Footnotes
1. This colloquial term was coined by
Ooi Kok Chuen in ‘A Comprehensive History of Malaysian Art’, in Dr. Tan
Chee Khuan, 200 Malaysian Artists, The Art Gallery,
Penang, 2002, p. 42.
2.
Michelle Antoinette, ‘Different
Visions : Contemporary Malaysian art and exhibition in the 1990s and beyond’ in
Caroline Turner (ed), Art & Social Change : Contemporary Art
in Asia and the Pacific, Pandanus Book, Canberra, 2003. Through this essay, Michelle focuses
on the “defining moments and seminal figures of contemporary Malaysian art from
1990s to the present, by tracking the different and multiple trajectories along
which recent art production has evolved.” p. 232.
3.
Refer to Hasnul J Saidon, HYPErview, Solo Exhibition, Kuala Lumpur, 1997.
The term ‘hyper-view’
implies deconstruction of singular view. For Jacques Derrida, ‘deconstruction’
is a form of tactical practice designed to expose the instability of
language. He expended the observation
made by Swiss linguists Ferdinand de Saussure who stated that the relationship
between signs and meanings are ambiguous.
Derrida has created many methods to expose such ambiguity through
word-play. His intention is to show that words cannot confine meanings. For a
society that relies on fixed meanings, deconstruction has the capacity to
threat cultural beliefs.
4.
Michelle Antoinette, p. 230.
5.
Redza Piyadasa, Masterpieces From The National Art Gallery, National Art Gallery,
Kuala Lumpur,
2002, p.11.
The term master
narrative was initially used by Jean-Francois Lyotard in his book The Postmodern Condition. Such narrative is based on transcendental
truth and refers to ideological system (according to Lyotard) such as
enlightenment, Eurocentricism, Christianity, Hinduism etc. The term also
connotes authoritarian and totalitarian stance of such ideological system in
centralizing and universalizing human experience. Such truth is perceived as
being increasingly broken by periphery factors. For example, it has been
debated that Eurocentricism represents an example of a universal view that
tries to empower Western history, including the history of modern art as a
master-narrative. Master narrative creates a hegemonic discourse whilst other
forms of Asian and African histories are perceived as insignificant or
subservient.
Efforts to deconstruct
master-narrative in terms of culture and identity are paradoxical due to the
fact that they will eventually create a new form of master-narrative (different
version of transcendental value) that will then be suspected and
deconstructed. The cycle will be
repeated until humans have to exist without any religious belief or surrounded
by religious wastes.
6.
Ibid, p.11.
7. See
JosephTan, ‘Judges’ Report’ in Malaysian
Young Contemporaries 2000, National
Art Gallery,
Kuala
Lumpur, 2000, p.15
& 39; Hasnul J. Saidon, ‘Postmodern Encounters: Young Contemporaries 2002’
in
Malaysian
Young Contemporaries 2002, National Art Gallery, Kuala Lumpur, 2002, pp. 1.9
& 3.13; ‘In The Name of (Borrowed)
Time’ in Malaysian Young Contemporaries
2004, National
Art Gallery,
Kuala Lumpur,
2004.
8.
See Malaysian Young Contemporaries 2006, National Art
Gallery, Kuala Lumpur, 2006.
9.
See Hasnul J Saidon, ‘Random
Order’ in Sentap, Issue 4, Teratak
Nuromar, Ipoh, 2006.
10.
See Piyadasa, Masterpieces From The National Art
Gallery, pp. 202
& 203.
11. Hasnul J Saidon, ‘Post-modern
Encounters: Young Contemporaries 2002’ in Malaysian
Young Contemporaries 2002, National Art Gallery,
Kuala Lumpur,
2002, p. 3.12.
12. Ibid, p.3.17.
13.
Michelle Antoinette, p. 245.
14. Dr. Tan Chee Khuan, 200 Malaysian Artists, The Art Gallery,
Penang, 2002.
15.
Ooi Kok Chuen in ‘A Comprehensive
History of Malaysian Art’, in Dr. Tan Chee
Khuan, 200 Malaysian Artists,
The
Art Gallery, Penang,
2002.
16.
Jolly Koh, ‘Some Misconceptions
in Art Writing In Malaysia’
in SentAp!, Issue 5,Teratak Nuromar, Ipoh, 2006/7,
p. 6-8.
17. Ibid, p. 6.
18. ibid, p. 6.
19.
Ahmad Suhaimi Mohd. Noor, Sejarah Kesedaran Visual di Malaya, Universiti
Pendidikan Sultan Idris, Tanjong
Malim,
2007.
20.
Dr. Steve
Wong, a collector of contemporary Malaysian art, observes:
“When the move to the
present premise from majestic Hotel was made not long ago, we anticipated a
classy
structure with good
art and shows. Instead what the Malaysian public received was an ill conceived,
poorly functional… with mostly second grade works of art in poorly curated and
quite infrequent exhibitions. I feel quite embarrassed to show it to foreign
friend.”
Malaysia Tattler, April 2008, p.200.
21. Safrizal
Shahir in his essay, Art Criticism in the
Appreciation of Malaysian Contemporary Art proposes that:
“The nascent point of
Malaysian contemporary art, which embraces or allows for the emergence of
postmodern
ideas, relatively
could be traced back to the late 1980’s. Indications and profiles suggested by
artworks in the
period after that year
mostly observe and are ascribe to postmodern traits. Therefore any appreciation
regarding the ideas
and practice of Malaysian contemporary art must revert to that time frame’.
See Safrizal Shahir, ‘Art
Criticism in the Appreciation of Malaysian Contemporary Art’ in sentAp! Issue no.2,
2006, pp.9-10.
22.
Michelle Antoinette, p. 245.
Ironically, it is
through this negation and revaluation of Western modernism that several shared
principles
between the so-called
scientific West and spiritual East were unveiled. The following is a list of
several
principles that can be
found in both the Southeast Asian design paradigm (or the spiritual-based
traditional art
and cosmology) and the
information age (or new age) paradigm.
a.
Modularity
b.
Inter-connection
c.
Inter-dependence
d.
Multi-disciplines
e.
Multi-centers
f.
Multi-dimensional & cross media
g.
Non-linear and Cyclical
h.
Participative/inclusive/immersive
i.
Convergence
j.
Art and Science
k.
Temporal
l.
Time as an important element
Evidently, these are
also several key principles that one may find in the artworks of several
contemporary Malaysian artists. Artists such as Fauzan Omar and Zulkifli Yusof
for examples have recently employed principles such as modularity,
inter-connection, inter-dependence and multi-centrality in their recent works.
These principles (albeit partially, or in various different combinations) have
also been employed in several other alternative projects that spilled beyond
the confine of a gallery space, including community-based projects and projects
that use new media technology and the internet such as Malaysian Art Online, curated by Niranjan Rajah in Pekan Seni Ipoh (1999). In fact, these principles may
potentially open up many interesting shifts and future directions for the
practice of art in Malaysia
and the South East Asian region.
23.
Piyadasa, p. 33.
24.
Ibid, p. 33.
25. Ibid, p. 34.
26. Ibid, p. 35.
27.
Refer to Ismail Zain, ‘Masa Depan Tradisi – Dikhususkan Kepada
Pengalaman Kuno di Malaysia’, Bengkel
Wayang
Kulit,
KKBS, Kuala Lumpur
: KKBS, 1978 and ‘Ucapan Nada Idea’, Seminar Seni dan Teknologi,
Pusat Seni USM, Pulau
Pinang, 1986. Also Syed Ahmad Jamal, Rupa
& Jiwa, Percetakan Universiti Malaya,
Kuala
Lumpur, 1978.
28.
Refer to Sulaiman Esa, ‘The
Reflowering of the Islamic Spirit in The Contemporary Malaysian Art’, Menifestasi
Jiwa
Islam Dalam Senirupa Malaysia
Sezaman.
Balai Seni Lukis Negara, Kuala Lumpur,
1993. Also Ruzaika
Omar Basaree Kesenian Islam – Suatu Perspektif Malaysia.
Balai Seni Lukis Negara, Kuala Lumpur,
1995; and
Hani Ahmad (ed), Art & Spirituality, National Art Gallery,
Kuala Lumpur,
1995. For article on nationalism in art,
see Seni & Nasionalisme – Dulu & Kini
(Art & Nationalism – Past & Present, National Art
Gallery, Kuala Lumpur,
1999.
29. For
example, Ismail R and Louis Lamya Faruqi,
Atlas Budaya Islam. Dewan
Bahasa & Pustaka, Kuala Lumpur
,
1992.
30.
Niranjan Rajah, ‘Between Amok
and Adab: Expresion And Expressionism in Modern Malaysian Art’ in Bara Hati
Bahang
Jiwa, National Art Gallery, Kuala Lumpur, 2002, p.37.
31.
Redza Piyadasa, p.32.
32.
June Yap, ‘Matahati – For Your
Pleasure’ in Matahati, Petronas
Gallery, Kuala Lumpur,
2008, p.16.
33.
Ibid, p.17. See also ‘New Art
New Voices: Krishen Jit talks to Wong Hoy Cheong on Contemporary Malaysian
Art’ in What About Converging Extremes, Galeriwan,
Kuala Lumpur,
1993.
34.
Ibid, p.17.
35.
Ahmad Mashadi, ‘Brief Notes on
Matahati And The Development of Malaysian Art in the 1980s’ in Matahati,
Petronas
Gallery, Kuala Lumpur,
2008, p.56.
36. Ibid, p.56.
37.
Ibid, p.58.
38.
Wong Hoy Cheong, ‘Locating
Matahati’ in Matahati, Petronas
Gallery, Kuala Lumpur,
2008, p.42.
39. J. Anu, ‘Life is Like That’ in 50 Ways to live in Malaysia, Petronas Gallery,
Kuala Lumpur, 2007, p.12.
40. Valentine Willie & Karim Raslan,
‘Malaysian Art Now’ in Malaysian Art Now,
National Art Gallery, Kuala Lumpur,
2004,
p.3.
41.
Ibid, p.7.
42..
Historically, the modern art
scene in Malaysia
was initially paved by a strong leaning towards Western
romantic naturalism,
formalist and aesthetic (read Western or an eclectic combination with Eastern)
concerns,
only to be later preoccupied by an interest in conceptual, minimal and
international abstract styles, predominantly abstract expressionist style.
There was also an interest amongst Malaysian artists to return to Malaysia’s
diverse and rich spiritual and cultural traditions. Politically, there was
indeed an interest in revisiting the Malay-Islamic tradition. Vital to this
preoccupation is a return to pre-modern forms of folk or traditional arts,
mainly centers around the Malay culture and Islamic values.
It has to be stressed
here that the multifarious roots of the Malay culture was formed by an
amalgamation of
various
cross-cultural, cross-ethnic, and multi-dimensional influences.Thus, such a
return has been prescribed
as a collective
socio-cultural formula to bring the country together after the ethnic riots of May 13, 1969.
The formula was
debated in the National Cultural Congress (not ‘Malay Congress’) in 1971 and
later
institutionalised as
the National Cultural Policy. Other than the Malay culture and Islam as the
basis of the
Policy, it has to be
noted that cultural elements from other races that are deemed as appropriate
can be also be
accepted and adapted.
43.
See J. Anu’s essay in Bumi Manusia : Journey Through Nusantara by
Masnoor Ramli Mahmud, Petronas
Gallery,
Kuala Lumpur,
2007.
44. Niranjan Rajah, ‘Between Amok and
Adab: Expresion And Expressionism in Modern Malaysian Art’ in Bara Hati
Bahang
Jiwa, National Art Gallery, Kuala Lumpur, 2002, p.47.
45. Despite ending in 1990, NEP has also been
touched in relation to NCP (National Cultural Policy) that came out of the
National Cultural Congress in 1971. Many have responded to this, directly or
indirectly through their arts or through writings. The responses have become
rather louder in the past few years, even spilling outside Malaysia.
As examples, see
statements by several prominent visual artists such as Dato’ Syed Ahmad Jamal,
Redza Piyadasa, Sulaiman Esa and Jolly Koh and the exhibition curators of Malaysian Art Now, National Art Gallery,
Kuala Lumpur, 2004. Read a statement by another visual artist, Tan Chin Kuan
quoted from Beyond The Future, The Third
Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery,
Brisbane, 1999, p.82:
“Things
never change in life. Racism is a global issue, so is religion. As a Chinese in
an Islamic state you are
not exactly
predestined to become a top artist. I have been active in the Malaysian art
scene for over ten years
but the
policy is still the same or even worse.”
Such
statement can easily be misunderstood, misinterpreted, thinned and
sensationalized, as experienced by
another
prominent Malaysian artist who’s statement was totally misread by a foreign
newspaper. Refer to
‘Critical
Dissident to star,’ in The Sunday Mail–City
Final Edition, Brisbane,
Queensland, Sep.1, 1996.
Chin Kuan’s
confrontationalist surrealism, according to J.Anu, ‘has resulted in his work
receiving – in comparison - a rather less-than-comfortable response from the
powers that be and, to some extent, from the art movement at large.’ J. Anu was
referring to Wong Hoy Cheong and Liew Kungyu in his ‘comparison.’
Chin Kuan’s statement
has been commented upon by Niranjan Rajah in Bara Api Bahang Jiwa. Chin Kuan’s
artwork has been purchased by the National Art Gallery (NAG) of Malaysia (in fact, listed as one of the masterpieces)
of the NAG, Malaysia. He himself was repeatedly selected as a major
winner of Young Contemporaries Competition and Exhibition organised by the NAG.
His artworks have also been discussed generously in many local catalogues. Another
enticing visual artist who is subtly conversant and witty in her visual remarks
on racial stereotypes and ethnic relationship is Yee I-Lan. See Huzir Sulaiman in Beyond The Future, The Third Asia
Pacific Triennial of Contemporary Art, Queensland Art
Gallery, Brisbane, 1999, p.84. Perhaps, I-Lan represents a generation that is not
bounded by the ‘burden of history,’ as far as ethnic relationship in Malaysia is
concerned.
To counter
balance, see also Hasnul J Saidon’s and Hoy Cheong’s statements in ‘Kolokium
Serum’, tANPA
tAJUK, issue
2, pp.8 & 9.
46. Refer
to Inventori Himpunan Tetap Warisan Seni
Tampak Negara 1958 – 2003, National
Art Gallery,
Kuala
Lumpur, 2003
47.
Based
on a telephone interviewwith Zanita Anuar (Senior Curator, National Art Gallery
of Malaysia) 22 April
2008.
48. Suzieana
Uda Nagu, ‘Making it More Acesssible’ New
Sunday Times, February
24, 2008.
49.
Fauzan Omar in an interview, 22 April, 2008.
50.
Ahmad Shukri Mohamed in an
interview, 18 April, 2008.
51.
Refer to Bakat Muda Sezaman (Malaysian Young Contemporaries) catalogues from the year 1984-1992. Also
Zanita Anuar, ‘Past Tense and
Future Stance’ in Young Contemporaries in
Review, National
Art Gallery,
Kuala
Lumpur, 1999.
52. See
for example, Pameran Terbuka, National Art Gallery,
Kuala Lumpur,
1989.
53.
Fauzin Mustaffa and Raja
Shahriman Raja Aziddin in telephone interviews, 14 April, 2008.
54. Ismail
wrote an essay entitled ‘Modernism and Self-critical Tendency’ in 4 Perceptions, an exhibition plus multi-
arts
programs by his 4 ex-students from UiTM in 1989, produced by theatre-exponent
Normah Nordin, of the
Centerstage Performing
Arts (an early version of ‘alternative’
space for artists coming from various disciplines to
hang out and do
projects).
The exhibition itself
entailed dance performances from Zarida Malik, Marion D’Cruz and Peggy Tan,
song
performances from
Iryanda Mulya, Eddin Khoo, Rafique, Hasan & Markiza, and a talk session
with Khoo Khay
Kim and Ramli Ibrahim
as guest panelists. The following is a sample of Ismail Zain’s musing:
“As an exhibition, the
‘Four Perceptions’ may not change art history and aesthetics. Skeptics may even
raise an
eye-brow or two at its
overtly youthful exuberance. But in final analysis, it does two things.
Firstly, it draws our
attention to the fact
that modern art in Malaysia
is progressively depleted of the intellectual discipline and critical
attitude which are
crucial to its development. Secondly, it reminds us nostalgically of the scenes
in Malaysia
around the late
sixties and early seventies when unequivocal commitment and single-minded
attempt to
communicate were
certainly more common.”(see 4 Perceptions,
Centrestage Performing Arts, Kuala Lumpur, p.
6)
55.
See Ismail Zain, Digital Collage, Kuala Lumpur, 1988.
56.
Zulkifli Yusof in a telephone
interview, 11 April, 2008
57.
Most of these art works were entered
into the annual (now biennale) Malaysian
Young Contemporaries
organised by the
National Art Gallery of Malaysia.
58.
Malaysian Art Now, National
Art Gallery,
Kuala Lumpur,
2004, p.11.
59.
Niranjan Rajah, Gema:Resonance, National Art
Gallery, Kuala Lumpur, 1998, p.11.
For introductory
explication on globalization and three main interpretations of it, see Jeremy
Fox, Chomsky and Globalization, Icon
Books, Cambridge,
2001. For reference within the context of visual arts in Malaysia, see
Redza Piyadasa, chapter on ‘Melangkau Sempadan’ in Rupa Malaysia, Balai Seni Lukis Negara, Kuala Lumpur , 1999. Also refer to Niranjan
Rajah, ‘The End of Globalization? Malaysian Art at the Close of the 20th.
Century”’ in, Fukuoka Triennial,
1999, pp.142-145.
60.
Niranjan Rajah, “Towards A
Southeast Asian Paradigm : From Distinct National Modernism To An Integrated
Regional Arena For
Art” in 36 Ideas From Asia
: Contemporary South-East Asian Art, Asean-Coci and Singapore Art Museum, Singapore,
2002, p.34.
61. Redza Piyadasa, Rupa Malaysia – Meninjau Seni Lukis Moden Malaysia, National Art Gallery,
Kuala Lumpur,
2000, pp.54-67.
62.
Zainol Abidin Shariff, Report By Panel of Judges, Bakat Muda
Sezaman, National Art Gallery, Kuala Lumpur,
1994, (unpaginated)
63.
http://www.uploaddownload.org/ (accessed April 22, 2008)
64. Refer to Leong Tzu Ann, ‘Profiles on
Art: From Gadis Melayu to Great Expectations. Up Close With Tengku
Nasariah and Other Art
Figures’, Malaysia Tatler, April, 2008, pp.194-225.
65.
See Rahime Harun, ‘Misi Pelukis
& Misi Galeri’ in tANPA tAJUK, isu 2, pp.17 & 18;
Ismail
Zain, ‘Meditation on the Art Market in Malaysia’ in Ismail Zain Retrospective Exhibition 1964-1991,
National Art Gallery, Kuala Lumpur, 1995, pp
82-85. See also ‘Asian Galleries on Art,
economics and ethics’
in Art Corridor, issue 5, pp. 54-57.
See for example the
debates involving Jolly Koh and Dr. Tan Chee Kuan with Victor Chin in “Views
& Muse” in
Art
Corridor,
issue 9, pp. 84-87.
66.
Refer to Hasnul J Saidon &
Niranjan Rajah, 1st. Electronic Art Show,
National Art Gallery,
Kuala Lumpur,
1997.
See also Rajah &
Saidon, ‘The Evolution of Electronic Art in Malaysia’, in Art Asia Pacific, Vol. 7, No. 27, 2000, pp.64-69.; E-Art Asean Online, Balai Seni Lukis
Negara, Kuala Lumpur, 2000; see also Rajah, ‘Crossing Over: the entry of
Internet art and electronic art from Asia into the international mainstream’,
in Caroline Turner and Morris Low (eds), Beyond
The Future: papers from the conference of the Third Asia-Pacific Triennial of
Contemporary Art 1999, Queensland Art Gallery, Brisbane, 1999, pp.155-56. See
also Hasnul J Saidon, “Cabaran Praktis Seni Elektronik Dalam Era Maklumat” in Wacana Seni, Pulau Pinang : Penerbit
USM, 2003; Zanita Anuar, Flow-Arus,
Balai Seni Lukis Negara, Kuala Lumpur,
2000.
67. Hasnul J Saidon, MTV@TV Melayu, USM-ABN AMRO Arts & Cultural Center, Penang, 2006.
68.
Refer to a chapter on ‘Issues
based art’ in Syed Ahmad Jamal (ed), The
Encyclopedia of Malaysia
: Crafts and
The
Visual Arts,
Didier Millet, Singapore,
2007, pp. 118-119. In relation to this, J. Anu writes, “the complex
socio-economic as well as racial and religious make-ups of our region have
given the South East Asian modern artist little choice but to be a good social
commentator long before 9/11 threw up the question of the role of the artist
within a world gone mad.” See J. Anu’s essay in
Bumi Manusia : Journey Through
Nusantara by Masnoor Ramli Mahmud, Petronas Gallery, Kuala Lumpur, 2007. It is also interesting to
compare such interest with ‘issues based art’ or being a ‘social commentator’
in Indonesia.
For reference, read Timothy Morrel, ‘Making Ripples and Catching Waves – The
Context of Indonesian Contemporary Art’ in The
Second Asia Pacific Triennial of Contemporary Art, Queensland Art
Gallery, Brisbane, 1996,
p. 52. The title sounds rather like a ‘prophecy’
as if anticipating an Indonesia
that will eventually be stirred and drowned by vicious waves. Indonesian art
scene seemed to burst into the regional contemporary art circle with a strong
stance during the late 80s and 90s, mostly due to prominent (or made
prominence) presence of her ‘superstar artists’ in many international
contemporary art exhibitions. In reference to the above-mentioned article, the
narrative of Indonesian contemporary art (together with her star-studded cast)
seemed to reach its ‘end of history’ by the seemingly anticipated breakdown of
its economy (thus taken over by foreign forces), the fall of Suharto and
recently – the wrath (or waves) of tsunami! What about Malaysia?
Dr. Tan Chee Khuan has
commented on what he perceived as an obsession with ‘social context’ and
post-modernism in the local art criticism. Refer to his essay in Chapter 12
‘New Art History’ in Social
Responsibility in Art Criticism (Or Why Yong Mun Sen Is the Father of Malaysian
Painting), The Art Gallery, Penang, 1998,
pp. 107-110
69. Hasnul J Saidon, ‘Post-modern
Encounters: Young Contemporaries 2002’ in Malaysian
Young Contemporaries 2002, National Art Gallery,
Kuala Lumpur,
2002, p. 3.13.
70.
Post-modern condition in the
Malaysian art scene has been explicated amongst many by: Zanita Anuar, ‘Ebb
and Flow: Observations
on the cognitive tide in Flow/Arus. National
Art Gallery,
Kuala Lumpur,
2000; Redza Piyadasa, ‘Melangkau Sempadan’ in Rupa Malaysia.
Balai Seni Lukis Negara, Kuala Lumpur,
1999; Niranjan Rajah, ‘The End of Globalization? Malaysian Art at the Close of
the 20’.th Century’ in, Fukuoka
Triennial, Fukuoka Asian Art Museum, Fukuoka,1999; Hasnul J Saidon, Takung, National Art Gallery, Kuala
Lumpur, 2004; See also a chapter on ‘From Modernism to Post-modernism’ in Syed
Ahmad Jamal (ed), The Encyclopedia of
Malaysia : Crafts and The Visual Arts, Didier Millet, Singapore, 2007; and
the seminal Digital Collage, Ismail
Zain Solo Exhibition, Galeriwan, Kuala Lumpur, 1988. Serena Abdullah, in her
article ‘Positioning Malaysia’s Postmodernism’ in sentAp!, issue no. 3, 2006, states that “even though, the
“postmodern art” and changes happening in Malaysian culture can be seen as an
upshot of the postmodern conditions through the globalization process but does
postmodernism really manifests in Malaysia?”. She further proposes that “a
different strategy must be taken in positioning this latest trend in the
Malaysian art world” p 8. In this regard, it is important to note that, as
Safrizal writes, “blind acceptance of Western-oriented theory and its vague
application onto Malaysian artworks only produces an intentional fallacy, due
to the fact that Malaysian contemporary art itself is deeply rooted in a local
socio-cultural space which has experienced hybrid fusion.” Refer to Safrizal
Shahir, pp. 9-10. He further reminds that “Deconstruction, Intertextuality,
Perversion, Simulacra or Hyper Reality are several typical theoretical
principles that could be adopted as tools for art criticism of Malaysian art.
However, profound and sincere observation on the functions of criticism shall
accordingly inspire us to search for the sustenance of ‘hikmah’ intelligence
with regards to the whole practice of art criticism” page 10.
71. Beverly Yong, quoted in Malaysia Tatler, April 2008, p.205.
72. Suzieana Uda Nagu, ‘Making it More
Acesssible’ New Sunday Times, February 24, 2008.
73. Sonneratia
Youth Art Camp was sponsored by the
National Art Gallery, conceived and directed by Hasnul J Saidon, and coordinated
by Susyilawati Sulaiman. See Tan Sei Hon, ‘A Survival Course for Creativity in
a Hostile Environment: young artists get a taste of thins to come at the
Sonneratia Art Camp’, at http://kakiseni.com accessed 22 April 2008.
Independent phenomena
can also be seen through the proliferation of film projects produced by
Malaysian young filmmakers without lavish financial support from both private
and government institutions. To differentiate them from the mainstream, such
films are normally referred to as independent films. They have been
well-received by the international film festival circles, including winning
several awards, even though they are often sidelined locally. Only recently
(after bagging several awards outside the country) that they have managed to
attract the intention of relevant local institutions such as Finas and the
Ministry of Arts, Culture and Heritage.
Refer to Malaysian Video Awards
that have been organised annually at the National Art
Gallery. Some of the works have been absorbed into the
mainstream, especially within the context of cosmopolitan setting, distilling
them from their independent pigeon-hole. Similar situation can also be observed
in the local music scene, including the so-called underground and diy.
Refer Ooi Kok Chuen,
‘The Young Artists as an Anarchist’ in BMS2004,
National Art Gallery,
Kuala Lumpur,
2004. pp 60 & 61. Read also James
MacKinnon, “All This Talk of Anarchy” in
Adbuster, no. 32, pg 45-49; Wan
Zawawi Ibrahim “Anthropologising with National Culture in Malaysia :
Representing and Contesting Culture in the Age of Fragmentation” in Finish Anthropology, special issue 2,
2000
Capitalism knows how
to exploit anti-consumerism and anti-mainstream sub-culture for profits. It is also aware that such counter-culture is
healthy and can be exploited as an antibody for its immune system. This can be
observed through the distillation of sub-cultural elements into current styles
or fashion to be subscribed as a modern cosmopolitan lifestyle.
Universiti Sains
Malaysia (USM), through its Muzium & Galeri Tuanku Fauziah, has recently
been active in collecting video art produced by local artists including Masnoor
Ramli. Other artists include Victoria Cattoni, Kamal Sabran, Nur Hanim
Khairuddin, Ahmad Fuad Osman, Tengku Azhari, Sharon Chin, Vincent Leong and
Wong Hoy Cheong.
75.
See ‘New Art New Voices: Krishen
Jit talks to Wong Hoy Cheong on Contemporary Malaysian
Art’ in What About Converging Extremes, Galeriwan,
Kuala Lumpur,
1993. p.9
76.
See Niranjan Rajah, ‘Between
Amok and Adab: Expresion And Expressionism in Modern Malaysian Art’ in Bara
Hati
Bahang Jiwa, National Art Gallery, Kuala Lumpur, 2002.
77.
Refer to Matahati, Petronas Gallery, Kuala
Lumpur, 2008.
78. Refer to J. Anu’s essay in, Bumi Manusia : Journey Through Nusantara by
Masnoor Ramli Mahmud, Petronas
Gallery,
Kuala Lumpur,
2007, p.13.
79. Powerful
Dialogue, Zulkifli Yusof Solo Exhibition Catalogue, The Art Gallery,
Penang, 2000.
80. Hasnul J Saidon, Semangat Besi – Retrospeksi Sebuah Enigma (Spirit of Iron –
Retrospection of An Enigma), Raja Shahriman Solo Exhibition Catalogue,
Petronas Gallery, Kuala Lumpur,
2001.
81.
Niranjan Rajah, ‘Between Amok
and Adab: Expresion And Expressionism in Modern Malaysian Art’ in Bara
Hati
Bahang Jiwa, National Art Gallery, Kuala Lumpur, 2002, pp.
78-79.
82. Niranjan Rajah, “Towards A Southeast
Asian Paradigm: From Distinct National Modernism To An Integrated Regional
Arena For Art” in 36 Ideas From Asia: Contemporary South-East Asian Art, Asean-Coci
and Singapore Art Museum, Singapore, 2002. pp 34 & 35.
83. Niranjan Rajah, Gema: Resonance, National
Art Gallery,
Kuala Lumpur,
1998, pp.46-47.
84. Sulaiman Esa, ‘Judges’ Report’ in Philip Morris Art Awards: Malaysia-Asean
2001, National
Art Gallery,
Kuala Lumpur,
2001, p.12.
85.
Hasnul J Saidon, ‘In The Name of (Borrowed)
Time’ in Malaysian Young Contemporaries
2004, National Art
Gallery,
Kuala Lumpur,
2004.
86. Ibid.
87. Hasnul J Saidon, ‘Post-modern
Encounters: Young Contemporaries 2002’ in Malaysian
Young Contemporaries 2002, National Art Gallery,
Kuala Lumpur,
2002, p. 3.13.
88. Michelle Antoinette, p.236.
89.
Niranjan Rajah, ‘Between Amok
and Adab: Expresion And Expressionism in Modern Malaysian Art’ in Bara
Hati
Bahang Jiwa, National Art Gallery, Kuala Lumpur, 2002, p.47.
90. Redza Piyadasa, Masterpieces From The National Art Gallery, National Art
Gallery, Kuala Lumpur, 2002, p.39.
91. Ibid, p.40. Such ‘counterpoint’ fits
with the structuralism’s notion of binary opposition. Binary set or binary opposition
is used in the narrative theory of Levi-Strauss who stated that the structure
of constructing meanings depends on conflict between two qualities.
92. Michelle Antoinette, p.237.
93.
Syed Ahmad Jamal (ed), The Encyclopedia of Malaysia : Crafts and
The Visual Arts, Didier Millet, Singapore,
2007,
p.117
.
94.
Michelle Antoinette, p.237
95.
Ibid, p.240
96. Hasnul J Saidon, ‘Post-modern
Encounters: Young Contemporaries 2002’ in Malaysian
Young Contemporaries
2002, National Art Gallery,
Kuala Lumpur,
2002, p. 3.13.
97.
Zanita Anuar, ‘Continuing
Conversations’ in Continuities :
Contemporary Art Of Malaysia
At The Turn Of The
21st. Century, National
Art Gallery,
Kuala Lumpur,
2004, p.17. In reference to an article ‘Contemporary Art and its Trajectory’ by
Sophia Natasha in sentAp! Issue no.
3, 2006, Binna Choi writes “she reminds us how the “Western eye” has curbed the
contemporary art practice in the South Asian regions and suggest an alternative
direction to be taken in seeking new interpretive relationship to local
contexts, traditions or cultural roots of the region by not merely adopting but
“appropriating” the Western influence.” Binna Choi, “Truly Asia and Some
“Varyasians””, in sentAp! Issue no.
4, 2006, p. 6.
98.
Ibid, p.18.
99.
Refer to essays by Li-en Chong in Mind Your Gap, Wei Ling Gallery, 2007 and Hasnul J. Saidon in Dislocated,
12 Artspace, Kuala Lumpur, 2007.
100.
Hasnul J Saidon, ‘Post-modern
Encounters: Young Contemporaries 2002’ in Malaysian
Young Contemporaries
2002, National Art Gallery,
Kuala Lumpur,
2002, p. 3.13.
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http://www.uploaddownload.org/
Master narrative
Safe
Aesthetic
Formalism
Modern
Homogeneity
National
Exclusive
Mass media
Status-quo
Prescriptive / Given / Pre-determined
Nation-state
Independence
Centralized
Single
discipline/Single media
Linear
Form
Fixed /
frozen
Content
Singular meaning
Product
Mass
Artist as the
controller /artist-centered
Review of end
product/Summative
Linear,
sequential, single direction
Isolated
specialist
Hierarchy
Sequence
Hand/physical
skill
Goods,
product-centered
Global
competition
Dominance
Passive audience
Physical
attributes
Specialization
|
Discourses
and multiple (and small narratives)
Provocative
Socio-politic
Parody,
irony, pastiche, hybrid, appropriation
Post-modern
Multiculturalism
Regional
& global
Inclusive
/ participative
Video,
Electronic Arts & New Media
Deconstruction
Choice
Trans-national
Inter-dependence
Multi-centers
Trans-disciplines/Cross-media
Non-linear
Information
Change
/ flux
Context
Multiple
meanings
Time
Customization
Artist
as facilitator/audience-centered
Review
of process/Formative
Non-linear/cyclical,
simultaneous,
concurrent,
multidirectional
Multi-skilled
generalist
Network
of relation – spider web
Simultaneity
Brain/thinking
skill
Services,
audience or user-centered
Global
collaboration
Synergy
Prosumer
/ interactive audience
Intellectual
Attributes
Convergence
|
Fig.1 Paradigm Shifts
