Milo tins, wrenches and screws, chain links and saws. Metal itself is very
relevant to South East Asias historical landscape because of the fortunes
created and infrastructure developed, from tin mining.
Colours, initially limited to a palette of earth and rust tones, have become
symbolic in Thais work in their own right. Metal and its qualities, permanence
and rusting, have opened a world of possibilities to create an unusual
language that visually speaks about the meaning of common and uncommon
objects, in culturally specifc and cross cultural contexts.
Yeoh Kean Thai is an artist of distinction whose choice to continue on the path
less travelled has brought him deserved recognition.
Di gelanggang Sebiji Padi inilah terhasil karya-karya yang
dapat dianggap sebagai kontemporer dari segi isu,
komentar sosial yang menyentuh isu ketegangan politik,
konfik dan semasa. Catan-catan gelap, berparodi,
cetakan bersatira Buden, catan-catan komentar, sosial
realis dan surrealis Ruzzeki dan Azam, catan-catan gotik,
kolaj, assemblaj Haslin, catan-catan Zul Husni dan Meor
dan arca-arca dinding berekonstruk Safwan.
Tak lengkap kalau, mereka tidak
menjalankan kerja- kerja sosial dan bukan
setakat berpameran di galeri sahaja. Mereka
pernah membuat mural kolaborasi dengan
studio lain di Jalan Nenas, K.L, mural di
Universiti of Al Bukhary, Alor Setar, Kedah,
arca awam di Capital Square, K.L dan akan
datang projek tertangguh mereka iaitu Open
Ada diantara mereka telah pun berpameran solo
dan mengikuti residensi program di HOM (House of
Matahati) dan Rimbun Dahan. Antara mereka ada yang
sudah mula meningkat nama di tanah asing seperti
berpameran di Singapura dan pameran UN-CUT, di
Denmark. Sebagai pelukis muda, program-program
seperti ini perlu direbut untuk mencari pengalaman,
mengukuhkan profl dan karier.
Di Sebiji Padi, mereka menghidupkan suasana seperti
bekerja di studio. Menghasilkan karya, lepak, sesi kritik
sesama sendiri, bermain musik dan enjoy.
Di kalangan mereka juga menjadikan Sebiji Padi sebuah
ruang bereksprimentasi dengan musik dan pernah
menerima beberapa jemputan di pembukaan pameran,
acara-acara seni seperti Artport, Papakerma, Layar
tancap dan banyak lagi. Musikal eksperimen mereka
dinamakan So Sound dengan alat musik konvensional
seperti gitar, bass gitar, keyboard dan bantuan software,
tayangan slide, dan bunyian-bunyian pekik dan
ambience. Sekali dengar seperti ada
pengaruh-pengaruh musik Mogwai, Explosion
in the sky, Akta Angkasa atau Kamal Sabran. Kumpulan
musik ini tidak terikat dengan kebanjiran ahli yang
sering bertukar ganti dan ada juga kolaborasi dengan
rakan-rakan luar yang sama minat, apa yang penting
semuanya menjadi BUNYI.
Selain minat bermusikal, mereka juga sering membuat
Performing Arts di pembukaan pameran seperti di
Patisatu Studio, Buka Mata Studio Kala Jingga, Friction,
Prologue 360 Galeri, B.A.C.A di RA Fine Art Galeri, Frinjan
dan banyak lagi.
Kepekaan terhadap persekitaran mereka membantu
untuk Tabung Save Gaza dengan memberikan karya
cetakan lino yang dihasilkan bersama - sama kepada
penderma-penderma yang ikhlas menderma untuk bumi
Palestin. Semuga usaha-usaha murni sebegini sering
dipraktiskan untuk membantu mereka-mereka yang
Sebiji Padi gelanggang untuk permulaan..........
Rujukan & interview: Wak & Zul menerusi facebook/
Gambar: Ben Jaafar, facebook/fadlysabran,facebook/zulhusni,
Buden sedang bercerita tentang Projek amal Tabung Save Gaza kepada
pelawat pameran.
So sound di pembukaan pameran B.A.C.A RA FineArt Galeri




. Oleh kerana
ini adalah
cubaan pertama saya menulis jadi saya mungkin akan
tertinggal beberapa perkara yang penting untuk dikongsi
bersama pembaca. Saya akan cuba sedaya upaya
untuk menceritakan pengalaman saya tentang program
yang telah membawa saya terbang ke Thailand.
Program Art for All merupakan satu-satunya program
bertemakan kesenian yang memfokuskan penglibatan
golongan kurang upaya. Program ini adalah program
tahunan anjuran Kementerian Kebudayaan Thailand
yang telah diasaskan sejak 13 tahun lalu atas usaha
Prof. Dr Channarong Pornrungroj. Art For All Foundation,
Faculty of Fine and Applied Arts, Chulalongkorn University
dan United Nations Economic and Social Commission for
Asia and the Pacifc (UNESCAP) juga turut bekerjasama
dan memberikan sokongan. Selain daripada itu, deligasi
negara ASEAN
, sukarelawan dari Amerika Syarikat dan
Australia juga terlibat menjayakan program ini.
Seperti yang diketahui umum, Thailand satu-satunya
negara di Asia Tenggara yang tidak pernah dijajah
oleh kuasa Eropah. Perkataan Thai itu sendiri berasal
dari Bahasa Thai yang bermaksud bebas. Gabungan
perkataan land menjadikan maksud Thailand ialah
negara yang bebas (merujuk kepada sejarah di
era penjajahan). Walaupun terdapat konfik dan
selisih faham di antara cendiakawan mereka tentang
maksud sebenar perkataan Thai tetapi itu tidak
dijadikan isu besar. Thailand sangat kaya dengan
kesenian dan kebudayaan. Sifat lemah-lembut dan
hormat-menghormati telah diterapkan sejak dari
kecil dan secara tidak langsung telah membentuk
keperibadian yang sangat teguh
dikalangan remaja
dan belia Thailand. Sifat ini dapat dilihat melalui cara
mereka memberi salam sesama mereka atau kepada
tetamu (baca: orang luar, pelancong dan lain-lain).
Keperibadian sebeginilah yang cuba ditekankan,
diterapkan dan diketengah di dalam Program Art For All :
hidup bebas tetapi masih menghormati hak dan batasan
individu (baca: manusia) lain.
Secara direct translation program ini bertujuan untuk
membina kerjasama antara individu normal dan
golongan kurang upaya bagi membentuk masyarakat
yang harmoni. Program ini mengambil konsep summer
camp di mana setiap peserta tinggal dan melakukan
aktiviti bersama di dalam sebuah resort.
Peserta kem ini terdiri daripada kanakkanak
pendalaman Thailand (hills tribe: yang kurang
mendapat sumber pendidikan), kanak-kanak
dan golongan belia kurang upaya (secara fzikal
ataupun mental) dan golongan sukarelawan
yang terdiri daripada remaja normal berumur
16 hingga 22 tahun. Program ini sebenarnya
merupakan salah satu inisiatif kerajaan Thailand
untuk membina dan memupuk semangat
tolenrasi generasi muda (baca : sukarelawan
normal) bersama mereka yang kurang upaya
untuk bekerjasama dan bantu membantu
antara satu sama lain. Kepelbagaian cabang
di dalam bidang seni seperti seni visual (melukis
dan membentuk arca), seni persembahan
(menari, menyanyi dan berlakon) dan sains sosial
digunakan untuk menjadi bahantara interaksi
dan komunikasi sesama mereka. Secara tidak
langsung, pergaulan tersebut telah memupuk sifat
kesedaran dan tanggungjawab secara perlahan-
Kem ini boleh dipandang sebagai satu peluang
(batu loncatan) kepada kanak-kanak dan belia
yang mempunyai potensi di dalam bidang
kemahiran seni (terutamanya kanak-kanak
dan belia kurang upaya) untuk menimba
pengalaman. Pengalaman berinteraksi dan
berkomunikasi sepanjang menjalani kem ini
adalah bermanfaat untuk digunakan sewaktu
berhadapan dengan masyarakat dan dunia luar
(baca: realiti). Penerokaan potensi dan kemahiran
yang ada pada mereka juga boleh digunakan
untuk mereka survive di dunia luar dengan
berdikari sendiri seperti manusia normal lain.
Selain daripada itu, kem ini masih mengekalkan
nilai-nilai tradisi etnik dan budaya yang terdapat
di Thailand seperti bermeditasi, memberi
penghormatan kepada Buddha dan Raja
Thailand serta menekan nilai-nilai murni yang
diamalkan menurut kepercayaan penganut
Buddha. Kem ini juga secara tidak langsung boleh
di anggap sebagai terapi bagi mereka yang
kurang upaya untuk membina keyakinan diri dan
salah satu cara untuk mereka mengekspresi diri
Nakhon Nayok, Thailand 2 - 7 Julai 2009
l oleh Bed Samat
Mat Jamil (artis OKU Malaysia) terlibat sebagai tenaga pengajar
Bergambar kenangan selepas mengikuti bengkel membuat topeng




mereka melalui aktiviti yang disediakan.
Bagaimanapun di Malaysia, program yang melibatkan
orang kurang upaya amatlah sedikit dan terbatas. Jika
ada, program yang dijalankan seakan bias kepada
golongan ini kerana program tersebut lebih seperti
menagih simpati masyarakat sehingga membina
persepsi bahawa kekurangan yang ada pada mereka
membuatkan mereka tidak mampu berdikari (baca:
tidak mampu berbuat apa-apa). Walhal, masyarakat
sebenarnya tidak didedahkan dengan keupayaan
dan kemampuan mereka yang sebenanrnya. Jika
diberi peluang, mereka boleh jadi lebih hebat jika
ingin dibandingkan dengan manusia yang di anggap
normal (baca: sempurna). Jika program seperti Art for
All dilaksanakan, masyarakat akan memahami dan
menyedari bahawa golongan istimewa ini juga mampu
berdikari, mempunyai kelebihan mereka tersendiri dan
mampu menjalani kehidupan sama seperti manusia
Kepelbagaian kaum dan bangsa di Malaysia
menjadikan Malaysia sebuah negara yang unik.
Walaupun bebas mengamalkan kebudayaan dan adat
resam masing-masing, masyarakat dan rakyat tetap
hidup dalam keadaan harmoni. Penglibatan anak muda
(normal) sebagai sukarelawan secara ikhlas (tanpa
paksaaan ataupun sogokkan wang poket) juga harus
diterap dan ditekankan kerana secara tidak langsung
perlakuan secara ikhlas akan membina jati diri dan
integriti yang tinggi di dalam diri anak muda tersebut.
Jati diri dan integriti ini penting bagi golongan remaja
dan belia untuk membina dan mempertahankan
sesebuah negara untuk terus harmoni. Secara tidak
langsung juga akan mengurangkan aktiviti-aktiviti yang
tidak berfaedah yang melibatkan kebanyakkan belia
dan remaja di Malaysia.
Program ini akan menambahkan lagi kesedaran kepada
masyarakat tentang satu lagi golongan yang agak
tersisih, iatu golongan kurang upaya. Jika program
in dapat dilaksanakan barulah nampak lengkapnya
Malaysia kerana dapat dibuktikan bahawa nilai-nilai
murni dan kesedaran itu masih wujud walaupun di dalam
era manusia lebih mementingkan nilai material daripada
budi bahasa dan nilai murni sesama insan. Walaupun
agak sukar pada permulaanya untuk dilaksanakan,
tapi percayalah lekuk batu dititik air selalu*, pasti akan
*Lekuk batu dititik air selalu merupakan peribahasa Melayu
yang bermaksud biar bodoh sekalipun jika belajar dengan
bersungguh-sungguh, nescaya akan menjadi pandai juga.
(Sumber : Kamus Istimewa Peribahasa Melayu : 2008-2009 :
Dewan Bahasa dan Pustaka)
Ucapan salam bagi perempuan, manakala Sawadeekap adalah
ucapan salam bagi lelaki.
Negara ASEAN yang terlibat di dalam program ini untuk 2009 ialah
: Brunei, Cambodia, Loas PDR, Myanmar, Malaysia, Filipina, Vietnam,
Singapura dan Thailand.
Teguh (disini) merujuk kepada asas tradisi yang kuat, kuat hati
(mengikuti dan mangamalkan ajaran Buddha) dan kesetiaan yang
tidak berubah-ubah terhadap Raja Thailand.
Persembahan nyanyian dari deligasi Vietnam
Peserta bengkel mouth and foot painting artist
Sukerelawan (berbaju hijau) dan peserta berkerjasama membina waring friendship
Bekerjasama membina banner untuk Art for All



Bengkel Lukisan Berus Angin
Topi Keledar 1Malaysia
| Julai - November 2009
Bengkel ini merupakan susulan pasca pelancaran
Pertandingan Catan Muralis Kontemporari 1Malaysia yang
telah dilancarkan oleh Menteri (KPKK) YB Dato Seri Utama
Dr. Rais Yatim pada 15 Julai 2009. Ini merupakan salah satu
usaha melaksanakan semangat dan kefahaman 1Malaysia
melalui seni visual. Bengkel ini berlangsung dari bulan Julai
sehingga November 2009 yang melibatkan beberapa negeri
antaranya ialah Kuala Lumpur, Pahang, Melaka, Perlis,
Sarawak dan Sabah. Tujuan bengkel ini adalah mencipta
kesedaran dan peduli kempen 1Malaysia melalui seni
visual. Sasaran bengkel ini ditujukan khas kepada golongan
remaja dan belia bermotosikal supaya mereka dapat
mempelajari dan mempraktikkan teknik dan kemahiran
melukis dengan berus angin di atas topi keledar. Di samping
itu, bengkel ini dapat memberikan kemahiran dan pengisian
masa yang lebih berfaedah, dapat menjana pendapatan
serta menyemai minat dan semangat 1Malaysia yang
diseru oleh kerajaan.
Belah anda PAVILION
Kuala Lumpur | 4 Julai 31 Ogos 2009
BSLN dijemput oleh Pavilion Kuala Lumpur untuk mengadakan
pameran dan jualan hasil seni sempena Karnival Jualan Mega
2009 di pusat membeli belah tersebut dari 4 Julai sehingga
31 Ogos secara giliran setiap hujung minggu. Karnival ini
merupakan anjuran Kementerian Pelancongan Malaysia dan
Pavilion Kuala Lumpur telah dipilh sebagai hos pelancaran
Karnival Jualan Mega Malaysia yang bertemakan Malaysia:
Oasis Membeli Belah Anda.
Tampannya Budi | 21 Ogos 2009
Berkonsepkan kesusasteraan Melayu yang bertemakan pantun,
syair, gurindam, seloka, pepatah Melayu lama, peribahasa
dan sebagainya diolah menjadi karya visual yang diberi tajuk
Tampannya Budi. BSLN telah bekerjasama dengan Institut Kajian
Etnik (KITA) dan Universiti Kebangsaan Malaysia (UKM) yang
buat julung kalinya telah dirasmikan oleh YABhg Tun Mahathir
Mohamed. Pameran ini menyajikan sejumlah 127 pelukis dan
163 buah karya yang telah diadaptasi dalam pelbagai medium
hasil adunan bahasa teks dan bahasa visual yang menjadi
wadah menarik oleh pengkarya tanahair. Tampannya Budi
bertujuan untuk menyuntik masyarakat Malaysia mengenali
dan menghayati genre-genre klasik yang diilhamkan ke dalam
bentuk komunikasi seni visual agar menjadi santapan terutama
kepada generasi muda.
Program Dataran Budaya
Kuala Lumpur | 15 Ogos - Disember 2009
Meletakkan Dataran Merdeka dan Bangunan Sultan Abdul
Samad bagi tujuan untuk mempromosikan Kuala Lumpur
sebagai Pusat Kesenian Antarabangsa.Kementerian Penerangan,
Komunikasi dan Kebudayaan memainkan peranan menganjurkan
Program Dataran Budaya sebagai tempat tumpuan aktiviti
seni budaya dan warisan. BSLN sebagai salah sebuah agensi
kementerian ini, memainkan peranan untuk memberi ruang
kepada penggiat seni berkarya dan memberi peluang kepada
orang ramai menyertai aktiviti seni budaya terutamanya
kepada generasi muda. Pelbagai persembahan kesenian,
jualan, demonstrasi jualan dan permainan alat muzik, jualan
dan demonstrasi makanan warisan, demonstrasi permainan
tradisional serta tayangan flem dan dokumentari akan
disajikan kepada tumpuan pelancong dan masyarakat Malaysia
dari pelbagai kaum serta peringkat umur. Program ini akan
berlangsung pada setiap hari Sabtu daripada jam 6.30 ptg-10.30
mlm dari bulan Ogos-Disember 2009 (kecuali bulan Ramadan)
Sidang Akhbar Pertandingan
Catan Muralis Kontemporari
1Malaysia | 12 Jun 2009 - 31 Ogos 2009
Sidang Akhbar Pertandingan Catan Muralis yang
berlangsung di Kementerian Penerangan, Komunikasi dan
Kebudayaan adalah urutan daripada saranan YB Dato Seri
Utama Dr. Rais Yatim, untuk menjadikan lukisan catan
bersaiz besar yang mudah alih sebagai tarikan masyarakat
menghayati konsep 1 Malaysia. Pertandingan ini juga
adalah acara muhibah sempena sambutan kemerdekaan
yang ke-52. Objektif BSLN menganjurkan pertandingan
ini, untuk menjadikan budaya tampak sebagai wadah
visual penting dalam penyebaran dan penghayatan
dasar-dasar kerajaan. Ianya dapat membina suasana daya
saing positif pelukis-pelukis muda dan menyemarakkan
semangat kecintaan yang tinggi kepada negara melalui rasa
keupayaan dengan kerjasama untuk membina 1 Malaysia.
Pertandingan ini memberi peluang kepada warga Malaysia
yang berminat untuk meraih hadiah yang lumayan.
CATEGORY A Traditional Art Calligraphy Spontaneous on
Paper:Participants in this category are give three hours and required
to write their art calligraphy during that time. The competition will be
held at the Islamic Arts Museum Malaysia on 31st October 2009 from
10.00 am to 1.00 pm.

CATEGORY B Art Calligraphy Painting on Canvas: Participants in this
category are required to choose one calligraphy styles from the three
styles given (Riqah, Thuluth or Naskh).
CATEGORY C Art Contemporary Calligraphy Painting on Canvas :
Participants in this category may choose calligraphy
styles other than those already mentioned in
Category B. For example, Kufi, Diwani or Zukhrufah.
Synopsis :
The Islamic Arts Museum Malaysia (IAMM) will hold its fourth National Art Calligraphy Competition this 31st October 2009. The
calligraphy competition was well received when it was first held at the Islamic Arts Museum Malaysia in 1999, and subsequently in 2001
and 2003. The competition is a continuous event organised by the Islamic Arts Museum Malaysia in association with the National Art
Calligraphy Association (Persatuan Seni Khat Kebangsaan) and supported by Kumpulan Utusan, Astro Oasis and Institut Kefahaman
Islam Malaysia (IKIM). This competition is held with the aim of further promoting the talent of our calligraphers from all walks of life,
showcasing their skill and creativity. To date, the popularity of the competition has proved that Malaysians, young and old, from
different backgrounds, are open to the idea and keen to pursue this hobby to
professional standards.
All artworks for Category B
& C are required to be submitted to
the Islamic Arts Museum on or before
31st October 2009.
The competition is open to adults and students under the age
of 18 years old residing in Malaysia. Winners will receive cash
prizes of more than RM30,000, a Certificate of
Participation and a trophy.
Entry forms to obtain the Terms and Conditions Booklet for the competition
can be obtained on Utusan Melayu Mingguan (on 24th Aug. 2009) and
Utusan Malaysia (on 21st & 28th Aug. 2009).
For more information or to register for the competition, please contact the
Islamic Arts Museum Malaysia at 03-22705111 / 5101 / 5103 or
fax at 03-2272 5346 or email
Islamic Arts Museum,
Jalan Lembah Perdana,
Kuala Lumpur
Tuesday - Sunday &
Public Holidays
at 10 am - 6 pm
Closed on Mondays
www. i amm. o r g. my
National ART
Mani f estasi Per dana Seni Khat
Disediakan oleh Ismaliza
a living room with three
middle-aged women having
tea one evening while having a chat with each other.
There is a Malay lady, Puan Azizah, an Indian lady, Mrs.
Gopal and a Chinese lady, Mrs. Tan. All three were
casually talking and eventually, the stories of their
children were discussed.
So, Mrs. Gopal, tell us about Prakash. I heard he just
came back from London studying engineering, Mrs. Tan
starts while sipping her tea.
Oh, yes! Indeed, Prakash just recently graduated
and came back for good. Just two days ago, he was
scheduled for an interview for an engineering trainee
position. He sounds confdent of getting the job! replied
Mrs. Gopal full of pride for the success of her son. What
about Alvin, Mrs. Tan?
My son is doing fne. He is so hardworking. Just four
months into his work and he is already promoted to a
supervising role. Sometimes, I do miss him. He is so busy at
work that he does not come home early anymore, Mrs.
Tan bragged with a smile drawn upon her face with full
satisfaction. Puan Azizah, how is Arif doing?
My son? Hes an artist, came a simple reply.
Oh is that so?
Penang is indeed and art city,
After the installation of a huge
sculpture, The Winds of Penang,
in front of Komtar by Katsumi
Mukai, the Penang Sculpture Trail
Project is initiating the installation
of yet another huge sculpture at
Upper Penang Road between
12pm-3pm of the 5th September.
On the 5th September morning,
four pieces of solid marble
each weighing 2 tonnes shall
be transported from St. Nicholas
Home to the selected site at
Upper Penang Road. The artist,
Kikuchi Mitsuo has been working
on the sculpture at St. Nicholas
Home and fnally, they are ready
to be installed at site. The frst piece of the marble sculpture is installed on the 5th
Spetember marking the set-off of the Sculpture Trail. This installation work will take
around 10 days to completion starting 5th September.
The Sculpture Trail Project is a collaboration work between MPPP, State Art Gallery and
the artists. The public is invited to the installation site to witness the setting off of the
sculptural trail. Please see attached for location map.
Does that seem common? Why is it so that when a
parent admits that their child is an artist, the general
public seems to shun them as unimportant? Is the
profession of an artist any less as compared to those of
business economics or sciences?
While it is true that over the last few decades since
the independence of Malaysia has taken place, our
economy has boosted to a status worthy of recognition
while the development of the science feld has allowed
the nation to discover wondrous things. The various
developments of Malaysia have undoubtedly made an
improvement on our lifestyles and affected the comfort
of living bringing it to a whole new level of advancement.
However, we cannot and must not forget who we are.
Many people do not realize this but art is a representation
of our culture. It is a way of depicting our scene as well as
a language that expresses and interprets who we really
are as a nation. It gives us as Malaysians a character
which well represents our way of life. Sometimes, when
we are so caught up with absorbing knowledge from
other nations for the better of our own, we do not realize
that we are also taking in cultures from a foreign land.
While it is not wrong to do so, we tend to forget our
roots and start implementing foreign cultures as our own
resulting in an abandoning of our traditions. Instead of
a controlled assimilation of culture diversity, we end up
using it as a replacement. In my opinion, this behavior
subconsciously denotes a search for approval of foreign
culture, but why should we strive for something that was
never asked of us in the frst place? In another nation, our
ways may seem different to the people there, but the
same happens when others come to our land. We do not
ask them to live like us because we accept them for who
they are, so why should we throw away our lifestyle to
please others?
Malaysia is a mixed up society with many diverse
race and religion, each with its very own cultures
and traditions. Such a colourful land which somehow
manages to fnd a way to harmonize with each other
opens many doors to potential! How then, can we not
make use of this opportunity to paint a picture of pure
diverse awesomeness? The visual which formed in my
mind as I write this article is so overwhelming that just
the thought of it could make me gasp breathlessly
for air! Every artwork about Malaysia produced is a
documentation of what identity we hold. It is a forefront
to the world which carries the impressions which we want
to imprint on other nations and be recognized for it. This is
where the job of Malaysian artists stands important.
We are not encouraging that every parent should send
their children to take up arts. The fact remains that while
some are capable in producing art, others may not be
able to. However, it is important that all parents should
teach their children to appreciate art. When there is
a need for art to be appreciated, art will continue to
be produced. As a result, art will ensure a continuity of
culture development in our nation. The importance of
art appreciation in the children is undeniable because it
paves a way for them to understand the land on which
they live in. This in turn teaches them to accept and
learn to live in harmony with one another. Art, when
appreciated properly, will instill a sense of belonging and
a sense of pride to the people.
So parents of artists, the next time a discussion is held
on the professions of your child, do not be ashamed to
say that your child is an artist because you know where
artists stand in importance. In fact, be proud of who
they are and the contributions that they are capable of
producing for our nation. Be proud to say
My child is a MALAYSIAN artist!






l b
y S
i N
g S
Kikuchi at work
BSLN Publication
Sebuah penerbitan
khusus yang diterbitkan
bagi memperkenalkan
pelukis negara kepada
pelajar sekolah. Untuk
siri permulaan pelukis
Ahmad Khalid Yusoff
telah dipilih untuk
riwayat hidupnya.
Buku ini menceritakan
kehidupan dan
pengalaman pelukis
Ahmad Khalid Yusof
dalam bidang seni
ISBN 983-9572-69-5
RM 10
Sebuah penerbitan yang
mengimbas kembali bidang
seni lukis moden di Malaysia
dan hubungannya dengan
perkembangan sosio
budaya negara.
ISBN 983-9572-01-6
RM 100
Katalog pameran Mosaics Of
Malaysia menyingkap keindahan
dan keharmonian kebudayaan
Malaysia yang berbilang kaum
dari kacamata pelukis Zhang
Zhou berasal dari Wilayah Lioning
di Timur Laut China yang juga
sebagai Pelukis tamu(Resident
Artist) galeri Daiichi. Karya-karya
ini merupakan himpunan dari
Koleksi Encik Tai Keik Hock pemilik
Galeri Seni Lukis Moden Dai Ichi
di Sungai Petani, Kedah.
29.5 cm x 28.5 cm
170 m/s
ISBN 978-983-3497-39-3
RM 150
Explorasi Seni Tasik Banding.
Katalog ini menampilkan
karya-karya yang mewakili
pelbagai luahan introspeksi
diri dan terjemahan intrinsik/
ekstrinsik yang tercetus dari
pelbagai faktor pengalaman
manusia berhubung dengan
persekitaran sistem ekologi di
Tasik Banding.
ISBN 983-9572-96-2
RM 45
Katalog yang menerokai seni
multimedia dan mengabung seramai 5
pelukis Malaysia dan 6 pelukis Australia
yang bergiat cergas dalam bidang
seni multimedia. Pelukis Malaysia yang
mengambil bahagian ialah Hasnul
Jamal Saidon, Kunyu Liew, Tengku
Sabri Tengku Ibrahim, Ivan Lam, Emil
Goh manakala Australia ialah Destiny
Deacon, Micheal Riley, Patricia Piccinini,
Stephen Birch, Robyn Backen dan John
McCormack. Karya berbentuk instalasi
tayangan video, seni animasi komputer
interaktif, sinaran gentian optik dan
laman web yang berjudul E.Art Asia
online. Diusahakan bersama di antara
Galeri Seni New South Wales, Australia
dan BSLN dengan kerjasama Kedutaan
Australia, Malaysia dan Asia Link.
39.8 cm x 28.5 cm
28 m/s
ISSN 1985-7233
RM 20
Hasil daripada pengumpulan
data oleh ATMA,UKM
mengenai pelukis-pelukis
Melayu serta penglibatan
mereka dalam bidang
seni visual yang menjadi
sebahagian daripada
warisan dan kesenian
budaya Melayu.
ISBN 978-983-3479-429
RM 100
All publication can be purchased at the Gallery Shop located at National Art Gallery. For enquiries please email to
21 September 4 October 2009
Ayala Museum
Makati Avenue corner De la Rosa Street,
Makati City, Philippine
22-23 September 2009, 9am-5pm
Luna and Amorsolo Rooms
Ayala Museum
Additional support is provided
by Philippine High School
for the Arts
www. h a d r i a n me n d o z a . c o m
According to Johan dreams stimulate a combination of
surrealism and denial of responsibility, yet they cannot
be ignored. Dreams are capable of indulging and also
disturbing our everyday lives when our dreams open us
up to the possibility of nightmares. Dreams are considered
to be a series of images, ideas and emotions that visit our
mind at certain stages of sleep. Sigmund Freud considered
dreams to be an expression of the deepest fears and desires
of the dreamer. There is also the theory of lucid dreaming,
or conscious dreaming , which questions our very
existence in the so-called real world. The deep substance
of history and philosophy hidden behind the term dream
interests Johan greatly.
This exhibition consists of a series of digital illustrations
and video work that depicts various indistinct dreams
and indulgences. This is an exploration of the strength of
human soul and how it handles perceptions of reality. Are
we surrendering to an indulgent life style or is the reality
that we view just an extraordinarily clear dream? These
expressions stem from both personal experiences and
also observation of certain negative aspects of daily life in
Australia and Indonesia.
Johan says, These works of mine feel like the fruits my
subconscious minds attempts to talk to me. Now I present
to you what I have found hidden in the corners of my
mind. Please enjoy the works and may you be carried
away by your own dreams.
DREAMS Solo Exhibition of the Visual Art of Johan Marais-Piper
a.k.a Jomapi
7 23 Aug 2009
Jogja Gallery, Yogyakarta
Phone/SMS +62 274 761188,
0888 696 7227
CHANGING PHASES: Relative Spaces explores the
development of Malaysian art practices, examining
the contemporary social environment of Malaysia and
its relationship with its ASEAN neighbours since the
1950s, with selected artworks from the PETRONAS Art
Collection. Curated by Shireen Naziree, prominent South
East Asian art historian, this exhibition also presents the
works from the PETRONAS Art Collection as markers of
Malaysian visual history. It offers a visual journey into the
development of modern Malaysia visitors will be able to
witness and experience rarely- seen historically-signifcant
artworks by established Malaysian-born artists. Their art
will take visitors through the social development and
economic growth of the country, depicting the evolution
of the Malaysian psyche and identity into the progressive
nation as we know it today.
7 Aug- 18 Sept 2009
Galeri Petronas, Level 3 Suria KLCC
Tel : (+60)3-20517770

12 Sept - 12 Nov 2009
Art Salon @ SENI Gallery, Mont Kiara, Kuala Lumpur
10am to 6pm (closed on public holidays)
03-6203 1919 or call Ee Lene at 012-6041434
Born in Penang in 1929, John Lee Joo For will be celebrating
his 80 years birthday on August 25th. He was an art teacher in
St Xaviers Institution, Penang from 1948 to 1957. He pursued
his art education at various British art schools, starting with
Brighton College of Art (1957 to 1958), Camberwell College
of Art (1960 to 1962), culminating in a 2 year post-graduate
scholarship at the prestigious Royal College of Art, London
(1962 to 1964).

Besides art, he is a prolifc printmaker, writer, novelist,
playwright, director, lecturer and art critic. For three years
running (1969 to 1971), he won the Malaysian Drama Festival
Best Playwright of the Year prize and Best Radio Playwright
in Singapore in 1969. He was instrumental in revolutionising
and modernising the theatre and stage in both Malaysia and
Singapore in the sixties. His play Son of Zen was staged at the
Loft Theatre, off Broadway, New York.
At the height of his fame, he migrated to Australia in 1973 to
seek treatment for three of his fve children who developed
muscular dystrophy as well as for more freedom of expression.
He led a quiet life as an art lecturer in Melbourne till 1990
when he returned to the Malaysian arts scne with a vengeance.
He was invited by The Art Gallery, Penang to hold several
solo exhibitions, including a retrospective exhibition in 1995.
He also had a solo exhibition at Art Salon, Kuala Lumpur in
1996. From 1995, his paintings were accepted for auctions
at Christies and Sothebys auctions of S.E. Asian Paintings in
Singapore. The Art Gallery, Penang published two art-books for
him, Lee Joo For Retrospective Catalogue, (1995) and My Name
is Fire- The Art of Lee Joo For (1999). In addition, in 1996, the
gallery also published his novel Sara and Sanjiro (co-authored
with his son-in-law, Stephen Gray) and his musical,
Confucius Sings.
He is a master symbolist and his favourite symbol is the horse.
In his words, My horse is more than a horse. My horse is
humanity. I try to transcend the horse as a simple representation
of reality. In Picassos Guernica, I saw the psychological side
of horses. It can scream for justice.
Currently, he is living in Melbourne but he travels to Malaysia,
especially Penang regularly to visit his relatives and friends.
He was honoured with a retrospective exhibition at the
Penang State Art Gallery in November 2008 together with the
publication of a hard-cover 328 page monograph of his works.
Despite his being kept busy by his painting, he also fnds time
to write and direct musicals and plays. His musical Call of
Guadalupe was staged in Darwin in May, 2007. He produced
Saul Saul, Paul, Paul in 2008. Last year, he directed the passion
play in Melbourne. He has just completed his latest musical,
Francis of Assisi, which will be staged next year in Australia.
I am sure all of us would like to wish Joo For a happy birthday,
and wish him many more years of happy, healthy and
productive life.
15 August 3 September 2009
City Art Gallery, Jalan Ampang, KL.
Daily 11.30am 6.30pm
In conjunction with the nations 52th year of
independence more than 100 Malaysian artists hold a joint
exhibition to demonstrate their patriotism and express their
feelings for the country through their creative works. The
paintings depicting our landscape, lifestyle and culture.
Participating artists include Abdul Rasid Yusof, Cheah Yew
Saik, Cheung Pooi Yip, Fung Yow Chork, Goh Lye Hock,
Loo Hooi Nam, Suzlee Ibrahim, Tew Nai Tong, Yong Look
Lam, Zaharuddin Sarbini etc.
this new series of work refects the collaboration between
Agus and currator Farah Wardani, on their identities as
the average Indonesian Muslim. Drawing inspiration from
prayers, Agus uses colour, texture and repetitive shapes to
explore and interpret these prayers visually.
RECITE! : Indonesian artist Agus Baqul Purnomos solo exhibition
12 Aug 5 Sept 2009
Valentine Willie Fine Art, Bangsar
03-2284 2348,
SG101 ART presents,
Saturday, 26 September 2009
3. 15pm to 5pm
A forum session where academics, curators and artists will examine
Nanyangs dominant position and social framework in Singapore art
history, addressing diverse issues such as identity construct, narrative
gaps, social/stylistic trends, as well as the diffculties in advancing
research in this topic.
Saturday, 3 October 2009
The panelsspeakers will share their exploration on the infuences
and interpretations of the Nanyang Style.
National Library Singapore
Level 5, Possibility Room
What does it mean, Vib-ra-fon? Our brains automatically
compute notions of vibration, a vibe, or pulsating and
resonating energy a defnition confrmed when standing
in font of one of Tony Twiggs most recent timber artworks.
But when we pick up the dictionary, no such word exists.
Vib-ra-fon is an optical show. Continuing from Twiggs
exhibition Expanded discs, previously shown in
Singapore and Manila, this new group of constructions
uses the same foundation - a circle stretched through
linear space. But in these forms Twigg is more acutely alert
to the way we read the object. It is a conversation between
positive and negative space, pushing and pulling our eye
through a set of complex spatial relationships.
VIB-RA-FON [new work by Tony Twigg]
Gallerie TAKSU, 17 Jalan Pawang,
Keramat Hujung
Kuala Lumpur
20 Aug- 12 Sept 2009
Opened Monday to Saturday, 10am-6pm