Issue 01 2009

#01
>THE SEVEN Samurai
are coming!
>MENEMUI Suh Do Ho di Seoul
>SENICast
>NASI LEMAK dan SENI WARISAN NEGARA
>ARTIST Membership
C O N T E N T S
04 Feature
Nasi Lemak dan Seni Warisan Negara oleh Zanita
Anuar
07 Exhibition Highlights
Solo exhibition The Paintings of
Kartika Affandi

Iron Dragon of Malaya : A cutting-edge
photography exhibition of K. Azril Ismail

In Between The Lines : A contemporary
exhibition of Hasnul J Saidon celebrating 29 years
of works
10 Exhibition Review
CUT09: fgure A CUT of complexity in the perceived
social norm by Ng Sek-yan (Seki)
11 Passing
Dalam Kenangan : Ibrahim Hussein oleh Hashimah
Nyok

12 Artist in residence
Menemui Suh Do Ho di Seoul oleh Tan Nan See

14 BSLN Programmes and Activities
16 Cover Artist
Chan Kok Hooi
18 Opportunies
Artist Membership
Tabung Bantuan Seni BSLN
19 Whats On
The unobtrusive guide to the visual art scene, is `packed by our
cover artist Chan Kok Hooi, and served on a plate for your consumption.
This however does not mean we are about to `bungkus (a Malay word for
`pack which indicates to wrap up and be gone), but quite the contrary...
We are here with our # 01 issue.

# 01 is `packed with current material on artists, local and foreign
, including a feature by our RA of RA FineArts who shares some insight
on the celebrated Kartika Affandi.Tan Nan See reports on her residency in
Changdong National Art Studio in Seoul, Korea, Mohd Naguib hails the
Seven Samurai in anticipation of Malaysia-Japan Video Art exchange 2009
and Seki presents his ` frst cut on the VWFA exhibition CUT 09.

The sudden passing of our legendary Maestro, Ibrahim Hussein on the
19th February stunned us. We halt printing so we may dedicate a page in
honour of him. Ib leaves us with a vital lesson in contemplating Greatness,
in Art and Life, now and hereafter...that nothing compares to The # 1
Dr. Mohamed Najib Ahmad Dawa
Editor-In-Chief
Editorinc.
Any feedback and comments please email to us at:
wening@artgallery.gov.my
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.
PUBLISHER
Balai Seni Lukis Negara
National Art Gallery Malaysia
No 2, Jalan Temerloh
Off Jalan Tun Razak
53200 Kuala Lumpur
MALAYSIA
P : 603 4026 7000
F : 603 4025 4987
W : 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 EDITOR Zanita Anuar l DEPUTY EDITOR
l Wening Cheah l EDITORIAL TEAM Hashimah Nyok dan Tan Sei Hon
l CONTRIBUTORS / WRITERS Raja Ahmad Aminullah, Tan Nan See,
Faizal Sidik, Seki Ng, Mohd Naguib Razak, Haniff Ayob, Hashimah Nyok
and Zanita Anuar l DESIGN Nuzaihan Mustapa l PHOTOGRAPHY
Muhamad Akmal Hakim and Mohd Fitri Abd Rahman l
Cover Artist : CHAN KOK HOOI
I am what I eat and I am what I read are the two
sayings I wish to explore in my cover design
for .

I like to eat nasi lemak!
The rice in coconut cream is really delicious! It is
very popular and can be found on almost every street
corner and in almost every local menu in restaurants
in Malaysia. Nasi lemak is commonly packed using
banana leaves with a second layer of old newspapers.
In many ways, the eating ritual is accompanied with
a random dose of reading whilst feeding the hunger
pangs.
My design for may be misinterpreted as a
disregard for the publication, something only to wrap
nasi lemak. Alamak! But on the contrary I wish
for something positive : I long for a newsletter on
Malaysian art to be as ubiquitous as the humble nasi
lemak, in its presentation and taste; a sign that the
visual arts too possess substance and equal popularity
in our country.
Digital photography by Zaihan
ISSUE #01
NASI LEMAK
DAN SENI WARISAN
NEGARA
l oleh Zanita Anuar
FEATURE
ISSUE #01
04
S
ebelum 14 Februari 2009 barangkali tidak pernah terlintas di
fkiran masyarakat umum tentang peripentingnya nasi lemak
sebagai Warisan Negara. Pernahkah terlintas difkiran masyarakat
bahawa seni akan berkedudukan dengan nasi lemak?
Warga negara turut berbangga apabila Pesuruhjaya Warisan YBhg
Dato Prof Emeritus Dr Siti Zuraina Majid ( bekas Ahli Lembaga BSLN )
dibawah kuasa Akta Warisan Kebangsaan 2005 (Akta 645) telah berjaya
meyakinkan Menteri Perpaduan Kebudayaan Kesenian dan Warisan
Malaysia, YB Dato Seri Hj Mohd Shafe Apdal mencalonkan kedua-dua
entiti : nasi lemak dan seni itu dikalangan 173 butiran warisan yang
menempa gemilang di suatu pagi di SMK Victoria, Kuala Lumpur.
Dalam bungkusan, maaf, bingkisan watikah warisan tersebut
sebenarnya telah diberi kesempatan bagi sebilangan karya seni visual
dari Koleksi Himpunan Tetap BSLN yang sejumlah 22 karya telah
diangkat sebagai Daftar Warisan Kebangsaan 2009.
Apa yang lebih menarik adalah secara kebetulan ada
antara pelukis yang terdaftar di senarai diatas, terdapat
dua daripadanya yang telah terlibat secara langsung
dengan Victoria Institution. Mereka adalah Sir Frank
Swettenham dan Dato Mohd Hossein Enas.
Di sebalik kesibukan deklarasi warisan tersebut,
di pelusuk sebuah bilik di dalam Sekolah Victoria
Institution tergantung sebuah potret Ratu Victoria yang
ditempah oleh Pesuruhjaya Tinggi British, Sir Henry
Gurney untuk dilukis oleh Mohd Hoessein Enas pada
tahun 1949. Sir Henry telah bersetuju untuk sebuah
potret kecil Ratu Victoria yang dihasilkan secara cetakan
gurisan dilukis dalam lakaran pastel terlebih dahulu,
dan apabila telah berpuashati dengan lukisan pastel
Hoessein enas, beliau terus bersetuju untuk menempah
supaya lukisan potret minyak diusahakan. Lukisan potret
minyak yang diwartakan sempat disiapkan dalam masa
dua minggu yang berukuran lebih kurang lapan kali
lebih besar dari saiz potret gurisan terawal itu.
Apabila siap sahaja dalam bulan September 1951,
potret itu terus dihantar ke rumah Pesuruhjaya tinggi
di Kings House. Namun takdir menentukan pada 6
Oktober di zaman darurat ketika itu, Sir Henry Gurney
telah ditembak mati oleh pejuang kebebasan di Bukit Fraser.
Lantas lukisan Ratu ini tidak sempat beliau hadiahkan
ke pihak sekolah.
MOHD HOESSIEN ENAS
Datuk Minah, 1958, Cat minyak atas kanvas
45.5 x 35 cm, Balai Seni Lukis Negara
(BSLN1958-006)
Lukisan potret minyak rakaman wajah gadis Melayu di tahun 50an dengan
ikatan sanggul dan pakaian tradisi.
Penggunaan teknik impasto catan cat minyak yang baik dalam genre potret.
Gambar dan teks dengan ihsan dari Chung Chee Min dan Ooi Boon Kheng di http://viweb.freehosting.net/Q-Vic.htm
ISSUE #01
05
Selepas 14 Februari 2009, SMK Victoria yang berusia 116 tahun
akan diamanahkan untuk dipelihara dan dipulihara oleh Kerajaan
Malaysia. Awal dari itu pelbagai tokoh dan pelopor Selangor
termasuk Sultan Abdul Samad, Yap Kwan Seng, Loke Yew dan
Thamboosamy Pillay telah bergiat untuk menubuhkan sekolah bagi
penduduk tempatan dan mencadangkan kepada Residen British
W.H. Treacher supaya wang lebihan dari Bajet Perayaan Jubli Ratu
Victoria pada tahun 1887 digunakan kearah ini. Cadangan ini
diambil baik oleh Residen-General Sir Frank Swettenham yang juga
telah bekerjasama untuk menambahkan dana bagi menjayakan
penubuhan sekolah ini.
Beliau pasti tidak terjangka bahawa lukisan beliau akan diangkat
dalam deklarasi Senarai Warisan Kebangsaan di Victoria
Institution ini!
Mungkin ada pentingnya
isu gelaran warisan
di beri perhatian dan
sentiasa hidup selagi
diundang tanya.
Sehingga hari ini belum timbul sebarang
pertanyaan, selain dari senyuman setuju oleh
Eric Peris dan panggilan telefon Datukv Syed
Ahmad Jamal yang menyoal saya sekiranya BSLN
telah terlepas pandang akan pelukis Kuo Ju Ping.
Seniman, karyawan dan masyarakat umum belum
berkesempatan memberi maklumbalas.
FRANK SWETTENHAM
The Great Offce That Stands on Kangsar Hill
1884, Water colour on paper
25.4 x 17.9 cm, Balai Seni Lukis Negara
(BSLN 1999-070)
Rakaman lokasi Pejabat Residen Inggeris di tepi Sungai Perak.
Olahan artistik yang baik oleh Gabenor Sir Frank Swettenham.
Dokumentasi tumbuhan dan bentuk muka bumi yang amat sensitif.
O. DON PERIS
My Wife Wedding Dress, 1933
Oil painting, 74 x 48 cm, Balai Seni Lukis Negara (BSLN 1998-045)
Potret fgura penuh pengantin Serani yang dilukis di era pra-merdeka yang
memberi indikasi kepada kemajmukan masyarakat Malaysia.
Pelukis ialah seorang pelukis DiRaja Johor dari keturunan Sinhalese.
GEORGE GILES
Swettenham on Raft Leaving Permatang Tinggi, 1885,
Pensil atas kertas / Pencil on paper, 8.4 x 17 cm,
Balai Seni Lukis Negara (BSLN 1999-051)
Lakaran fgura Sir Frank Swetthenham dan kakitangannya
ketika mudik di sungai.
Gambaran visual terawal sebuah rakit bertingkat yang
diperbuat daripada buluh.
GEORGE GILES
Che Ali, 1885, Cat air atas kertas
6.7 x 13.9 cm, Balai Seni Lukis Negara
(BSLN 1999-049)
Dokumentasi fgura penuh seorang lelaki Melayu abad ke 19 yang
juga seorang bomoh.
Bukti visual yang menggambarkan perwatakan Melayu yang
berani.
06
CHUAH THEAN TENG, DATUK
Perairan Pulau Pinang / Penang Waterfront, 1952,
Batik on cloth, 61 x 130 cm
Balai Seni Lukis Negara (BSLN 1958-003)
Karya terawal yang memperkenalkan teknik batik di
dalam seni lukis moden Malaysia.
Gambaran aktiviti sosial masyarakat di perairan Pulau
Pinang ketika tahun 50an.
Rakaman pakaian, peralatan dan pengangkutan air.
PATRICK NG KAH ONN
Semangat Tanah, Air dan Udara /
Spirit of Earth, Water and Air, 1958
Oil on canvas, 137 x 122 cm
Balai Seni Lukis Negara
(BSLN 1958-005)
Karya seni lukis ikonik moden Malaysia
yang penting dan menunjukkan indikasi
ke arah mewujudkan identiti seni visual
tempatan negara.
Rakaman kosmologi Alam dan Manusia,
dimana pelukis memotret dirinya sendiri di
dalam lukisan pada latar hadapan karya.
GEORGE GILES
Raft Boatman on Pahang River,
1885, Water colour on paper
17.4 x 16.8 cm,
Balai Seni Lukis Negara
(BSLN 1999-048)
Rakaman pengangkutan air
tradisional yang menjadi kenderaan
perhubungan lazim pada
kurun ke 19 .
Dokumentasi aktiviti dan pakaian
harian masyarakat tempatan dari
sudut kacamata orang asing.
FRANK SWETTENHAM
Perak River From The Residency Kuala
Kangsar, 1884, Water colour on paper
17.4 x 25.2 cm
Balai Seni Lukis Negara
(BSLN 1999-105)
Sebuah lukisan rakaman Alam senibina
kolonial dan bentuk muka bumi Malaya awal
kurun ke 19.
Olahan tona warna (bukit-bukau) yang
berkesan dalam bentuk Impresionis.
Sudut pandang Gabenor Sir Frank
Swettenham dari tempat kediaman beliau di
Kuala Kangsar pada ketika itu.
TAY HOOI KEAT
Lembu Berlaga, 1958,
Cat minyak atas kanvas, 60 x 49cm,
Balai Seni Lukis Negara (BSLN 1958-012)
Rakaman aktiviti selepas musim menuai
masyarakat tani tradisi.
Pendekatan artistik menggunakan hal benda
(subject matter) aktiviti tradisi yang diolah secara
kontemporari.
TAN TIANG YEO
As Night Begins
c1950s, Gelatin Silver Print
44.5 x 39.3 cm, Balai Seni Lukis
Negara (BSLN 1963-435LWT)
Karya fotograf piktorialisme yang
menggambarkan dua orang semasa
peralihan waktu disuatu ketika tanpa
kemudahan bekalan elektrik.
Rakaman senibina, pakaian dan
sejarah kehidupan masyarakat di Malaya.
GEORGE GILES
Boatman on Pahang River,
1885, Pencil and water
colour, 22 x 17.2 cm,
Balai Seni Lukis Negara
(BSLN 1999-073)
Dokumentasi sejarah kolonial
perjalanan Sir Frank Swettenham
mudik di Sungai Pahang.
Pengolahan fgura yang
menggambarkan para tenaga
buruh yang bersama dalam
ekspedisi bersejarah itu.
YONG MUN SEN
Conversation / Perbualan
1941, Oil on canvas, 107 x 117 cm
Balai Seni Lukis Negara
(BSLN1990016)
Olahan seni lukis impresionis pra merdeka
yang ikonik.
Gambaran kehidupan masyarakat tradisi
yang bergantung hidup dengan sungai.
Aktiviti membasuh kain dan rakaman cara
berpakaian.
FRANK SWETTENHAM
In The Taiping Hill, 1884
Water colour on paper,
20.6 x 13.9 cm, Balai
Seni Lukis Negara (BSLN
1999-069)
Dokumentasi landskap lokasi
bersejarah, Bukit Taiping.
Lakaran lukisan cat air yang
mempunyai nilai impresionisme
terbaik oleh Sir Frank
Swettenham.
ABDULLAH ARIFF
Bumi Yang Bahagia Lombong Bijih Timah
Malaya 1960, Cat air atas kertas
36.5 x 54 cm,
Balai Seni Lukis Negara (BSLN 1961-003)
Lukisan rakaman landskap, pekerja dan komuniti
lombong bijih timah yang menjadi sumber
terpenting ekonomi negara suatu ketika dahulu.
Pelaksanaan artistik gaya impresionis yang terbaik
dalam media cat air atas kertas.
WILLIAM SAMWELL
Market Place Telubin & Fish Market, 1893,
Water colour, 30.5 x 50.8 cm,
Balai Seni Lukis Negara (BSLN 1999-139)
Lukisan rakaman aktiviti ekonomi dan perdagangan
awal masyarakat tradisi Malaya.
Dokumentasi ketamadunan senibina,
pengangkutan air, sungai, pakaian dan tumbuh-
tumbuhan.
Gambaran alam Melayu sebelum Perjanjian
Inggeris-Siam 1909.
FRANK SWETTENHAM
Batu Serlin Pahang River 3 Mei 1885,
Water colour on paper, 18.1 x 25.2 cm,
Balai Seni Lukis Negara (BSLN 1999-045)
Mempunyai kepentingan dari sudut perspektif
sejarah dan persekitaran dokumentasi ekspedisi
Sungai Pahang dan landskap pada masa dan
ketika itu.
Menggunakan pendekatan teknik klasik dengan
imej di tengah serta nilai estetik yang
memuaskan.
Pelukis ialah seorang pentadbir kolonial, Gabenor
Negeri-Negeri Selat, Sir Frank Swettentham
AB IBRAHIM (IBRAHIM ABU BAKAR)
Pemandangan / Landscape, 1940
Cat air atas kertas, 59 x 50 cm,
Balai Seni Lukis Negara (BSLN 1995-01)5
Satu-satunya pemandangan kampung nelayan
berlatarbelakangkan Gunung Jerai.
Pendekatan estetik yang menjadi rujukan
masyarakat ramai dalam apresiasi lukisan cat air.
WILLIAM SAMWELL
River Pergau State of Kelantan
1893, Water colour, 30.5 x 50.8 cm
Balai Seni Lukis Negara (BSLN 1999-147)
Rakaman naturalistik peneroka British ke atas
rupa bentuk muka bumi; sungai, daratan dan
bukit bukau serta kehidupan liar di Sungai
Pahang kurun ke 19.
Olahan panorama landskap yang naif namun
terpenting sekali kerana maklumat visual yang
teliti.
CHEONG LAI TONG
Mencelop Batik, 1958,
Cat minyak atas kanvas
93.2 x 60.2cm
Balai Seni Lukis Negara
(BSLN 1958-007)
Aktiviti sosial dan ekonomi
masyarakat tradisi.
Rakaman pakaian dan cara
hidup awal Malaya.
Pendekatan gaya kubisme seni
yang terbaik.
CHUNG CHEN SUN
Kampung Nelayan / Fishing
Village, 1958, Chinese ink on
paper, 138 x 67cm,
Balai Seni Lukis Negara
(BSLN 1958-021)
Satu-satunya karya olahan lukisan
berus cina yang menampilkan
subjek kampung nelayan
tempatan.
Indikasi kemajmukan gaya dalam
seni lukis Malaysia.
SYED AHMAD JAMAL,
Datuk Mandi Laut, 1957
Cat minyak atas papan
112 x 87 cm
Balai Seni Lukis Negara
(BSLN 1959-004)
Pendekatan gaya seni lukis
moden separa abstrak yang
merakamkan tabii masyarakat
Malaya.
Merakamkan ciri-ciri tempatan
dalam era merdeka melalui
cara berpakaian/ berkemban
berlatarbelakangkan landskap di
tepi pantai.
1. Mohd Hoessien
Enas, Datuk Minah, 1958
2. George Giles Swettenham on Raft Leaving Permatang Tinggi, 1885
3. O. Don Peris My Wife Wedding Dress, 1933
4. George Giles Che Ali , 1885
5. Frank Swettenham The Great Offce That Stands on Kangsar Hill, 1884
6. A.B Ibrahim
( Ibrahim Abu Bakar) Pemandangan/ Landscape, 1940
7. Abdullah Ariff Bumi Yang Bahagia Lombong Bijih Timah, 1960
8. Frank Swettenham Batu Serlin - Pahang River, 1885
9. Frank Swettenham Perak River From The Residency Kuala Kangsar, 1884
10. William Samwell Market Place Telubin & Fish Market, 1893
11. Chuah Thean
Teng,Datuk Perairan Pulau Pinang/ Penang Waterfront, 1952
12. Yong Mun Sen Conversation/ Perbualan , 1941
13. William Samwell River Pergau State of Kelantan, 1893
14. Tan Tiang Yeo As Night Begins, c.1950s
15. Tay Hooi Keat Lembu Berlaga, 1958
16. George Giles Raft Boatman on Pahang River, 1885
17. Patrick Ng Kah Onn Semangat Tanah, Air dan Udara /
Spirit of Earth, Water and Air , 1958
18. George Giles Boatman on Pahang River, 1885
19. Frank Swettenham In The Taiping Hill, 1884
20. Chung Chen Sun Kampung Nelayan / Fishing Village, 1958
21. Cheong Lai Tong Mencelop Batik, 1958
22. Syed Ahmad
Jamal, Datuk Mandi Laut, 1957
22 karya Seni Warisan Negara
ISSUE #01
EXHIBITION HIGHLIGHTS
07
SOLO EXHIBITON
THE PAINTINGS of
Kartika Affandi
l by Raja Ahmad Aminullah
Indonesian
artist Kartika has
certainly undergone
an interesting and extraordinary personal journey.
She has undergone various phases throughout that
journey. In her early years, she travelled with her
father, Indonesias most celebrated painter Affandi,
to Malaya and Singapore.
(Chairil Anwar, Indonesias leading poet of
Angkatan 45 had written 2 poems dedicated
to Affandi. As young man in 1940s they had
contributed tremendously in the feld of art and
culture for the revolutionary movement which
was fghting for Indonesias independent from
their colonial masters the Dutch. In fact, Affandi
drew several posters including one which became
extremely famous which contained the slogan
Ajo Boeng. It was essentially a call to the youth
to actively participate in the nation struggle for
independence.)
In the early 50s Kartika followed her father in
attending courses at the (Rabindranath) Tagore
University in Shantiniketan, India. After that she
was in the metropolitan city of London where she
met with her eventual frst husband, Sabtohoedojo.
Malaysias own Seniman Negara (National Artist)
Syed Ahmad Jamal once recounted to me how he
had encountered the young Sabto who was often
seen on his big motorcycle going around London as
a student in the 1950s. Kartika obtained 8 children
from her frst marriage.
We can see the intensity in self portraits done from
the 1980s onwards.
One of her paintings, entitled Terbelenggu (In
Chains), 1997 expresses the feelings of a woman
who sometimes felt herself constrained or framed
by structures as well as the cultural milieu of her
society.
After all that is said and done, Kartika is an artist
who projects optimism and cheerfulness. She is
seldom seen without her trademark smile and
infectious laughter. In fact, her presence in any
setting, in my experience always ensures that the
gallery is imbued not only with laughter but also
with a sense of joie de vivre.
Thus I was fortunate, along with my colleagues,
to be at her seventy-fourth birthday reception at
her home in the foothills of Gunung Merapi last
November 27th, I could easily see how her being
there exalted the close circle of family and friends
that were invited. There were a couple of friends
from around the area, as well as an Austrian and
also Mary Northmore-Aziz, the American widow of
the famous Indonesian painter, Abdul Aziz. Kartikas
fock of children and grandchildren gave eloquent
testimonies as to how much she meant to them.
In return, the look in her eyes and her expressions
clearly showed that her feelings were mutual.
Her son-in-law led the short prayers and her
granddaughter, Anen, gave an eloquent speech
on behalf of the family. I had actually composed
several pantuns for Kartika for the occasion but
decided not to read it. If there is a word that can
best describe Kartika, it is her spirit, her verve.
A year ago when we accompanied her to an outing
in Kampung Baru, Kuala Lumpur, she insisted
on being left to her own devices. She returned
later in the day to regale us with stories on how
the Kampung Baru children had focked to her,
watching her paint and she, in turn, teaching them
the basics.
Kartika is certainly an artist who doesnt live in
isolation. She seems happiest when she is able
to communicate with a larger audience. She may
enjoy the fact that her paintings have been hung
for display in galleries. And they certainly have,
in Indonesia, Singapore, Italy, Germany, France,
Algeria, Belgium, Australia, The Netherlands,
Austria, Hong Kong, Brazil, Eastern Europe,
Thailand, Taiwan, China, Hungary and the United
States.
Her works have been extensively written of by,
among others, Astri Wright, in the book Soul,
Spirit and the Mountain Preoccupations of
Contemporary Indonesian Painters (Oxford
University Press, 1994).
In addition, Kartikas work has been discussed by
the writer Claire Wolf Krantz in the magazine Art in
America in 1996 where she notes that Kartika is:
...notable for expressing a female vision,
overcoming not only the diffculty of developing
an I in a society defned by we but the extra
burden of being female in a paternalistic Muslim
world. Few women are taken seriously as artists,
and society pressures women to marry and devote
their creative energies primarily to the considerable
demands of Indonesian family life and community
duties. Kartikas personal struggles are brutally clear
in paintings such as Reborn and The Beginning, in
which depictions of the artist being torn apart and
giving birth to herself are couched in disturbing,
nightmarish terms.
Kartikas adventurous spirit was manifested when
taking part in the Pekan Seni Ipoh International Arts
Festival III in 1998. She took off for a week to spend
time at the Thai-Cambodian border. Later, her son,
Didit, told me that she had roughed it out staying in
tents without the beneft of modern amenities in the
border area.
Orang tua-tua sering berkelahi,
Bagaimana situasi akan datang?
(Protes anak-anak kecil)
The old frequently quarrel among
themselves, What does the future behold
(Impassioned voices of protest
from the young)
On a personal note, her generosity of spirit has
been manifest to me many times in terms of
taking part in exhibitions, including those with a
charity element, such as the Palestinian exhibition,
Tabah Dalam Derita, which we held in 2007. She
quickly volunteered a painting for the exhibition.
But actually this is something that is a part of her
trajectory. She takes care of Muzium Affandi and
has taken part in various auctions to help victims
of the earthquake, street children, the building
of religious buildings, UNICEF, as well as doing
workshops for tsunami victims in Meulaboh, Acheh.
In a statement quoted in the book, Indonesian
Woman Artists The Curtain Opens (Carla
Bianpoen, Farah Wardani, Wulan Dirgantoro),
Kartika is quoted as saying:
I realised my fathers ubiquitous infuence on my
technique and style and I have always tried to step
out of the shadow.
However, since I have been familiar with her
works since almost twenty years ago I do not feel
that there is any reason to mistake the strength of
Kartikas own artworks. Bianpoen herself says that :
and while part of her works show the
unmistakable infuence of her father, her self-
portraits are distinctly radical and rooted in real
life contexts carrying narrative meaning, while
the spiralling strokes are certainly less curly if not
absent at all.
ISSUE #01
7 JAPANESE VIDEO ART WARRIORS WILL
BE COMING TO KL & PENANG FOR THE
MALAYSIA-JAPAN VIDEO ART EXCHANGE
(MAJAVAE) 2009
Serious
plans are well on the way to
realising a major event in the
Malaysian video art scene: the Malaysia-Japan
Video Art Exchange to be held in late 2009.
The project is the brainchild of Hiroaki Sato, who
has just published a book in Japan called Video
Art as a Weapon, Katsuyuki Hattori, Hasnul J
Saidon and Mohd Naguib Razak.
The Malaysia-Japan Video Art Exchange or
MaJaVAE, to be held in two sessions in both
Malaysia and Japan, will feature four sub-sections:
EXHIBITION/SCREENING of major video art works
from both countries; an open FORUM on the
future of video art, featuring video artists from both
countries; WORKSHOPS for engagement/exposure
between the visiting video artists and visual art
students in local universities and colleges; and one-
to-one COLLABORATIONS between Malaysia and
Japanese video artists during and between the two
sessions which is expected to result in fresh new
video art works.
The two sessions have been tentatively scheduled
for October 1st, 2009 in Japan and for November
1st, 2009 in Malaysia.
In each country, visiting video artists will interact
with local video artists in two cities, representing
the old and new or the ancient and modern in both
countries. In Japan, the MaJaVAE will commence
in Tokyo and shift to Kyoto, before fnally returning
to Tokyo again, whilst in Malaysia, the summit will
begin in Kuala Lumpur at the National Art Gallery
of Malaysia, and then proceed to Penang, before
returning again to Kuala Lumpur.
THE SEVEN
SAMURAI ARE
COMING
l by Mohd Naguib Razak
On
10 25 January 2009, Iron dragons of
Malaya, a cutting-edge photography
exhibition and coffee table book featuring images
taken at the historical Sentul Workshop was
exhibited at the Kuala Lumpur Performing Arts
Centre (KLPac). IRON DRAGONS OF MALAYA
showcases a collection of artistic images taken at
the historic locomotive depot in Kuala Lumpur
the Sentul Workshop to which Sentul owes its
epithet: City of Locomotives.
Built in 1905, Sentul Workshop is the central de pot
and workshop in Peninsular Malaysia. Occupying
13 aches of land, it is on of the largest of its kind in
the region and is rich in history. In 1944, the facility
was bombed by Allied forces in an attempt to
disrupt the mobility of Japanese occupying force.
Generations of families have dedicated their lives to
the nations railway industry through their services
at Sentul Workshop. Their livehoods also depended
and revolved around the facility. This year Sentul
Workshop will close its doors as operations move
to a new facility in Batu Gajah, Perak.
The keywords for this exhibitions design was to
approach & deliver a new complimentary way
how the Sentul Workshop, or the Sentul Works
being depicted as a point of origin, a place where
Power, Memories, & Life-line of this countrys
mode of transportation. In this case, the Malayan
railway.
Despite the Second World War, and seeing
us through two foreign administrations, Sentul
Workshop is still standing today. We do not
know the fate of the facility when it does cease
operations, so it is important that its history is
documented in pictures,, said K Azril Ismail, lead
photographer and initiator of the iron Dragons
of Malaya project. Azril described the images
as wistful and rustic, and truly refect the long
romantic history of the nations railway heritage.
Projecting these essence to be the primary
visual experience by crating a staged-simulation
of the railway station platform, surrounded by
selected imageries from a year-long portfolio and
a Centerpiece construction that was designed
with geometric idea of balance & power; the
triangle.
The Iron Dragons of Malaya exhibition showcased
works by three progressive young artists Anis
Ramzi, Latfy Latif and K.Azril Ismail. Together they
produced a series of images using the latest High
Dynamic Range (HDR) photography technique, a
known method in photography. Those images were
presenting on lightbox displays, enhancing further
the HDR effects, which make the images appear
almost 3-Dimensional.
This exhibition has to communicate that speak to
the viewers individually as visual quality creates a
visual symphony.
The process of putting together the exhibition is
documented online at the project website
www.irondragonsofmalaya.com
08
ISSUE #01
I personally realised this when I saw her work
exhibited for an exhibition at the Pekan Seni Ipoh
International Arts Festival III in 1998. Her painting
exhibited in that exhibition portrayed to me a
woman of very strong character and personal
resilience. This is evident even though I was not
personally appraised of the trajectory she had
personally gone through in the personal dimension
of her lifes journey.
Of course these is also manifested in paintings
like My Head Is Broken (1995), and Demanding
Freedom (1995), where the fgure is seen grappling
with a length of barbed wire that she is trying to
rent asunder with her bear hands. Perhaps this
particular aspect of her artistic journey could
be traced to a painting she did in 1991 entitled
Kelahiran Kembali (Rebirth).
Thus, her subjects may cover still life or nature or
sunfowers, but there is a certain joie de vivre that
is discernable from her works.
Her painting of landscapes whether it is in Beijing,
Amsterdam, Vienna, Melaka, Ipoh or Jogjakarta
refects her passion as a citizen of the world who
is equally at ease
at the warongsoto
in her own country
or any dining
experiences
anywhere in the
world.
Her passion is
perhaps partly
inspired by her
residence near
the foothills of
the legendary
volcanic mountain, Merapi, which is famous for
its occasional expressions of hot outpourings or
lava which could be synonymous with a certain
passion and celebration of life. Her gelora could
also be interpreted as being moulded in the white
heat crucible of a nascent nation fnding its weight
through the early years of independence from their
colonial overlords.
Thus it is with Kartika. Although she herself at
times admits to a certain temperament, for me it is
essentially the expression of an artist who has been
on a life journey flled with hopes, expectations,
aspirations, optimisms which of course brings with
it sometimes parallel feelings of disillusionment,
exasperation or even fashes of anger.
But the bottom line remains exceptionally
simple. She is an artist who has embarked on a
journey which steadfastly wants to maintain a
certain degree of independence fuelled by large
doses of enthusiasm for personal honesty and
integrity, artistic and otherwise. To me this is the
quintessential Kartika, a woman who expresses
herself directly with all her reserves of honesty and
sincerity, of refusing to hide behind a mask or veil
of pretence or hypocrisy. Her smile is a genuine
one, she is not holding a dagger at her back.
At seventy-four years old Kartika has certainly come
up with artworks that are evident of her artistic
and personal journey. R A Fine Arts is indeed very
pleased to be able to host Solo Exhibition The
Paintings of Kartika Affandi in Kuala Lumpur. We
wish her many more years of artistic creativity
emanating from her celebration of life and all its
possibilities.
Recently, she mentioned to me how she was
organizing an anti-stress exhibition for women.
When asked by a young lawyer, Nadia Sabrina, of
her secret of not allowing herself to be engulfed by
stress, she simply replied, to enjoy life. Perhaps I
should add, to smile always.
IRON DRAGON
OF MALAYA :
A CUTTING-EDGE
PHOTOGRAPHY
EXHIBITION
of K.Azril Ismail
contemporary art history taking root in the country
in the 1970s. The keen understanding derived
from this profound period of development has led
Hasnul to understand that he must remain involved
as a contributor more than an observer or risk
having to drift away from his lifes calling.
In
Between The Lines (IBTL) represents a
repertoire of drawings by Hasnul J Saidon
showcasing a body of works spanning 29 years
since he frst pursued his passion for art in 1979.
The month-long exhibition beginning 15 December
2008 that held at Galeri Chandran invites viewers
to read-between-the lines of an artists journey
through the trials and challenges of his lifes calling
working with various mediums and methods.
Instead of fnished works, IBTL mostly contains
preparatory sketches, studies, concept drawings,
storyboards, notes, mind-maps, cartoons and
comics that not only intimate or are integral to
Hasnuls trans-disciplinary output providing hints
underlying the basis of his fow of thoughts and
ideas. Fittingly, Hasnul is highly regarded as one of
the rare outstanding pioneers in electronic arts in
the country.
Hasnul after all, has an intellectual history having
established himself during the initial stages of
Jamal has a striking capacity to replicate
images and transform them into new
traces, here his reinscription of the national
artist, Hoessein Enass famous drawing
Aida, may seem simple yet challenges us to
recognize that our eye receives information
processed by two artists assimilated in one
form fooding our retina to become a signal
re-encoded.
How many times have we laid eyes on a
woman, but never really see her?
- Zanita Anuar,
Curator of In Between The Lines
Hiroaki Sato is a prominent member of Japans
Video Art fraternity and has been a regular jury
member for the JVC-sponsored Tokyo Video
Festival. He is also the leading fgure behind the
Spread Video Art Project in Japan. The other project
initiator from Japan, Katsuyuki Hattori, is one of the
founding members of Video Art Center of Tokyo.
On the Malaysian side, Hasnul J Saidon has been
a leading fgure in the Malaysian video art scene
since the early 90s and is currently the Director of
Muzium & Galeri Tuanku Fauziah, Universiti Sains
Malaysia, Penang, whilst Mohd Naguib Razak is
an established flmmaker-producer of documentary
and experimental flms.
MEETING IN SHINJUKU
The project was the culmination of many
discussions, that began as early as in 2002, and,
more recently, through frequent deliberation via the
internet, until fnally a small meeting was arranged
by Naguib for the three video artists to meet in
Tokyo last November and to discuss these plans
earnestly and thoughtfully.
The meeting was conducted in the pulsating
atmosphere of the well-known izakaya called
Roman-Bou, famous for its Gaudi-like exterior in
the Blade Runner-esque metropolitan scene of
Shinjuku and a popular meeting place for theatre
and publishing people.

During this meeting, the 3 video artists agreed
that, apart from showcasing video art from both
countries, it was important to establish a strategy to
create dialogue with the general public, including
non-academic video creators, as well as having
activity that would be benefcial for students of
visual arts and related studies.
This meeting was followed a few days later
by the screening of a selection of Malaysian
video art works within a specially curated
programme entitled, Gado-Gado during the
BUREIKOUNISURU Festival of Video Works in
Tokyo on November 29th and 30th, 2008 at the
Victor Company (JVC) Building in Shimbashi.
BUREIKOUNISURU, which means abandon all
ceremony, is a small video art festival initiated by
Sato-san and Hattori-san to create closer rapport
and discussion amongst video art creators and
enthusiasts. Amongst the usual audience were
members of the Moving Image Society in Japan,
experimental flmmakers, photographers, fashion
designers, university professors, painters, video
artists, writers, unemployed people and university
students.
Video art works by Hasnul, Roopesh Sitharan,
Nurhanim Khairuddin, Anuar Ayob and TC Liew
were screened and discussed. This small screening
was prepared as a small appetizer of the larger
collection of Malaysian video art works still to
come during the eventual Malaysia-Japan Video Art
Exchange towards the end of 2009.
The Japan section of the Malaysia-Japan Video Art
Exchange is expected to be supported by The Japan
Foundation in Japan, the Tokyo Video Festival, the
Victor Company of Japan (JVC), as well as the Video
Art Center of Tokyo, whilst the Malaysian section
already has the backing of the National Art Gallery
of Malaysia in Kuala Lumpur and Muzium & Galeri
Tuanku Fauziah in Penang. Further sponsors are
expected to be confrmed within the next few
months.
The project organisers are currently compiling a
comprehensive list of Malaysian video artists and
welcome voluntary information or involvement
from professional and amatuers video artists from
Malaysia.
It is hoped that this major event will provide a
signifcant boost for the local video art scene and
become a turning point for the development for
future video artists here.
Mohd Naguib Razak was able to visit Tokyo and
arrange the above meeting with the generous
assistance from the National Art Gallery of
Malaysia.
For further information and event
participation, please contact Naguib at
naguib_razak@yahoo.com
IN BETWEEN
THE LINES : A
CONTEMPORARY
EXHIBITION
of Hasnul J Saidon
celebrating
29 year of work
09
Veil of Nurbaya- saya pun ada (I own too),
74cm x 122cm, Digital print on canvas,
2007, BSLN Collection
Coursemates #3, 49cm x
84.5cm, pencil, pen, marker
on paper, 1986
Coursemates #1, 49cm x
107cm, pencil, pen, marker
on paper, 1986
Coursemates #2, 49cm x
107cm, pencil, pen, marker
on paper, 1986
ISSUE #01
EXHIBITION REVIEW
CUT09 : FIGURE
A CUT OF COMPLEXITY IN THE
PERCEIVED SOCIAL NORM
l by Ng Sek-yan (Seki)
I
have never been one who would take up the initiative to visit a
photography exhibition but something about CUT09: fgure caught
my attention while I was one day browsing the internet for a good
exhibition to have a look. The cover picture for their offcial website
featured a woman with the head of an octopus being playfully chased
by a rabbit. My frst impression of it was to think that it was just another
photo manipulation. However, something was different about it and
I decided to browse through the site in detail. How glad I was that I
decided to take a deeper look!
As I read the description of what CUT09: fgure was about, I became
more and more intrigued. The concept challenged what we perceived
to be a norm in our daily lives and brings to us a whole new
perspective of what it seems NOT to be. Oftentimes, we just accept the
way things are in the world but have we ever thought about why it has
to happen that way? We do not. We just accept what is served to us on
a platter without even knowing the ingredients or how it is prepared.
As I later found out, the exhibition focuses on bringing out the role of
photography, not anymore as a means for documentation purposes, but
also a tool to provoke the set of ideals we sometimes blindly accept.
The exhibition showcases the works of 14 (fourteen) different artists
from South East Asia, which includes three local talents; Diana Lui, K.
Azril Ismail and Yee I-Lann. Each of the 14 artists tells a different story
from their point of view from the fip side of the coin with regards to
different issues such as culture, sexuality, instincts, politics and history.
A particular local artists work interested me. Diana Luis pictures
featured nude women posing in closed intimate spaces. Her research
focuses on the returning females to their original bodies in which to say
returning them to their very own self. She challenges the idea of what
an ideal body of a woman should be like due to the common beliefs of
the world which sets a supposed standard causing the female gender
to live up to either by means of dieting, plastic surgery or extreme
exercising. The naked as she would prefer to call them, presents the
body as it is, offering a different idea of beauty from that of which is
dictated by the media.
Another artist whose works were equally intriguing hails from a country
up north. Thai national, Maitree Siriboon features in his photographs,
foreigners posing with a countryside background of Thailand. Isarn Boy
Dream challenges the perception of foreigners on the side of Thailand
which is rarely seen and appreciated. He said that although 60% of
Bangkoks population roots back to the province of Isarn, there is little
to none representation of how Isarn is. He also further challenges the
fact that although chances of a tourist interacting with an Isarn local are
high, there is still little trace of Isarn being spread to the non-Thais.
In Octopus Garden, Agan Harahap visualizes how it would be like
to put into picture, the lyrics of the famous Beatles song, written by
Ringo Starr. While listening to the song, Agan Harahap came up with
many ideas and started visualizing the Octopus Garden in his mind.
In an attempt to understand what he tried to achieve in his visuals, I
quote him, The series is a digital montage combined from different
images Ive taken and found. I am interested in experimenting with the
possibilities of digital manipulation, combining different images into
a single image, resulting in new meanings and narratives. Octopus
Garden is a visual expression of what this imagination is.
I could not put into words when asked about what I felt about the
whole exhibition in general. It was probably due to the diversity in the
topics which are discussed by each artist through their work, but one
thing I can gather from the exhibition was that it was clear that the
possibilities of photography, when used by different hands, can tell a
very unique tale of its own bringing more than meets the eye.
Figurative representation
in photography is often
performative. It enacts a
narrative or an identity in
front of the camera. Often it
is more than a mere cipher
for personality of the sitter;
the fgure is the ground on
which questions of identities
are debated upon. CUT09
highlights a sophisticated
range of responses by artist
photographers in the region
who seek to complicate
what we know of ourselves
and our society, proving that
photography, no longer a
tool for mere documentation,
has become an increasingly
important and relevant medium
to provoke thought and action
on our contemporary world.
The CUT09: fgure exhibition ran from the
4th right up to the 21st of February 2009.
It was situated in the Valentine Wille Fine
Art Gallery, 1st Floor, 17 Jalan Telawi 3,
Bangsar Baru, 59100 Kuala Lumpur. The
exhibition featured works from South East
Asian artists listed below:
- Agan Harahap (Indonesia)
- Davy Lingar (Indonesia)
- Diana Lui (Malaysia)
- Genevieve Chua (Singapore)
- Gina Osterloh (Philippines)
- K. Azril Ismail (Malaysia)
- Maitree Siriboon (Thailand)
- Manit Sriwanichpoom (Thailand)
- Melati Suryodarmo (Indonesia)
- Wawi Navarroza (Philippines)
- Yee I-Lan (Malaysia)
- MM Yu (Philippines)
- Ohm Phanphiroj (Thailand)
- Timur Angin (Indonesia)
Agan Harahap, Octpus Garden, Digital print on
photo paper, 100 x 100cm, 2008
Gina Osterloh, Dots Rear Misfre (cut room), Durst and
Lambda Print, 76 x 97cm, 2008
Genevieve Chua, Raised as a Pack of Wolves ,
#61 C-Print, 41 x 61cm, 2008
10
ISSUE #01
Images courtesy by Vallentine Willie Fine Art
Gina Osterloh, Dots Rear Misfre (cut room), Durst and
Lambda Print, 76 x 97cm, 2008
d
era perubahan gaya semakin dikuasai oleh Ibrahim
Hussein dalam penguasaan bahan perantaraan
dan pengutamaan diri dalam berkarya. Dalam
menikmati kehalusan sapuan berus dan
permainan warna dalam gaya popnya
kita diuliti oleh lingkaran garisan-garisan
beralun yang menghasilkan bentuk dan
makna dalam karya-karyanya sehinga
kini. Karya-karya beliau merentasi
seluruh dunia dengan lakaran idea
dari jiwanya. Gaya dan stail dalam
lukisannya begitu tersendiri dan setiap
garis, calitan warna yang dihasilkan
mempunyai makna tersendiri dan
maksud mendalam dalam diri Ibrahim
Hussein.
Pada 13 Mac 1986, Balai Seni Lukis
Negara telah memberi pengiktirafan
kepada beliau dengan mengadakan
pameran Retrospektif terbesar yang
telah dirasmikan oleh Datuk Seri
Mahathir Mohamad, Perdana Menteri
Malaysia pada ketika itu. Retrospektif
ini merupakan sebuah penghargaan
terbesar buat beliau oleh Balai Seni
Lukis Negara kerana peranannya
didalam memperkayakan seni lukis
sezaman.
Sepanjang perjuangan Ibrahim Hussein
sebagai anak seni beliau telah dianugerahi
beberapa gelaran antaranya yang mengharumkan
nama Negara ialah anugerah Tokoh Melayu
Terbilang sempena ulang tahun ke 61 UMNO,
Penganugerahan darjah Datuk Sultan Sharafudin
Idris (DSIS) pada tahun 2003 yang membawa
gelaran Datuk. Allahyarham juga pernah
menerima pengiktirafan antarabangsa yang
antaranya ialah anugerah John D. Rockfeller III
Fund Fellowship, Japan Foundation Culture Award
dan Order of Andreas Bello, Venezuela.
Sebagai pejuang seni tanahair yang telah berjaya
meletakkan seni lukis ditempat yang tertinggi
sudah pasti permergian beliau merupakan suatu
kehilangan yang amat besar dalam perkembangan
seni lukis Malaysia. Balai Seni Lukis Negara
dengan penuh kerendahan hati mengucapkan
salam takziah kepada keluarga Allahyarham diatas
permergian beliau ke rahmatullah. Semoga rohnya
dicucuri rahmat.
Perginya permata yang bernilai
DALAM
KENANGAN
Ibrahim Hussein, Datuk
b. 13 Mac 1936 d. 19 Feb 2009
l oleh Hashimah Nyok
Ib
rahim Hussein atau lebih dikenali dengan
panggilan Ib telah berhijrah ke alam baru
pada 19 Februari 2009 di Pusat Perubatan Pantai,
Bangsar setelah menjadi pelukis sepenuh masa
semenjak awal 50an. Ibrahim Hussein merupakan
seorang pelukis terpenting dan bermakna dalam
perkembangan seni lukis Malaysia. Pemergiannya
amat dirasai oleh semua warga seni dan rakyat
Malaysia. Dalam Konteks seni lukis Malaysia,
Ibrahim Hussein merupakan seorang pelukis yang
berjaya dan hampir seluruh hidupnya dididikasikan
untuk seni dan bagi mencapai segala matlamatnya
dalam seni.
Allahyarham Ibrahim Hussein dikenali masyarakat
seni sebagai seorang pejuang seni halus dan
pendidik seni melalui penubuhan Muzium dan
Yayasan seni Ibrahim Hussein yang ditubuhkan
dengan seluruh jiwa dan raganya pada tahun
2000. Penubuhan Muzium dan Yayasan telah
membuktikan betapa kecintaan dan perjuangan
beliau yang tidak terhingga terhadap seni lukis
dan ianya bukanlah sesuatu yang mudah untuk
dilupakan. Penubuhan institusi seni ini amat
bermakna kepada perkembangan seni Lukis
Malaysia dan masyarakat didalam memertabatkan
seni sebagai sesuatu yang amat tinggi nilainya.
Ibrahim Hussein merupakan seorang pelukis yang
menterjemahkan pelbagai bahasa kesenian di
dalam kecermelangan penghasilan karyanya.
Penglibatannya dalam seni lukis sekitar 60an
dengan perkembangan seni pop dengan gerakan
berus dari teknik printage pada ketika itu telah
banyak mempengaruhi seni gaya dan pengolahan
dalam idea pelukis berkarya. Gaya pop agak
menonjol pada era 60an termasuk di Malaysia
suatu ketika dulu memandangkan Malaysia
merupakan sebuah Negara yang mempunyai sosio-
budaya yang kompleks dan pelbagai. Dari era ke
Ringkasan biodata Ibrahim Hussein
Pendidikan :
Akademi Seni Nanyang Singapura 1959-1963
Byam Shaw School of Drawing, London England 1963-1966
Royal Academy Schools , London, England 1970
American Workship, Venice Italy
Biasiswa dan anugerah-anugerah yang diterima :
2007 Essence Male Artist Award, Penang
2007 Tokoh Melayu Terbilang, Sempena ulang tahun ke 61
UMNO
2003 Penganugerahan darjah Datuk Sultan
Sharafudin Idris Shah (DSIS)
1997 Anugerah Kristal, Forum Ekonomi Dunia di Switzerland
1996 Order of Bernando OHiggins, Chile
1996 Penganugerahan darjah Kebesaran Setia DiRaja Kedah
1995 Penanugerahan darjah Datuk Paduka Mahkota Perak
(DPMP)
1993 Order of Andreas Bello, Venezuela
1991 Penganugerahan darjah Kesatria Mangku Negara
oleh Yang diPertuan Agong
1988 Anugerah Kebudayaan Yaysan Jepun
1984 XVIIPrix International DArt Contemporary de Morte
1973 Penganugerahan darjah Ahli Mangku Negara oleh
Yang di Pertuan Agong
1970 Institut Smithsonian, American Workshop, Venice
1970 Yayasan Fellow Lee Universiti Malaya
1967 Biasiswa Kembara Fullbright
1967 Dana Fellow John D
Rockerfeller III
1963 Biasiswa Royal Academy
Griffn Prize
1961 Anugerah Merit Byam Shaw
1959 Biasiswa Byam Shaw
Genting, Akrilik atas kanvas, 183 x 183cm, 1978. Himpunan
Balai Seni Lukis Negara
11
ISSUE #01
PASSING
Rujukan
1 Masterpieces from National Art Gallery of Malaysia,
Selected and Introduced by Redza Piyadasa, BSLN 2002
2 Seni Lukis Malaysia 57-58, BSLN 1987
3 The Retrospective of Ibrahim Hussien, BSLN 1986
MENEMUI SUH
DO HO DI SEOUL l oleh Tan Nan See
Program residensi seniman dilihat sebagai salah satu
peluang untuk mengadakan pameran di luar komuniti negara
sendiri. Seniman boleh memilih sama ada menunggu
kurator antarabangsa datang mencari seniman di negara sendiri
atau mencari peluang sendiri dengan menghantar permohonan ke
institusi yang menawarkan peluang seni untuk seniman
antarabangsa. Kepentingan peluang seni turut memberi peluang
kepada seniman untuk menghasilkan karya baru, mendapat sasaran
penonton yang pelbagai, mengetahui reaksi penonton
yang berbeza dan meluaskan kenalan seni. Perkara ini secara
langsung membantu kerjaya seniman.
S
eoul, satu metropolitan seni yang dikaitkan dengan nama Suh
Do Ho dalam minda saya. Beberapa tahun yang lalu, saya
menonton salah satu siri rancangan televisyen mengenai seniman
kontemporari Korea yang diterbitkan oleh Korea Broadcasting System.
Rancangan televisyen itu khas memaparkan kerjaya seni Suh Do Ho.
Imej karya beliau tiba-tiba menyentuh hati saya dari skrin televisyen.
Malam itu saya membawa impak tampak karya seni beliau dalam tidur.
Perkara sebegini jarang berlaku.

Suh Do Ho, dilahirkan pada tahun 1962 di Seoul. Beliau mendapat
pendidikan seni di Seoul dan Amerika. Beliau mengembara demi
kerjaya seninya antara dua negara tersebut. Sebelum bercita-cita
menjadi seorang pengarca pada usia 33, beliau mempunyai latar
belakang yang kuat dalam catan dakwat Korea. Suh Do Ho mengakui
terpengaruh dengan estetik catan dakwat sejak kecil kerana ayahnya,
seorang seniman yang terkenal dalam seni traditional itu. Suh amat
terkenal dengan kebijaksanaan menyimpul sesuatu idea seni yang
kompleks kepada penyampaian tampak yang ringkas, indah dan puitik.
Bulan Julai tahun 2007, saya menerima satu email jemputan
bahawa permohonan saya ke residensi seniman antarabangsa
Changdong National Art Studio, Seoul tahun 2008 selama tiga bulan
telah berjaya. Hati terasa terkobar-kobar dan gementar pada masa yang
sama memandangkan perjalanan memohon bantuan kewangan telah
bermula. Sebanyak lima permohonan ditujukan kepada pelbagai pihak,
akhirnya Balai Seni Lukis Negara bersetuju membiayai perjalanan saya
ke Seoul.
Penyertaan seniman kontemporari dalam program residensi
seniman merupakan satu fenomena dalam praktik seniman kini.
Maklumat mengenai seniman residensi adalah mudah didapati melalui
orang perseorangan, media cetak dan laman web. Tempoh residensi
boleh menjangka dalam dua minggu, satu bulan, dua bulan, tiga
bulan, setengah tahun atau setahun bergantung pada peruntukan ruang
studio dan pembiayaian kewangan institusi. Namun, setiap institusi
mempunyai matlamat dan cara operasi masing-masing. Institusi-institusi
ini dimiliki oleh pihak kerajaan misalnya di bawah kementerian
kebudayaan dan kerajaan tempatan; pihak korporat persendirian seperti
syarikat perhotelan, pembinaan dan tekstil; badan bukan kerajaan atau
kelompok seniman. Pihak penganjur mendapat jenama dalam budaya
seni tempatan dan antarabangsa; seniman pula mendapat peluang
memajukan kerjaya seni mereka.


Suh Do Ho, Someone, 2001, Image courtesy by @designboom
Pandangan dari Istana Gyeongbokgung.
12
ARTIST IN RESIDENCE
ISSUE #01
Perjalanan ke rantau orang biasanya diingati dengan
memori pengalaman baru dan kejutan makanan asing.
Penempatan selama tiga bulan memberi peluang kepada saya
bertemu dengan seniman antarabangsa dan tempatan di Korea.
Pengalaman tinggal bersama 14 orang seniman di bawah
satu bumbung adalah satu pengalaman yang segar bagi saya
memandangkan setiap seniman mempunyai sikap, minat, cara
bekerja dan hala tuju dalam seni yang berbeza. Banyak perkara
yang dapat saya perhatikan serta pelajari.
Studio turut mengadakan lawatan ke muzium dan
galeri di sekitar Seoul selang dua minggu dalam tempoh
lawatan ini. Saya amat tertarik dengan kawasan di persekitaran
Anguk yang merupakan tempat tumpuan galeri seni. Peminat
seni boleh mengambil masa hampir empat jam hanya sekadar
untuk berkunjung ke galeri-galeri seni berhampiran kawasan
itu dalam masa satu hari. Selain itu, masih terdapat banyak
galeri seni dan muzium di sekitar Seoul misalnya kawasan
berhampiran Hongik Universiti dan Gwanghwamun di pusat
bandar. Galeri seni di Seoul bukan sahaja mempamerkan
karya seniman Korea namun ramai seniman antarabangsa yang
terkemuka di dunia turut mengadakan pameran di bandar
metropolitan seni ini. Saya berasa girang setiap kali melihat
karya seniman yang asli kerana banyak perkara di luar dugaan
dari sejarah pembacaan saya.
Pada penghujung residensi, saya mengadakan
pameran dan sessi dialog penonton bersama dua orang lagi
seniman antarabangsa. Pengalaman bekerjasama dengan
institusi dan seniman menambah pengetahuan saya dalam
mengadakan pameran berkumpulan. Maklumbalas dari
penonton adalah sesuatu yang amat memberangsangkan.
Saya berasa amat gembira kerana dapat memakbulkan hasrat
yang telah sekian lama untuk menghasilkan karya yang
hanya menggunakan media dari jenis kain dan jahitan.
Ketibaan saya ke Seoul kali ini senantiasa memberi
imbasan bayangan Suh Do Ho dalam pemerhatian sejarah,
persekitaran dan kehidupan harian orang Korea. Saya
bertuah kerana diberi peluang untuk mengunjungi Seoul
dalam usia yang muda bersama impian untuk dapat
memahami karya seorang seniman yang sangat menepati
jiwa saya pada ketika ini. Saya tertanya-tanya bagaimana
mahu mengukur kejayaan kerjaya seorang seniman, adakah
ia diukur dengan mengaitkan nama seniman dengan negara
asalnya? Apa pula yang terkandung dalam karya seni itu
yang dapat dikenalpasti? Perjalanan ini adalah sesuatu yang
berterusan, semakin banyak persoalan, semakin bermakna
dalam pencarian seni.
Muzium Sookmyung Woman University
Tan Nan See, My Sleeping Bag #4, Fotograf, 2008
Tan Nan See, My Sleeping Bag #1, Fotograf, 2008
13
ISSUE #01
GRAFF JAM 09 : GRAFITI BUKAN VANDALISME l by Haniff Ayob
OCT 2008 - FEB 2009
Sebagai mengimbau kembali dan merakamkan
penghargaan industri terhadap para kolektor
tanahair. Beliau adalah di antara kolektor
terpenting karya seni tempatan.
Program jalinan perkongsian pintar antara
BSLN dengan institusi-institusi awam/swasta
dalam menyemarakkan seni visual di negara ini
menerusi pelaksanaan program penyelidikan,
khidmat kepakaran dan penerbitan.
Pameran Koleksi Saya:
Rahimie Harun
28 Okt Dis 2008, Balai Seni Lukis Negara.
Majlis Mou BSLN dengan
Universiti Pendidikan
Sultan Idris
28 Okt Dis 2008, Balai Seni Lukis Negara.
Pameran Norway Seramik
30 Nov 25 Dis 2008, Balai Seni Lukis Negara.
Pameran Retrospektif
Chuah Thean Teng
27 Nov Dis 2008, Balai Seni Lukis Negara.
Pameran ini merupakan sebuah pameran
bergerak ke beberapa buah negara. Ianya
memperagakan koleksi-koleksi pengarca
ternama berbentuk seramik dan kaca yang unik
dan menarik.
Pameran yang menghimpunkan karya oleh
Dato Chuah Thean Teng, seorang pelukis
dan pelopor lukisan batik Malaysia yang
telah dirasmikan oleh YBhg. Tan Sri Dato Seri
Dr Zeti Akhtar Aziz, Gabenor Bank Negara
Malaysia pada 19 Disember 2008.
Bagi membantu Tabung Amal Palestin BSLN
mengambil inisiatif mengadakan pameran
Amal Palestin yang telah dirasmikan oleh YBhg
Datin Paduka Marina Mahathir, Pengarah
Urusan Mosaique Comunication Sdn Bhd.
pada hari Jumaat, 20 Februari 2009. Pameran
ini mempamerkan sejumlah 454 karya oleh
239 pengkarya tanahair. Turut diadakan ialah
aktiviti bazaar seni, demonstrasi seni grafti dan
pelbagai jualan yang telah diadakan pada 7,14
& 21 Feb 2009 sebagai satu keperihatinan
untuk disalurkan kepada tabung ini dan bagi
membantu penderitaan serta pencabulan hak
asasi manusia di bumi Gaza.
Pameran Amal Palestin
7 Feb - 31 Mac 2009, Balai Seni Lukis Negara.
V
andalism dan grafti
mempunyai perkaitan yang
sangat intim jika dikaitkan
dengan tanggapan umum. Rata-
rata pandangan umum di Malaysia
seakan bersetuju dengan pandangan
dangkal yang dikaitkan dengan
contengan-contengan di dinding-
dinding umum masyarakat urban
dewasa kini. Namun pandangan
ini adalah jauh sama sekali meleset
kerana hakikatnya cabang seni grafti
ini bukan hanya sabagai sebahagian
seni semata-mata namun ianya
merupakan jiwa bagi memekarkan
sesebuah bandar.

Seni grafti mempunyai
sejarahnya tersendiri. Para sejarahwan
telah menjumpai seni ini sejak dari
zaman Greece tua dan Empayar
Rome lagi. Namun bagi Grafti
Moden ianya mula popular sebagai
salah sebuah cabang seni di New
York, Amerika penghujung tahun
1960 an. Seni ini dikatakan amat
sinonin dengan budaya hip hop,
Breake dance, Djing dan rapping
yang menjadi ikutan remaja pada
masa itu. Ianya merupakan salah satu
medium luahan bagi aktivis politik
dan kumpulan-kumpulan seperti the
Savage Skulls, La Familia, dan Savage
Nomads bagi menandakan kawasan
mereka. Antara pelukis-pelukis yang
terkenal pada masa itu seperti TAKI
183, Tracy 168, Dondi, Zephyr dan
Lady Pink. Melalui pemerhatian,
kebanyakan para pelukis graffti ini
menggunakan nama-nama penanda
untuk menarik perhatian masyarakat
mengenai kewujudan mereka dan
juga ianya mudah diingati. Elemen
asas cabang seni ini adalah seperti
ruangan umum sebagai kanvas, spray
dan gaya penyampaiannya adalah
gaya remaja. Ruangan umum adalah
seperti dinding dinding jalanan
umum. Ini adalah kerana ideanya
para pengkarya ingin masyarakat
memahami dan menghayati seni ini
dimana-mana sahaja berbanding
seni-seni lain yang rata-ratanya
dipamerkan diruangan
galeri. Penggunaan
spray bertepatan
dengan jiwa remaja
dimana ianya mudah
dan cepat, namun
hasil dari semburan
ini amat halus dan
menarik. Elemen
yang paling penting
bagi membezakan
seni graffti dan
mural adalah imej
yang terhasil berjiwa
remaja. Disebabkan
itu kebanyakan seni
ini menggunakan warna-warna yang
menarik perhatian.

Pandangan masyarakat, seni
ini sebagai vandalism adalah jauh
sama sekali. Mungkin masyarakat
terdedah dengan maklumat sejarah
seni ini yang lahir dikalangan
masyarakat gangsterism di
Brooklyn dimana rata-rata makna
penyampaiannya merupakan sesuatu
pekara yang negatif. Paparan imejnya
dipengaruhi kepada keadaan isu.
14
BSLN PROGRAMMES
AND ACTIVITIES
Pertandingan ini dibahagikan kepada 2 kategori
iaitu tulisan kaligraf Cina dan Melayu. Seramai
200 peserta telah menyertai pertandingan ini
yang terdiri dari sekolah rendah (7 - 12 tahun)
dan menengah (13 - 17 tahun).
Pertandingan Kaligraf
11 Januari 2009 di Stadium Chinwoo,
Kuala Lumpur.
Pelancaran Portal BSLN
8 Januari 2009, Balai Seni Lukis Negara.
Sepanjang kewujudan BSLN yang menyambut
ulangtahun ke-50 tahun penubuhannya pada
27 Ogos 2008 lalu, laman web / portal BSLN
telah berubah wajah dan versi sebanyak empat
kali bermula tahun 1995 sehingga tahun
2007. Perubahan yang dibuat selaras dengan
perkembangan pantas teknologi maklumat
dan syor penambahbaikan oleh stakeholders
BSLN.
Pertandingan ini dibahagikan kepada 3
kategori iaitu tadika, sekolah rendah dan
sekolah menengah. Seramai 300 peserta telah
menyertai pertandingan ini. Sebanyak 23
hadiah disediakan bagi setiap kategori yang
dipertandingkan.
Pertandingan Lukisan Tanglung
18 Januari 2009 di Stadium Chinwoo,
Kuala Lumpur.
ISSUE #01
Prints Master Class
19 - 23 Januari 2009, Balai Seni Lukis Negara.
Bengkel ini diadakan sempena Pameran
KOLEKSI SAYA: Rahime Harun bagi
menghargai keperihatinan beliau terhadap
kepentingan seni cetak dalam perkembangan
seni lukis Malaysia. Ianya dibuka kepada para
pelukis dan pelajar institusi pengajian tinggi
yang berminat. Bengkel yang dikendalikan
oleh Juhari Said, seorang pelukis yang cukup
dikenali dan berkemahiran dalam bidang
seni cetakan ini telah berjaya menarik minat
seramai 15 orang peserta.
Pengkisahan Sejarah BSLN
29 Januari 2009, Balai Seni Lukis Negara.
Menyingkap kembali perit getir sejarah BSLN
sejak ditubuhkan pada tahun 1958 hingga
kini yang berperanan sebagai penyokong
dan pendukung kuat kepada perkembangan
seni lukis moden Malaysia daripada tokoh-
tokoh awal BSLN dalam perjuangan mereka
untuk memartabatkan BSLN sebagai sebuah
gedung kesenian. Pengkisahan sejarah ini juga
berperanan bagi melengkapkan lagi maklumat
bertulis berkaitan BSLN yang sedia ada di Arkib
Negara Malaysia.
persekitaranya sesuatu masyarakat.
Namun begitu di Malaysia imej-imej
yang terhasil adalah sangat menarik
berikutan keadaan negara ini yang
aman. Sama ada terhasilnya imej-
imej negatif atau positif bukan kerana
seni ini bekeperluan sebegitu, namun
didikan peribadi yang menentukan
baik
buruknya.

Di
Malaysia
seni ini mula
dikesan
apabila
sekumpulan
remaja yang
berasal
dari Batu
Pahat Johor
memulakan langkah pertama.
Bermula dengan bersahaja dan kini
setelah hampir 10 tahun kumpulan
remaja ini mengangkat seni ini
secara profesional. Nama-nama
seperti Tha-B, The Kioue, Shieko,
Jo Tribe, Sona, DVS, They, Madnuz,
A80s, Bone, Anokayer, Damis, Nuke,
Nenok, Snozee, Medea, Bibichun,
NBA, phobia dan Katun selama
ini bergerak secara underground
mengabadikan segala usaha dan
tenaga bagi mengangkat seni ini
supaya diterima masyarakat umum
Malaysia.

Balai Seni Lukis Negara
dalam usaha memartabatkan seni
tampak Negara, memandang serius
betapa seni ini mempunyai potensi
dan keunikannya tersendiri yang
memerlukan sokongan. Bermula
beberapa tahun yang lalu, BSLN
memberikan ruangan dengan
mempamerkan karya seni graffti
ini di dinding hadapan bangunan
Balai Seni Lukis Negara. Tahun lalu,
seni ini dipamerkan di Pameran
Susurmasa : Sejarah Seni Malaysia
sebagai salah satu seni yang perlu
diangkat. Tahun 2009 ini, BSLN
merasakan tiba masanya seni ini
dibawa untuk tatapan khalayak.
Majlis Rumah Terbuka Malaysia
Tahun Baru Cina 2009 di Pavilion
menjadi platform pertama bagi
usaha ini, diberi nama Graff Jam
09. Sesuai dengan konsep graffti itu
sendiri berkarya dikhalayak sambil
memaparkan ciri-ciri unik Malaysia
seperti perpaduan dan keamanan.
Program ini mengumpulkan artis-
artis graffti Malaysia untuk sama-
sama meluahkan kreativiti dan bakat
mereka dalam usaha mendidik dan
mengubah pandangan masyarakat,
Grafti bukan Vandalism.
15
Fine Arts
ISSUE #01
The
Asia-Europe Foundation in partnership with the National Art Gallery Malaysia and Goethe-
Institut Malaysia presents the Creative Economies Forum which will bring together 20
promising photographers and 5 facilitators cum resource persons from Asia and Europe. The Format of
the Forum will consists in two phases: the frst, interactive collaboration will be taking place through an
online exchange between the participants and the resource persons, and the second phase will consists
of an intensive week in Kuala Lumpur. Photography collaborations will be complemented with dialogues
focused on the exploration and experimentation of artistic photography in the context and manifestation
of the creative economies with award-winning photojournalist Peter Bialobrzeski (Germany), Shahidul
Alam (Bangladesh), director of Chobi Mela - International Festival of Photography, Alex Moh (Malaysia)
initiator of the Kuala Lumpur International Biennale, Yee I- Lann (Malaysia) multimedia artist and many
more.
The theme of the Asia-Europe Emerging Photographers Forum 2009 is centered on the topic of Creative
Economies. Twenty emerging photographers will portray indirect and alternative economic outlooks
(gift economies, social cooperation, sustainable economies etc.) in Asia and Europe. Through these
narratives the photographers will open different
spaces of imagination, metaphors, fctions, reality
and advantages within the context of the current
economic crisis. How can creative photography
impact the perception of shifting economies in the
globalised world and in which ways can social
cooperation and creativity meet in the space of
indeterminate economic capacity? The emerging
photographers will exchange their photographic
narratives from Asia and Europe conceptualizing
documentary and digital photographic formats.
To promote future visions and to overcome global
fnancial instability at the local level, this process
will show the diverse range of possibilities of the
medium of photography.
The Asia-Europe Foundation (ASEF) was established in February
1997 under the framework of the Asia-Europe Meeting (ASEM)
process. In 2004, the membership grew from 25 to 38 countries,
plus the European Commission. ASEF seeks to promote mutual
understanding, deeper engagement and continuing collaboration
among the people of Asia and Europe through greater
intellectual, cultural, and people-to-people exchanges between
the two regions. These exchanges include conferences, lecture
tours, workshops, seminars and the use of web-based platforms.
Hence, a major achievement is the establishment of permanent
biregional networks focused on areas and
issues pertinent for reinforced
Asia Europe relations. www.asef.org
With the support of :
CHAN KOK HOOIS
works are mainly about human existence.
With his observation, imagination and
intuition, he always tries to portray
something in an unusual way to question
life. Chan constantly looks for new
possibilities for his paintings yet he hopes
to capture some kind of eternal value in
his work. In early 2006, he started his old
photograph series. As mentioned by Chan
in an interview he did for the magazine
Territory- International Designers Territory
Volume 10: Photographs can be records
of memories and also a kind of evidence of
some existence. Photographs are for seeing
something. They tell us to look. I present
my paintings as photographs to show
how I see things with my observation and
imagination. With surrealistic approach,
I hope they refect certain truths that
we do not often see in reality. The age,
crack and stain of the old photographs
that I paint are trying to imply some kind
of impermanence, uncertainty, and so
on in life. Time, memory and death are
what I often like to explore/express in my
paintings. The internet has become part of
our life in todays world. Since the middle
of 2007, Chan started painting existence
on the internet with images of the Msn
Messenger chat icons. He titled the Msn
Messenger series I seek You. The works
refect the nature of solitude: our desire
to connect with others, make different
kinds of relationships and so on. Chan
works very hard to create multiple layers
of complexities and likes to let the viewers
ruminate over his works. Chan hopes that
as his works age in time,
viewers will continue to fnd meaning and
relevance in them.
The aim of every artist is to arrest motion, which is life,
by artifcial means and hold it fxed so that a hundred
years later, when a stranger looks at it, it moves again
since it is life.William Faulkner Chan Kok Hooi recently
held a 4-hour exhibition in a photo store in Fejiacun
Village, Beijing, China to commemorate a successful end
at the Red Gate Gallery International Artists Residency
Program in October 2008.
Continuing on from the pocket-sized canvasses of his Old
Photo series, the exhibition welcomed artists, art patrons
and members of the community , who were all fascinated
by the works, which read like short stories of his
experiences living, working and traveling around China.
In 2009 we look forward to the much anticipated frst
solo exhibition by the award winning artist in Malaysia.
Chan Kok Hoois uninhibited labour of the unconscious
will delight the senses far enough to wander beyond the
limits of daily life.
-- Syed Nabil, director of NN Gallery, Kuala Lumpur
New Couple with a Baby, 76.5cm x 61.5cm
acrylic on jute, 2008, Private Collection
16
COVER ARTWORK : ARTIST
For more of Kok Hoois works, log on to
www.chankokhooi.com
ISSUE #01
Creative Economies
ASIA-EUROPE
EMERGING
PHOTOGRAPHERS
FORUM 2009
11-18 May 2009
KUALA LUMPUR, MALAYSIA
TO ADVERTISE IN SENIKINI
PLEASE EMAIL TO...
wening@artgallery.gov.my
1 Pameran Amal Palestin
RM 30.00 (Hasil Jualan akan
disumbangkan kepada Tabung Amal
Palestin)
2 TENG: Satu Penghargaan
TENG: An Appreciation
RM 100.00
3 SUSURMASA-Senilukis
Malaysia Bersama
50 Tahun Balai Seni Lukis Negara
Timelines - Malaysian Art With
50 Years National Art Gallery
RM 100.00
4 KOLEKSI SAYA : Rahime Harun
RM 70.00
5 Masterpieces From The
National Art Gallery Of
Malaysia 2002
RM 150.00
6 Bapa Seni Lukis Moden
Malaysia
Father Of Modern Art In
Malaysia
Abdullah Ariff 1904-2004
RM 120.00
All publication can be purchased at the
Gallery Shop located at National Art Gallery.
For enquiries please email to
osmi@artgallery.gov.my
National Art Gallery Publication
1
4 5
6
2
3
WHATS ON.
IN- SIGHT, New Works by Australian Artist Lisa Roet
4 to 22 March 2009, 11am to 7pm
Presented by the Australian High Commission
The Annexe Gallery, Central Market KL
Gallerie TAKSU, Keramat Hujung, KL
Opened Monday to Saturday, 10am-6pm.
Closed on Sundays and Public holidays.
Thu 15 - Thu 12 Mar 2009
T : 03-4251 4396
The Australian High Commission is proud to present In Sight, a solo art exhibition featuring
new works by Australian artist Lisa Roet. Inspired by her lifelong interest in primates, Lisas
neon and LED light sculptures, audio-video works and drawings address the demise of wild
orangutan populations in Borneo. Also featured are a series of 10 portraits of orangutans
that Lisa has worked with in zoos and laboratories over the past 15 years. This exhibition
represents an exciting cross pollination between environmental awareness and contemporary
art practices. In Sight is a sequel to two previous exhibitions held at the National Art Gallery in
2000 and 2001.

An exhibition featuring works by Malaysian artists Sarip Rahman, Azam Aris, Ruzzeki Harris, Sand T,
Samsudin Lappo, Samsudin Wahab, Marvin Chan, Rini Hashim, Fauzulyusri, Wong Chee Meng, Yusri
Sulaiman, Haslin Ismail and Azad Daniel.
A three-man exhibition by up and coming artists Hee Chee Way, Siund Tan and Tan Chee Hon,
showcasing works in oil on canvas, digital art and new media and works on paper.
The works by the three artists take on a surrealist version of their inner thoughts and accounts.
Themes, such as dreams, solitary landscapes and peculiar juxtapositions of nature and man-made
structures come alive in their work.
Rising Dreams, NN Gallery,Ampang,Selangor
Mon - Sat: 9am - 6pm; Closed Sun & Public Holidays
14 Feb - 4 Mar 2009
T : 03-4270 6588
14th Rimbun Dahan Residency Exhibition
Rimbun Dahan Gallery, Kuang, Selangor
15 Feb - 1 Mar 2009, Sat & Sun: 10am - 6pm,
Weekdays by appointment only
T : 03-6038 3690
The always anticipated annual show returns, this time showcasing botanical drawings
by Lauren Black (Australia), and paintings by Justin Lim (Malaysia) and Megan Keating
(Australia). All three artists were selected for the Malaysia-Australia Visual Arts Residency
2008 to live and work for 12 months at the family compound of architect Hijjas Kasturi &
Angela Hijjas in Kuang, outside Kuala Lumpur, Malaysia. There will be an Artist Talk on Sat,
21 Feb 2009 at 3pm in the gallery.
Siund Tan, SleeplessNight, OilonWood, 24x18inch, 2008
Every art pieces has a story to tell
Every artist has a journey to share
Find out more about these talented souls as their
share their stories and secrets.
Told in short, simple and enjoyable
episodes these videos are must
see for every art lovers.
ART SALON @ SENI
31 Local Artists Group Exhibition
SENI Gallery, Mont Kiara
28 Feb - 31 Mar 2009
8.30 am - 6 pm
T : 03 2287 1908
SASARAN INTERNATIONAL
ASEAN ARTIST
Indonesia, Malaysia, Philippines, Thailand,
Singapore, Vietnam
Galeri Seni Mutiara, Penang
1 - 17 Mar 2009
11.00 am - 6.00 pm
T : 04- 262 0167
AVIATION ART
Solo Exhibition of Zarian Babjan
Main Lobby, Balai Berita NSTP, KL
2-27 March 2009
10 am - 6 pm
T : 03 2282 3131
TABAH DALAM DERITA
Collaboration by Malaysian
& Palestinian artists, Penang
State Museum & State Art Gallery
2-31 March 2009, Mon to Thurs,
8.30 am 4.30 pm
T : 04 2613144
HIDDEN VIOLENCE
Solo Exhibition of Eko Nugroho
Cemeti Art House, Yogyakarta, Indonesia
17 March -18 April 2009
9.00 am 5.00 pm
closed on Sundays and Mondays
www.cemetiarthouse.com
Hidden Violence is a personal refection on
the violence that always colours human life,
especially in urban social life where reality
is wrapped in artifcial packaging. Violence
is present in the artifcial wrapping itself,
appearing to be neat, where the neatness is
not noticeable but in effect is present in a
more complex form.
Poster Karya Syed Ahmad Jamal bertandatangan khas boleh dibeli di
Balai Seni Lukis Negara. Hasil jualan akan disumbangkan
kepada Tabung Amal Palestin.
Sila hubungi : Osmihamidy Osman di talian 03-40267000 sambungan 112.