Friday, March 20, 2009
Thursday, March 19, 2009
Four pieces
Three of my paintings will be featured at IMCAS under Aliya and Farouk Khan Art collection. The show is on now at the Danga Mall in Johor Bahru, Malaysia.
About IMCAS 2009
Malaysia’s largest exhibition of contemporary art will kick-off the 2009 art calendar in a big way.
The inaugural Iskandar Malaysian Contemporary Art Show 2009 or IM©AS 2009 will feature a showcase of major and established contemporary artists, alongside talented and emerging contemporary artists vying for the coveted IM©AS 2009 Award.
Set to become Southern Peninsular Malaysia’s most developed region, Iskandar Malaysia and IM©AS 2009 is a perfect combination considering the rise and rise of Malaysia’s contemporary art movement over the last few years, and the emergence of Iskandar Malaysia as the key driver for Malaysia’s global economic push. IM©AS 2009 is thus well-positioned to showcase Malaysia’s strength in contemporary arts, as well as economic and political stability through Iskandar Malaysia… in a big way.
With the largest gathering of more than 100 artists, featuring more than 1,000 contemporary works encompassing paintings, sculptures, installations, photography, films, videos and new medias, spread over 26,000 sq feet of exhibition space, IM©AS 2009 is the exhibition for Malaysia’s contemporary art movement.
IM©AS 2009 is the best possible way to kick-off the 2009 art calendar. A statement of intent more than anything, IM©AS 2009 is a revolution in itself, telling the world: Malaysian contemporary art has arrived.
There is nothing like it to date, and if there is only one exhibition to see in 2009 in Malaysia, this must be it.
A failed art thesis..
I wrote the following wall-text for a figurative art section in, IMCAS, Malaysia's largest exhibition of contemporary art which features the Aliya and Farouk Khan Art collection.
"This section of Aliya and Farouk Khan’s collection is curated under the theme of figurative art. The term figurative art today is used as a counter point to abstract or conceptual art and more often than not refers to any form of modern art that retains strong reference to the real world. Nevertheless, figurative art still holds a strong connection with representation of the human figure. It holds the potential of exploration of identity and the articulation of personal and social values and beliefs. The one element that remains constant between the artist and the audience is the human body. In figurative art, the human body becomes the representation of the real, the ideal and the symbolic.
The production of images is discouraged in Islam and the Malaysian art scene saw a marked absence of this basic form of art making in its early years. Malaysian art revolved in the precincts of abstract and geometrical art for a period. In seeking the authenticity of personal experience, Malaysian artists remained away from the intrinsic nature of the human form as a sign of their personal and social ideological believes.
Breaking the shackles of censorship, postmodern Malaysian artists such as Rajinder Singh, Jeganathan Ramachandram, Kow Leong Kiang, Yau Bee Ling, Jailani Ahu Hassan, Ivan lam, Bayu Ridjikin, Ahmad Fuad and Steven Menon use the formal aesthetic effects of line, shape, color and light to amplify their conceptual concerns with the treatment of human figure as other representational forms in their art."
Farouk Khan, wrote back with the following comments on the above:
"the thesis of censorship of arts in any forms has been proven to be false in light of the constant imaging of art using figurative by artists such as ibrahim hussein, yusof ghani in his topeng and sri tari series, by malaysia's foremost figurative asrtists amron omar and countless other artists.
in fact, the thesis is now considered to be an attempt to marginalise malaysian malay artists as being either prone to censorship or as govt lackeys propogating propoganda. The origin of the thesis is now a major source of embarrassment to the writers of the earlier period of malaysian art who took comfort in the lack of opposition to their writings to mean that they could write like idiots and not justify their statemnets.
i most certainly would not like to be associated with a failed thesis in the introduction of my collection to the general public.
The deconstruction of the failed curatorial era is contained in the book , susurmasa which the national art gallery has put out and was written by hasnul jamal saidon. It is also generally felt that hasnul was a bit kind to the idiot art writers of the earleir era in his deconstuction of their thesis.
i appreciate that being in singapore that u would be a bit behind the progresison of new art thesis's of the region as they develop and would be stuck in era's gone by. In the contemporary art development one has to keep up with the times.
Try again pls. "
"This section of Aliya and Farouk Khan’s collection is curated under the theme of figurative art. The term figurative art today is used as a counter point to abstract or conceptual art and more often than not refers to any form of modern art that retains strong reference to the real world. Nevertheless, figurative art still holds a strong connection with representation of the human figure. It holds the potential of exploration of identity and the articulation of personal and social values and beliefs. The one element that remains constant between the artist and the audience is the human body. In figurative art, the human body becomes the representation of the real, the ideal and the symbolic.
The production of images is discouraged in Islam and the Malaysian art scene saw a marked absence of this basic form of art making in its early years. Malaysian art revolved in the precincts of abstract and geometrical art for a period. In seeking the authenticity of personal experience, Malaysian artists remained away from the intrinsic nature of the human form as a sign of their personal and social ideological believes.
Breaking the shackles of censorship, postmodern Malaysian artists such as Rajinder Singh, Jeganathan Ramachandram, Kow Leong Kiang, Yau Bee Ling, Jailani Ahu Hassan, Ivan lam, Bayu Ridjikin, Ahmad Fuad and Steven Menon use the formal aesthetic effects of line, shape, color and light to amplify their conceptual concerns with the treatment of human figure as other representational forms in their art."
Farouk Khan, wrote back with the following comments on the above:
"the thesis of censorship of arts in any forms has been proven to be false in light of the constant imaging of art using figurative by artists such as ibrahim hussein, yusof ghani in his topeng and sri tari series, by malaysia's foremost figurative asrtists amron omar and countless other artists.
in fact, the thesis is now considered to be an attempt to marginalise malaysian malay artists as being either prone to censorship or as govt lackeys propogating propoganda. The origin of the thesis is now a major source of embarrassment to the writers of the earlier period of malaysian art who took comfort in the lack of opposition to their writings to mean that they could write like idiots and not justify their statemnets.
i most certainly would not like to be associated with a failed thesis in the introduction of my collection to the general public.
The deconstruction of the failed curatorial era is contained in the book , susurmasa which the national art gallery has put out and was written by hasnul jamal saidon. It is also generally felt that hasnul was a bit kind to the idiot art writers of the earleir era in his deconstuction of their thesis.
i appreciate that being in singapore that u would be a bit behind the progresison of new art thesis's of the region as they develop and would be stuck in era's gone by. In the contemporary art development one has to keep up with the times.
Try again pls. "
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