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Sunday, 30 December 2012
Friday, 28 December 2012
COMING HOME
I'm
coming Home.....thank you so much for your patience, and for being my
pillars, partners and strong supporters since the first day I became the
gardener of MGTF USM 7 plus years ago. My term as the gardener of MGTF
USM will end on 31 December 2012. It has been a wonderful, enriching
and paradigm shifting journey. NOW is the time for us to sow our own
garden back home.
Thursday, 27 December 2012
LISTENING TO, INSTEAD OF TALKING TO
(In reference to "I AM", an audience-participative public installation at George Town, 2009, by Iranian-born and German-based international video artist, Shahram Entakhbi)
“I AM…” as a form of production, research and curatorial
methodology, can be read as cultural studies in action, especially in regards
to language, culture and identity.
Language has long been taken as the core of cultural
studies. It does not only mirror an independent object world but constructs and
constitutes it. All cultural forms can be analysed like a language (Barthes,
1967, 1972). They are said to work like language especially in regards to identity.
The discourse of identity, which was the central category of cultural studies
in the 1990s, was held to be social and discursive construction (Barker, 2000).
Following Derrida (1976) and a good many cultural studies
writers following him, deployment of binary relation between signs in
structuralism was ‘deconstructed’ by the notion of the instability of language,
meaning and identity (Barker and Galashiski, 2001). Cultural studies then swung
from the structuralism’s study of texts to the post-structuralist’s exploration
of audience. Consequently, meanings in language, as in identities, were taken
to be unstable. They are nevertheless regulated and temporarily stabilised in
social practice into pragmatic narratives or discourses.
Discourses, especially after Foucault (1972, 1977, 1980)
refer to language and practice that are regulated as ways of speaking about a
topic. Meanings, including those pertinent to many the notion of multiple identities,
are relational and formed within ‘language games’.
Cultural studies read multiple identities as products of
signifying practices. To unveil Georgetown as a zone of multiple identities is
to explore how meanings attached to it are produced symbolically through the signifying
practices of language and representation. Similar to meanings in language,
identities are produced by active human agents.
Derrida’s influence has underpinned the widespread adoption
of anti-essentialism, social construction and textual deconstruction. Such
adoption has sparked further theorisation of identity as an unstable
description in language, that the notion of identity is more a state of
becoming rather than a fixed entity (Hall, 1992, 1996). Such adoption can be
traced in the discourse of gender (Nicholson, 1990 and Weedon, 1997); and
post-colonial theory (Bhabha, 1994). It has also lead to a proposition that all
forms of culture and identity are zones of shifting boundaries and hybridisation.
Such proposition reads multiple identities as to be wholly social, political
and malleable cultural construction, not necessarily biological and universal
all the time. Consequently, cultural studies now entails a process of
‘listening to people’, the active interpreters of signs and constructors of
cultural identities.
“I AM…” looks at ‘self-identity as a reflective project’ (Barker
and Galashiski, 2001). It surveys how the many notions of self, both personal
and collective as well as cultural are narrated by the public at large, in this
case the living dwellers of Georgetown’s ‘street of harmony’. As indicated by
the ‘findings’ of this project, the many notions of self-identity (and even of Georgetown
and Penang) are not necessarily given, universal, homogenous, fixed and frozen.
They are rather ‘performed’ and appear
to be in a constant state of ‘becoming’.
“I AM…” also epitomises
the spirit of ‘listening to’ instead of ‘talking to’. It marks a shift
from ‘institution/state-dictated’ to ‘people-defined’, while simultaneously returns
to the spirit of interdependence, inclusiveness and participation in dealing with
issues that are pertinent to the interest of the whole. Notwithstanding UNESCO’s
official recognition of Georgetown as a heritage site, the more substantial
meanings of heritage, of belonging and most importantly of becoming are best
constructed, re-constructed and performed by the citizens of Georgetown. Despite concerted efforts by many ‘experts’ to
define Georgetown (and perhaps its citizens) along the line of its unique
multi-cultural heritage, the actual ‘living experience’ of ‘multi-cultural’ identities
belongs to the people of Georgetown themselves.
“I AM…” reiterates several key principles that can be traced
in many forms of eastern traditions such as modularity, non-linear,
simultaneous, impermanence/ephemeral, communal, interdependence, convergence,
cross-disciplinary, cyclical, audience-centered and many more. These key
principles have also been deployed as the constant guides for Muzium &
Galeri Tuanku Fauziah (MGTF), Universiti Sains Malaysia (USM) in advocating
sustainability as it steers itself into the challenging terrains of the
increasingly globalised world.
MGTF is honoured to be able to work collaboratively with the
internationally renowned contemporary artist, Shahram Entakhabi, the
indefatigable Joe Sidek, students of the School of the Arts and the blessed
citizens of Georgetown for this very special and meaningful project.
Hasnul J Saidon
Director
Muzium &
Galeri Tuanku Fauziah
Universiti
Sains Malaysia
December
2010
References
- Bhabha,
H. (1994) The Location of Culture. London
and New York: Routledge
- Barker, Chris and
Galasinski (2001) Cultural Studies
and Discourse Analysis – A Dialogue on Language and Identity. London:
Sage Publications
- Barthes, R.(1967) The Elements of Semiology. London:
Cape
- Barthes, R. (1972) Mythologies. London: Cape
- Derrida, J. (1976) (trans.
G Spivak) Of Grammatology. Baltimore:
John Hopkins University Press
- Foucault, M. (1972) The Archaeology of Knowledge. New
York: Pantheon
- Foucault,
M. (1977 Discipline and Punishment. London:
London: Allen Lane
- Foucault,
M. (1980) Power/Knowledge. New
York: Pantheon
- Hall, S.
(1992) ‘Cultural studies and its theoretical legacies’, in L. Grossberg,
C.Nelson and P.Treichler (eds), Cultural
Studies. London and New York: Routledge
- Hall, S.
(1996) ‘Who needs identity?’, in S.Hall and P. Du Gay (eds), Questions of Cultural Identity. London:
Sage
- Nicholson,
L.(ed) (1990) Feminism/Postmodernism.
London and New York: Routledge
- Weedon,
C. (1997) Feminist Practice and
Poststructuralist Theory. Oxford: Blackwell
PENANG OPEN 2010 JUDGE'S REPORT
Introduction
Judging art can be taken as a scholarly
pursuit, meant as a way to acquire and form a body of knowledge. Therefore, all
judging methodology, interpretation and conclusion are opened for further
discussion and discourse. An art competition should not just be read as a
celebrative event, but also a discursive platform for the public at large.
Notwithstanding the ‘festive’ (pesta) nature that surrounds this art
competition, the competition and the eventual exhibition of the winning and
selected works should also be approached as a site that honors differences of
opinions. The process of evaluating and appreciating will continue despite the
finality of the judges’ decision.
It has to be noted that appreciating,
judging and evaluating an artwork is a subjective and relative process. There
is no single and absolute standard to refer to in evaluating art. Appointed
judges for any art competition will normally discuss and decide on the
methodology and criteria of evaluation that can be agreed collectively. Such
methodology and criteria may differ from one panel of judges to another.
Therefore, the choices of any panel of judges may not satisfy everyone.
Criteria
The following is a list of criteria that
were used by the judges as a guide:
i. Submitted work must fulfill all the competition
requirement
ii. Commitment, originality, maturity, fluency and
creativity in translating/expressing personal interpretation of the given theme
and subject
iii. Exceptional skill in using selected
media/medium, technique and style, especially in achieving mood, temperament
and feel that are suitable to the personal interpretation
iv. Innovativeness, especially in regards to new,
fresh and least explored approaches
v. The overall strength of the work, especially in
comparison to the current practice of contemporary art in Malaysia and beyond
In addition to the
above-mentioned criteria, several other factors that are more specific to the
role and significance of this competition in regards to the Penang State Art
Gallery as well as the Penang and Malaysian contemporary art scenes were also
taken into consideration. Other than maintaining (if not protecting) a positive
and favorable ‘brand’ name and position of the competition, the selected
winning works must also reflect and signify Penang as a repository of outstandingly
talented contemporary artists, both young and old. Penang Open must be read and
seen as a competition and exhibition that attract artworks of highly unique and
unrivaled quality.
Since the winning artworks for
this competition have been customarily included in the permanent collection of
the Penang State Art Gallery, the judging criteria above must also compliment the
purchasing or acquisition policies of the Gallery.
Therefore, the winning and
selected artworks should:
i. Be regarded as major contributions to the
development of art in Malaysia and beyond
ii. Be expected to play critical roles in advancing
scholarship and enriching intellectual capital, especially in regards to
forwarding new ideas, challenging and shifting old paradigm, setting new
approach, rejuvenating tradition, championing new style and proposing
alternative perspective
iii. Contribute in epitomizing a spirit that is
pertinent to a particular time and space
iv. Echo the often-times obscured social-conscience
and discourse prevalent issues
v. Play a significant role in reflecting upon major
events, chronicle history, or simply provide a unique form of aesthetic delight
or pleasure
In short, the winning and collected works
should embody both tangible (material) and intangible (intrinsic) values that
are of great historical and cultural importance to Penang and Malaysia.
With such criteria and consideration,
Penang Open should not be read lightly as merely another event, but as ‘the
event of the year’ that not only epitomizes Penang’s art scene, but also its
promises of the future.
Judging & Selection Process
The judging and selection were divided into two categories, seniors and
juniors. The process began with a briefing by the curator of the Penang Art Gallery,
Puan Haryany Mohamad. This was followed by a discussion by the judges on
judging criteria, consideration and methodology.
The judging and selection began with a positive approach of preliminary
selection phase. During this phase, all the judges went through all the
submitted works to vote for artworks that fulfill the agreed criteria and
consideration. Artworks that received more than one vote were taken into the
second phase. Eighteen artworks by the juniors were voted into the second
phase, and ten artworks by seniors were voted in.
Submitted works by seniors were also selected based on similar criteria
and consideration. In addition, all the judges felt that works by seniors
should be ‘exemplary’. They should set a high benchmarking for the juniors to
emulate. In other words, the judges felt that selection for seniors should be
more stringent.
During the second phase of selection process for the seniors, many works
were eliminated. Many works featured techniques, media and styles that were already
prevalent in the local Penang art scene. Such artworks would not augment the
‘brand name’ of the Penang Open. In fact, their cliché and staid approaches,
perhaps prompted by a rather ‘play-safe’ attitude, will only put Penang art
scene into the back seat of contemporary art practice in Malaysia and beyond.
On the other hand, several decent works did not even fit the given theme, thus
were not selected. At the end, only three works by the seniors were selected.
The second phase of the judging and selection process for the juniors was
marked (if not marred) by apparent lack of quality. All the judges were
disappointed, if not surprised by the fact that only few works displayed
desired criteria of a winning work. Upon closer inspection, the judges collectively
gave the following observations:
i. Lackadaisical,
immature and superficial interpretation of the given theme that implied lack of
commitment in engaging with the theme and chosen subjects. Most interpretations
were very casual and displayed a rather ‘snapshot’ reading of the theme. Many
works did not even suggest any kind of interpretation. They were merely
pictorial representation of foods, or literal abstraction of objects and scenes
related to foods. Several works gave a lingering suggestion that they were
college assignments made under totally different contexts. It seemed like the
given theme and chosen subjects were interpreted superficially or added (if not
forced upon) as an after-thought to justify the entry. The judges also felt
that most of these aspiring artists did not really engage seriously with the
theme. It appeared as if they were merely testing their luck in striking a
prize without much effort.
ii. Apparent
weakness in technical skill, especially in handling and matching myriads of
media and techniques. Several brave attempts, especially in exploring unconventional 3D media, lacked quality
finishing and appeared as if they were executed hastily to achieve instant
visual impact. Poor finishing were abundance, further worsened by literal reading
of the theme. Several entries were swallowed by overzealous and hasty attempts
to put ‘many things’ together without considering the overall cohesiveness of
the work. The end result was disjointed visuals that only confused any attempt
to read and appreciate the works.
iii. Several
decent works, especially in relation to skill in handling the chosen technique
and media were not ‘challenging’ enough. Most were too safe, easy and lazy.
All the judges were a bit alarmed by such apparent lack of quality. The
works did not reflect the intended benchmark of Penang Open, not to mention the
acquisition standard of the State Gallery.
At the end of the second phase, eight artworks were selected. These
selected works were then evaluated further to select the winning works.
The final stage of judging and selection was marked by a strong
collective decision by the judges to not award a major prize to any of the
selected works. By taking into consideration the quality of major award winners
from the previous years, the judges have decided that none of the selected
works deserves the major prize. The decision also reflects the stand of the
Penang State Gallery in only acknowledging and acquiring artworks of
exceptional standard. The decision is also pertinent to the need for the
Gallery to maintain the brand value of Penang Open. Most of the judges also
felt that the major prize winner must be comparable to winning works of other
prestigious National level art competitions. In the case of this year’s
selected entries, none did.
The judges however have agreed to award a minor prize to “Superduper Fast
Food”, a mixed media piece by Christina Kang Kher Shin and consolation prizes
to seven other entries.
Review of Selected Works
“Superduper Fast Food” by Christina Kang is in a league of its own. The
work presents a witty twist to the way we consume myriads of local foods,
turning them into packaged products meant for health, if not commercial
enterprise. Underneath its witty and casual demeanor, there is a lingering sense
of irony and parody, especially in regards to our consumption pattern and cultural
sentiments towards local forms of traditional ‘fast foods’. The use of product shelf, vitamin bottles and
grid-like arrangement induces a depersonalized, mechanistic, clinical and
sterile feel to the whole presentation. Such ‘visual semiotic’ further adds
irony to the whole reading of our ‘cultural taste’, especially in regards to
the relationship between our eating habit (sometimes used to define us
culturally) with food-related illness. The work pinches our normal perception
of what we culturally consumed as a part of our daily diet, luring us to ponder
upon its fate in the midst of the fast-paced urban lifestyle, global capitalism
and the burgeoning health-related industry.
Christina’s work is a good example of creative interpretation of the
given theme, especially in presenting a fresh and different perspective. Her
choice of presentation is also innovative. The only setback is the technical
finishing of the work, which the judges felt rather lacking. Notwithstanding
the setback, Christina’s work promises an impending personal growth and future
endeavors that can further contribute to the Malaysian contemporary art scene.
Congratulations and food luck to Christina.
Supriyono Yasin’s “Food Cabinet” shares almost similar approach to
Christina but lacks deeper interpretation, other than being too literal.
Several other works can be clustered together under different readings.
“Spice Route” by Suhaidi Razi for example, re-composes the route of
spices that Penang has been historically known for. Through this work, food and
taste are read as instrument of historical, geographical, political and
cultural mapping. The work was skillfully rendered, but is rather more illustrative
than interpretative.
Yeoh Hooi Sze’s “Flavors of One Penang” rings like a touristic campaign
for ‘belly tourists’. His work represents some of the more decent assemblage
works that feature the use of collage, found object and mixed media. The work
also represents a cluster of interest in interpreting the theme through a tight
(if not crowded) narrative composition, with multitudes of fused images in multiple
perspectives or eye-views (predominantly top view). In most cases, foods as the
main subject are literally ‘served’, rather than ‘interpreted’. Such ‘servings’
include dim sum and pasembur as exemplified by the works of Tan Bee Geik and
Lee Weng Khim.
Syamila Solihin’s “Keliru” epitomizes a sense of bewilderment as one
encounters so many choices of foods to eat in Penang. Rahim Abdul Aziz’s
“Bawang 5 Kupang” can perhaps be taken as reminiscing Penang’s past economy via
an abstract composition.
Patrick Lasak’s “Cinta Satay” (Satay Love) can be taken as the ‘main
dish’ of the exhibition. Notwithstanding its humorous title, the work is
‘loud’, dynamic and visually intriguing. In this work, twelve satay sticks
float aimlessly on a dark charcoal black background, accentuated by a fiery
splash of high-intensity red glow. Perhaps a food lover himself, Patrick seems
to be interested in capturing the mood surrounding the process of preparing the
food, and cleverly (with a touch of light humor) relate it to the burning
passion of someone madly in love (perhaps implying Patrick’s current emotional
sentiment).
Ester Gerardine Reutens’ “Want to Bubur Cha-Cha” also interpret a local
food (in her case, ‘bubur cha-cha’) in a light and witty manner. Befitting the
title, Ester seems to ask and invite her viewers to dance with her ‘bubur’, in
this case, her colorful, vibrant, fresh, and highly textured painting. The
whole mood perhaps suggests the mood of enjoying the visually appealing and
colorful food itself. Ester’s use of visual symmetry is further complimented by
the alternate use of both warm and cool color registers, making the abstract
work appears ‘inviting’ for the eyes. It lures our eyes to ‘dance’ a ‘cha-cha’!
Loo Hooi Nam’s “Hawker Penang” features a typical street hawker scene
that is rather prevalent in Penang. Loo’s work nevertheless, is exemplary in
regards to maintaining a long-standing tradition of impressionistic painting.
Loo employed the challenging impasto technique to capture a street mood, and
how such mood was created through the artist’s skill in capturing the
high-contrast interplay of natural light and buildings.
Curatorial Experiment
In the spirit of public accessibility and inclusiveness, especially in
augmenting the appreciation of the selected artworks by the largest groups of
Penang Art Gallery’s visitors – school children and college students, a minor
shift in curatorial approach has been implemented in presenting the Penang Open.
Such shift is also pertinent to the need to invest in the future of Penang
Open, other than making it more of an engaging event rather than a ‘hit and
run’ yearly celebrative affair that comes and goes without any sustainable
long-term impact.
Several curatorial methodologies have been employed, which include
placing the ‘artists’ themselves in the same space as their artworks to give their
individual expression a ‘human’ face, other than implying a sense of
accountability. Running texts provide additional inter-textual data for the
visitors to decode, while selected works by prominent Malaysian artists are
also placed for further references and comparison. Audience feedbacks are collected, while
schools kids and college students are encouraged to comment, evaluate and pick
their own choice of winners.
Such infusion of interactive element into the curatorial practice of
Penang Open will hopefully encourage young visitors to be more substantially
engaged with the show, rather than becoming passive viewers.
Conclusion
Generally, all the judges were rather disappointed by the apparent lack
of quality submissions for this year’s Penang Open. This sentiment is reflected
by the small numbers of selected works for display, other than not awarding a
major prize. With current body of selected works for display, Penang Open is
rather left behind by other more exciting competitions and exhibitions such as
the Young Contemporaries and Malaysian Emerging Artists Awards. These
competitions and exhibitions have been known to churn out artworks that are
more challenging, mind-bending, heart-felt, bold, innovative, creative and
explorative. Penang Open also has to compete with other State-sponsored
competitions such as Johor Open and Terengganu Open. Efforts should be taken by
the Penang State Art Gallery in attracting quality submissions for this
important annual event in the future. Institutions of higher learning,
especially in Penang should also take certain measures in encouraging and
securing quality works to be submitted for this competition in the future.
Hasnul J Saidon
Chief Judge
Penang Open 2010
LIST OF WORKS FOR COMPARISON
The following are several artworks by prominent Malaysian
artists that can be used as a good reference for this competition and
exhibition. The works can be studied in terms of their thematic interpretation,
choice and use of subject-matters, manipulation of skills and techniques, exploration
of media and styles, expression of temperaments and attitudes.
Rambutans and Mangosteens
Georgette
Chen
Oil on canvas
70cm x 49cm
1950
(National Art Gallery of Malaysia Collection)
Al-Rumi
Ismail
Zain
Inkjet print
21cm x 30cm
1988
(National Art Gallery of Malaysia Collection)
The Phantom F4
Ismail
Zain
Inkjet print
21cm x 30cm
1988
(Private Collection)
Interior Composition 89
Mastura
Abdul Rahman
Acrylic on paper
35cm x 52.5cm
1989
(Private Collection)
Kitchen
Noor
Mahnun Mohamed
Oil on canvas
70cm x 50cm
1992
(Private Collection)
Talismanic Bowl
Nur
Hanim Khairuddin
Mixed media
1995
(Private Collection)
New Year Still Live
Sylvia
Lee Goh
Oil on wood panel
121.5cm x 91.5cm
1996
(National Art Gallery of Malaysia Collection)
Hanging by a Peg
Yee
I-Lan
Mixed media
89cm x 89cm
1996
(Private Collection)
Kedai Obat Jenun
Susyilawati
Sulaiman
Mixed media
183cm x 183cm x 200cm
1997
(National Art Gallery of Malaysia Collection)
Home Kitchen
Yau
Bee Ling
Oil on canvas
67.5cm x 67.5cm
1997
(Private Collection)
The Great Supper
Eng
Hwe Chu
Mixed media
161cm x 166.5cm
1999
(National Art Gallery of Malaysia Collection)
Nature in a Bowl
Ham
Rabeah
Stoneware clay, Oxides and Matte Glazes
38cm x 10cm
1999
(Private Collection)
Small Town at the turn of the Century
(13)
Symrin
Gill
Color Photography
1999-2000
(Petronas Gallery Collection)
Offerings
Tay
Mo Leong
Batik
89cm x 183cm
2001
(National Art Gallery of Malaysia Collection)
‘HIJAB’ AS A SITE OF IDEOLOGICAL CONTESTATION
(In reference to an audience-participative installation piece and solo exhibition by Victoria Cattoni, an international Australia-born artist)
Victoria Cattoni’s
engagement with ‘hijab’ (veil) may remind one of the blurring distinctions
between the sacred and the profane in today’s age of consumerist global
culture, media spectacle, viral as well as coercive marketing. Using her own experience in Malaysia and
Indonesia as a starting point, Victoria simulates a safe, secure and
non-confrontational environment for her audience to engage with ‘hijab’. In Victoria’s
highly inclusive and audience-centred work, multi-dimensional patterns of perception
determine multiple, if not contesting notions of hijab.
Through a highly
organic methodology and interactive workshops in several major cities in
Malaysia, Australia, and Singapore, Victoria indirectly hints on the sometimes
awkward relationship between the practice of wearing a ‘hijab’ with rapid urbanization,
popular mass cultures, advertising, branding, and propagation of consumerist
lifestyle. In fact, the whole idea of expanding consumerist agendas through
control of capital and market flow may have also been ‘unveiled’, so to speak. As
trans-national brand names influence one’s choice of a lifestyle, they are
sometimes subscribed, practiced and ritualized even more faithful than
traditional religions. Ironically, the practice of wearing certain brand names
in a certain secular posture may even be guarded more piously than wearing a
hijab. Hijab, through Victoria’s scheme, has become a site of ideological
contestation.
Where does one place
the act of wearing a hijab in the whole spectrum of fragmented contemporary urban
experience and hyper-view living? Where does hijab stand in a rapidly changing
pluralistic and multicultural urban society? Who and what defines cultural,
national, religious or spiritual identity in today’s age of ideological
contestation? Who represents who? Who creates meanings? Who creates contexts?
Who creates values? Who’s meanings, contexts and values should one uphold or
subscribe to?
In such a
contestation, lifestyle and identity as implied by the practice of wearing a
hijab can be spiritually-rooted as much as artificially constructed and hyped
to feed the sentiment of targeted mass and market. Interestingly, the work may also
reflect the notion that we are increasingly living in a permanently deconstructed,
and densely saturated image-oriented global society. It is a society in which
singularity of meaning is impossible to attain. For some, we are living in an
increasingly networked world where meanings are never static, but always in a
state of flux. What is the meaning of wearing hijab in todays age of cultural
fragmentation and loss of centrality?
Through her work,
Victoria further unveils the unstable semiotic interplay between a signifier (the
image of hijab in many versions and names) and signified (what it means). By
allowing her audience (Muslims and non-Muslims) to be active participants,
readers and producers of meanings, one may find oneself swimming in an ocean of
schizophrenic, multi-textual and contradictory readings of hijab. Through the
work, Victoria seems to teasingly suggest that meaning of the signifier (hijab
or its wearer or both) is simply a matter of its relationship to other
signifiers (perhaps, non-hijab wearing women or the so-called ‘secular’ dressing).
In the midst of media spectacle, hijab as a form of expressive language of
choice or image may have no natural connection at all to its actual, intrinsic and
spiritual meaning.
The result is a sense
of permanent deconstruction and deferred meaning, leaving one without any hint
of a clear or definitive reading. One may be drowned by a sea of endless
possibilities in reading and constructing the meaning of hijab. In her work, images
of different hijab-wearing women function as interwoven signifiers in a field
of deferred meanings; a multidimensional space in which a variety of hijab images,
readings and interpretations blend and clash. The burden is placed on the
viewers (or readers of images and interpretations) to engage with them and put
them to work. Interestingly, instead of unveiling or undressing the hijab,
Victoria is actually unveiling the viewers’ very own reading, interpretation, sentiment
and attitude towards hijab. In short, it is the audience members who are being
‘unveiled’, instead of the ‘veil’ or hijab and its usual wearer.
Victoria also seems
to suggest that meaning about hijab can be constructed (be it spiritually, or
secularly, through the mass media for example) as a system of thinking to a
point that the thought system be taken as natural, habitual or inevitable. For
some Muslims, it may appear culturally natural for adult Muslim women to wear
hijab, as much as for some non-Muslims, it may appear natural to assume that
hijab represents suppression of women’s freedom. Victoria’s inclusive strategy may
open a Pandora box of criticism, if not contempt towards the practice of
wearing hijab as much as it may also reveal negative stereotypical readings of
hijab as constructed by the mainstream Western mass-media (often taken
uncritically as natural by numbed Western media consumers).
In this case,
non-Muslims’ stereotypical negative readings of hijab may be exposed as mythologies
conjured by the mainstream Western media with the intention of demonizing
anything Islam. Islam (as well as Muslims and their codes of living or practice
including wearing a hijab) may thus be taken as a global threat that one has to
be wary of. Creating a fictional demon by the way, is a good way to attract as
much as to distract or divert attention. Controversy sells.
Victoria’s work also seems
to affirm the postmodernist’s notion that we live within the sway of mythology
conjured for us by the mass media, movies and advertisements. Not everyone can
agree with this though, especially those firmly rooted in the monolithic meta-narrative
of modernist ethos. Her work may also unveil that in the effort of making hijab
an inclusive subject of concern, a deeper and comprehensive concept of hijab
may be relegated to a mere object of an open field of discourse (if not contempt),
devoid of what can be claimed as values intrinsic to Islam. Complicated by the
imperatives of globalization, Victoria may further expound that the notion of wearing
hijab may continue to be mentally, economically and culturally imperialized by
the ebb and flow of free market capitalism and its impinging consumerist
agendas.
Victoria’s audience
may re-use, re-fuse, fuse and even confuse our habitual reading of hijab to
unveil possibilities of new readings. In some combinations of texts and images,
we may be jolted to confront our own preconceive readings of hijab. Such a work
may reveal the fact that we are living in a multidimensional world of overlapping
contexts. If we are lucky, these contexts may compliment each other to give us
a coherent reality. Often times, especially in today’s age of globalization and
information implosion, they may contradict, cancel, mock, satirize, and
deconstruct each other to eventually re-construct a new (if not absurd)
reality. Established contexts that were previously employed to stabilize our
fixed and given notion of political and cultural reality of hijab are
continuously being shackled and shifted, freely appropriated, interrupted,
broken, fragmented, or even crashed for good by Victoria’s audience-centred
strategy and inclusive method. In doing so, our own thought pattern and
emotional response towards hijab may be at stake. We are forced to forsake
grand narrative, singular and monolithic view of a fixed reading of hijab for a
more flexible, impermanent, multi-textual and multifaceted mental perceptions
on the notion of self, identity, culture, politics or even our present reality
at large.
Victoria’s work
further reiterates our fragmented postmodern stance and reaffirms an exploded
hyperview of multiple narratives that are defining our contemporary experience.
It reflects a society where images (and texts) have become sites of
contestation in which culture, lifestyle, identity and political consciousness
can be constructed, and deconstructed. The question perhaps is how adaptive we
are in engaging with such contestation?
Hasnul
J Saidon
May
2009
GET A LIFE, NOT JUST A CAREER.
Dear Hasnul, don't slave yourself for that illusion called 'a career'. It may make you forget to be happy and IN PEACE.
REVISITING 'RINTIS' USM.
Why we 'rintis'? When I initially joint USM in 2003, amongst my first tasks given by the Dean then, Dr. Najib Ahmad Dawa (now Dato'), was to design a New Media Design & Technology Programme, together with Wan Marina. It was karmic cycle revisited (after doing the same for UNIMAS and CENFAD). When we showcased the works of our first batch of New Media Design & Technology students, I was naturally excited. I remember giving the name 'Rintis' for the final year show, mostly for branding purposes. But there is more than branding for the term 'Rintis' (which in my mind then, was meant as acronym for Research and Innovation Towards Integration & Sustainability). Now, after 8 years, I think its good to reflect upon the word 'rintis'. Ya, ya....I know, I'm bragging. But can't help being high, proud and thankful, especially of what I have received from the students. To all the students, thank you for enriching my life, and congrats for all the hard work. My luv to u. The projects are mostly design and applied-based, with commercial application and targeted client and consumer/user identified beforehand. Only few opted for expressive or fine-art based approach.
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| Zaki Zakaria's work incorporate three dimensional indoor video mapping with 3D animation story-telling. |
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| Masitah constructed a D.I.Y interactive touch screen to view her panoramic pictures. The system, which incorporates google map, can be used to promote places of interest, especially those with scenic natural environment. |
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| 'Katak' (I remember her nickname, which is actually in reference to her boyfriend, instead of her name!) created a system for online window shopping in which one can try and test her own choice of dress in front of a 'virtual mirror' (a tv or computer monitor actually). |
Sunday, 23 December 2012
NEW SPARKS FROM UNIMAS
Yet again, I went to UNIMAS, to sniff the final year projects-in-progress by their students. As usual, there were many lost and meandering souls looking for direction, if not inspiration. The air was filled with fatigue, with some searching for hopes. I went through the works of students who focus on e-art works. Many were too sketchy to mention here, not hitting the right notes yet. I could sense myriads of crossing thoughts and opinions too, that might explain the mental fatigue. I tried my best to share my passion and thoughts, holding on to the UNIMAS's tradition of churning out creative and innovative e-art and new media based fine art works. In fact, as far as I know, amongst the earliest outdoor video mapping projects done in Malaysia, was done by a UNIMAS's student, all by himself for his final year project, D.I.Y. Should be noted too, it was done earlier than that glitter and expensive one done in George Town, Penang. Of course, it might not be taken into account as a 'seminal project' or included in some fancy international reviews on new media art in Malaysia.
Anyway, back to my visit, in the midst of those hits and runs, I saw three beautiful potentials, in the interactive works of Diba, Syan and Sufry. The technology is not new, but the creative use of it in fine art context is rather refreshing.
To my 'baby bucuk' (smelly baby, as I nicknamed her) named Diba, thank you so much
for sharing this final year work in progress of yours. Ya, digital rain or virtual simulacra does deconstruct whilst
making weird, if not funny copies of us. For the time being, I think its a bit too literal with that 'LOLs' and 'OMGs' falling down on our distorted virtual bodies. But then, you have plenty of time to further dwell into the semiotics of net communication to come out with a more substantial solution.
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| Diba's interactive work employ real-time processing from live camera input. The popular acronyms LOL and OMG fall downwards like digital rain. They can be manipulated (or blocked from falling) by the audience using the contour of their bodies. |
Syan's interactive work-in-progress also employs similar approach with Diba, but his work is projected on a floor instead of a wall. Syan studies the nature of wave forms and how they relate to the quantum as well as Eastern notion of energy, frequency and vibration. As an audience member steps into his video of stone pebbles, a ripple is created. When more steps involve (sometimes with more than one audience), the ripples will interfere, creating complex web of interfering patterns. One can read many things into it. Syan's work can be further developed to be a mesmerizing and meditative work of art. It also reminds me of an interactive work by another UNIMAS's alumni, John Hi.
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| Syan's interactive work needs more detail consideration on its final presentation, especially the scale of the image, the scale and shape of the projection, the setting on the floor, the ambiance, including sound and the clarity of the ripple effect. |
Sufry's interactive work is sound-triggered. On the screen is an image of him sleeping lazily on what appears to be a working table. As an audience comes and hits the board in front of the screen, he wakes up surprisingly and starts to hastily pretend to work. His work is simple, but I can't help to ponder on the notion of 'dream' from a philosophical and quantum point of view. We are all dreamers of forms, an illusion of physicality created by the deeper quantum field in which our mind is a part of (or connected to).
Seeing these three works, and few others, soared my spirit high as I was lucky enough to be a part of the earlier team of 'gardeners' who helped to plant the seeds at UNIMAS. All the best to UNIMAS's final year students from the Fine Art Department, Faculty of Applied & Creative Arts.
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