Ahad, 5 Jun 2016

Wibawa Bakat Muda

Oleh: Rashiqah Ilmi Abd Rahim,

Dari kiri (belakang) Sharifah Faheera Al Edrus, Faezah Ali, Ahmad Fairus Pasisan, Nurul Azmah Adnan, Isnian Ibrahim. dari kiri (depan) Elias Yamani dan Faizal Sidik


Rashiqah Ilmi Abd Rahim, “Wibawa Bakat Muda”, Published by Berita Harian, 28 Mei 2009,   (PDF)



Filem Melayu perlu Nur

                                                                       Oleh: Sakini Mohd Sais


Terang...U Wei diberi penjelasan oleh Faizal Sidik (kanan) mengenai pameran Subliminary: Sublime and Sensory sambil diperhatikan Pengarah Galeri Shah Alam, Prof Madya Mohd Said Abu




Sakini Mohd Said, “Filem Melayu perlu Nur”, Published by Harian Metro (Rap), 14 Mei 2009, sec R6-R7 (illustrated). (PDF)


Persepsi Kurator yang Menulis


Oleh Siti Jasmina Abdullah



Generasi bari kini kurang berbicara tentang seni dengan masyarakat
(Artis dan kurator  Faizal Sidik serta Zanita Anuar)


Pelukis di Malaysia tidak boleh sekadar menjadi pelukis sepenuh masa. 
(Dari kiri: Roslisham Ismail/Ise, Faizal Sidik dan Zanita Anuar bersama karya 'Voice Without a Sound: Superpower' oleh Faizal Sidik semasa pameran Bakat Muda Sezaman 2002 di Balai Seni Lukis Negara.)


“Persepsi Kurator Menulis” Siti Jasmina Abdullah, Tunas Cipta, Dewan Bahasa dan Pustaka, Jun 2003. (PDF)


Siti Jasmina, 'Persepsi Kurator yang Menulis', Tunas Cipta, Jun 2003, Kuala Lumpur, Dewan Bahasa dan Pustaka.












Rabu, 1 Jun 2016

Seni pemetaan

BARISAN Kurator Balai Seni Visual Negara bagi pameran Pemetaan (dari kiri) Mohamad Majidi Amir, Faizal Sidik, Baktiar Naim Jaafar, Tan Hui Koon dan Syahrul Niza.


Oleh: Siti Salmiah A Hamid dan Nor Hanisah Kamaruzaman 
 Harian Metro. Jumaat, 27 Mei 2016 


Sewaktu menjelajah beberapa penempatan utama masyarakat tempatan seperti Tanjong Malim, Ulu Bernam, Taiping, Pulau Pangkor dan beberapa tempat di Pahang pada awal 1880-an, pegawai British terutama Frank Swettenham, George Gilles, William Samwell dan William Daniel melukis serta melakar pelbagai penemuan yang kemudian menjadi rujukan penting mereka.
Landskap yang dirakam termasuk lakaran figura, tumbuh-tumbuhan, pokok besar dan renek, bukit-bukau dan gunung-ganang serta laluan sungai (gambar) yang ditemui ketika pengembaraan. Ia menjelaskan betapa pentingnya lokasi pemetaan dalam geografi negara ketika itu.
Kebanyakan lakaran bertema landskap tempatan yang hanya dicatat menggunakan pensel dan cat air menerusi pemerhatian mereka ketika menjelajah kawasan baru seperti Sungai Perak, Sungai Bernam dan Sungai Pahang.
Aktiviti itu kemudian mencetuskan aliran seni lukis di negara ini yang kewujudannya memberi impak besar kepada masyarakat.
Meskipun kelahirannya merujuk pada catan dan lakaran tidak berdakwat, maklumat itu memberi pendedahan mengenai sejarah tanah air terdahulu.
Revolusi seni lukis negara sebenarnya bercambah sejak 1800-an lagi. Berdasarkan tulisan dan catatan penulis dan sejarawan, seni lukis moden negara bermula pada awal abad ke-19.
Susur galur seni lukis moden boleh dilihat ketika bermula era kolonial hingga ke era pramerdeka dan pasca merdeka yang penuh dengan pelbagai peristiwa.
Sewaktu era kolonial, paparan gambar menjurus pada dekad 1880-an. Karya yang dipamerkan di Balai Seni Visual Negara (BSVN) bagi segmen ‘Pembentukan’ 1800-an antara karya terawal seni lukis moden dalam simpanan galeri itu.
Kurator BSVN Syahrul Niza Ahmad Zaini berkata, pameran pemetaan sejarah itu membawa penonton menilai peristiwa yang berlaku di Tanah Melayu.
“Mengenali dan memahami peristiwa melalui lakaran sejarah awal ini mampu membuka pandangan masyarakat menilai kepentingan sejarah awal negara.
“Catatan yang dihasilkan membuktikan kehadiran British di Tanah Melayu dan wilayah Timur. Lakaran itu juga berkemungkinan sebagai cara pemetaan bagi tujuan ketenteraan sewaktu British menjajah Tanah Melayu,” katanya.
‘Journal of the Malaysian Branch of the Royal Asiatic Society’ (JSBRAS), Jilid 15, 1885, karya George Gilles bertarikh 12 April 1885 mungkin dihasilkan sewaktu dalam perjalanan penulis di antara Sabak dan Changkat Bertam. Ia menunjukkan Frank Swettenham sedang meneliti carta bersama Lister atau Jones.
“Sama seperti pengembara Barat lain, William Samwell menggunakan kemahiran melukis untuk merakamkan fenomena alam tropika sebagai catatan peristiwa ketika kunjungannya ke Borneo.
“Menerusi medium cat air, beliau memaparkan kehidupan di rumah panjang serta merakamkan watak dan personaliti lelaki Dayak sebagai sebahagian catatan diari visualnya.
“Penulisan ekspedisi Frank Swettenham yang dicatatkan dalam ‘Journal Of The Pahang Journey’ pula mengisahkan pertemuan pegawai British itu dengan Che Ali yang dihantar Yam Tuan Pahang untuk berjumpa pegawai Inggeris itu di Penjum pada 24 April.
“Che Ali yang turut dikenali dengan panggilan Wan Ali membenarkan Frank Swettenham menggunakan botnya dan tiga bot lain untuk membawa 25 ahli kumpulan ekspedisi itu,” katanya.
Penubuhan Negeri-Negeri Selat iaitu Pulau Pinang, Melaka dan Singapura pada 1826 turut mewujudkan impak dalam sistem pendidikan dan pembangunan ekonomi terhadap masyarakat tempatan.
Pertembungan budaya Timur dan Barat dilihat menjadi asas penyebaran aktiviti seni lukis dalam kalangan masyarakat tempatan sama ada Melayu dan imigran Cina.
Sejak dekad 1900, Pulau Pinang mencatatkan sejarah penubuhan persatuan seni lukis yang sangat aktif iaitu The Penang Impressionist, Penang Chinese Art Club atau The Ying Ying Art Society, Penang Art Society, Penang Art Teacher Council, Thursday Art Group dan Penang Art Teacher Circle.
Di Kuala Lumpur, United Artist of Malaysia yang ditubuhkan pada 1929 menjadi batu loncatan kepada perkembangan pesat seni lukis ketika dekad 1950-an dengan tertubuhnya Wednesday Art Group pada 1952 oleh Peter Harris dan Majlis Kesenian Melayu pada 1956 yang ditukar namanya kepada Angkatan Pelukis Semenanjung di bawah pimpinan Mohd Hoessein Enas.
Selangor menerima tempias perkembangan positif itu apabila R M Dawson mempengerusikan Art Society pada 1954 dan di Negeri Sembilan pula Arts Society ditubuhkan pada 1965 oleh Loke King Loong.
Penubuhan Akademi Seni Halus Nanyang di Singapura oleh Lim Hak Tai pada 1938 menjadikan ia akademi seni lukis terawal di Malaya sejak 1950 yang membolehkan ramai pelukis dari Tanah Melayu menimba ilmu di situ.
Barisan pelukis serta sejarah seni lukis moden Malaysia turut didukung sejarawan dan penulis seni seperti Redza Piyadasa, T K Sabapathy, Syed Ahmad Jamal, Yeoh Jin Leng dan Dr Zakaria Ali berdasarkan monumen seperti lukisan dan dokumen bahan arkib.
Pada dekad 1920-an, nama pelukis seperti O Don Peris yang lahir di Sri Lanka, Low Kway Song yang lahir pada 1889 dan menetap di Melaka dan Yen Lang atau Yong Mun Sen antara pelopor seni lukis moden di Malaysia.
Antara dekad 1920 hingga 1930, kemunculan persatuan dan nama pelukis penting seperti Abdullah Ariff, Lee Cheng Yong, Tay Hooi Keat, Kuo Ju Ping dan Khaw Sia dicatatkan sebagai pelukis Malaya dengan pembuktian.
“Pameran Pemetaan bertujuan memperlihatkan sejarah seni moden Malaysia sehingga ke kontemporari.
“Segmen ‘Pembentukan’ dari 1900-an hingga 1960-an merangkumi 230 karya meliputi lukisan, catan, cetakan, arca dan instalasi.
“Malah, setiap penceritaan mengenai artis dan kumpulan seni turut dibuktikan melalui bahan arkib seperti majalah, jurnal, catatan, akhbar, surat dan gambar bagi memperincikan kebenaran mengenai pelukis.
“Justeru, kisah mengenai seorang pelukis masih boleh disemak dan diketahui dengan terperinci menerusi bahan sokongan yang turut memainkan peranan.
“Lukisan pada 1900-an didukung ramai pelukis dari Tanah Besar China kerana ketika mereka dibawa bekerja atau berhijrah ke Tanah Melayu, mereka turut membawa asimilasi budaya negara asal.
“Sebahagiannya turut mempunyai pendidikan dalam seni yang dipelajari di negara asal dan di luar negara. Justeru, mereka turut membuka kelas seni sewaktu berhijrah ke Tanah Melayu,” kata Kurator BSVN, Baktiar Naim Jaafar.
Penemuan lukisan dan bahan berkait dengan seni yang terselamat daripada Perang Dunia Kedua turut dijadikan bukti penting bagi pembinaan fakta sebagai pengesahan teori.


Penerbitan akhbar:



Khamis, 19 Mei 2016

The need for space, color and light ( Group show by Faizal Sidik, Elias Yamani Ismail, Isnian Ibrahim, Mia Farizza, Sukor Romat & Safwan Ahmad)

Faizal Sidik, a member of Satu art collective group, and his big 'Broken Heart'.

By: Rizuan Zaini

Rizuwan Zaini, “The Need for Space, Colour and Light”, Published by New Straits Times (Streets), 11 Aug 2009, page 6-7 (PDF)

KUALA LUMPUR: Red often used to symbolise love and anger, is the dominant colour in " I Remember The Day We Met", an abstract artwork by Mia Farizza.

Mia is participating in the "Neo-Abstraction : Space, Color and Light" exhibition which as the title suggests, explores the themes of colour, space and light.

The exhibition is held at Wisma Kebudayaan Soka Gakkai Malaysia daily until Sunday, from 11 am to 6 pm.

Mia is one of a four guest artists in the exhibition, a joint effort between Satu, an art collective group, and Soka Gakkai Malaysia.

The three other guest artists are Sukor Romat, Safwan Ahmad and Isnian Ibrahim. They join Satu members-Elias Yamani Ismail and Faizal Sidik - in wowing visitors with their interpretations of the three themes.

Visitors will find in hard to miss Elias "Lingkaran Kembar" a huge assemblage of cotton cloth with two rolled up shapes a both ends.

"Self Isolate", a series of wood sculptures installations by Safwan, and Faizal's big "Broken Heart" are also displayed.

The exhibition was launched by National Art Gallery Malaysia director general, Dr Mohammad Najib Ahmad Dawa, early this month.

On Saturday, there will be a multi-lingual poetry-reading session facilitated by Datuk Profesor Dr Ghulam Sarwar Yousof.

Guided tours of the exhibition are available on Saturday and Sunday for groupsof 20 and more.



PRESS COVERAGE

Rizuwan Zaini, “The Need for Space, Colour and Light”, Published by New Straits Times (Streets), 11 Aug 2009, page 6-7 (PDF) - Curated by Faizal Sidik

Singapore Biennale 2013: If the World Changed

Singapore Biennale curators 2013: Singapore -Tay Swee Li, Seng Yu Jin, Tamares Goh, Charmaine Toh,Tan Boon Hui (from SAM),Khairuddin Hori (from SAM), Joyce Toh (from SAM), Tan Siu Li (from SAM), Michelle Ho (from SAM), David Chew (from SAM), Naomi Wang (from SAM), Fairuz Iman Ismail (from SAM) Malaysia - Faizal Sidik, Yee I-Lann. Indonesia - Aminuddin TH Siregar “Ucok”, Mia Maria Philippines -  Claro Ramirez, Kawayan de Guia, Charlie Co, Abraham Garcia Jr. Thailand - Ark Fongsmut, Angkrit Ajchariyasophon Vietnam - Tran Luong, Nguyen Nhu Huy Cambodia - Erin Gleeson Laos - Misouda Heuangsoukkhoun Myanmar - Aye Ko
By: e-flux

E-flux, “Singapore Biennale 2013: If the World Changed” Online


Aided by a bold new curatorial structure, Singapore’s premier contemporary art exhibition returns with a significant Southeast Asian and Asian focus.
If the World ChangedThe Southeast Asian region has historically been the corridor of the major civilisations, as well as a place of complex cultural interactions. Within this fluid region, many individuals and populations inhabit different spheres of existence and social realities, from agrarian communities, coastal settlements, to urban metropolises. In the 21st century, Southeast Asia and Asia are increasingly active participants in current globalising movements. These changes have surfaced localised responses to issues of land, water, borders, resources, memory and identity, among others. However, the experiences of change have also been uneven and varied across the region, giving rise to multi-faceted responses, including organised activism, subtle personal gestures and philosophical meditations. Against this backdrop of past and continuous change, artists have been reflecting, mediating, envisioning, and making propositions. If The World Changed is an invitation to reconsider the world we live in, and the worlds we want to live in.
Elaborating on this year’s title and focus, Mr. Tan Boon Hui, Director of Singapore Art Museum (SAM) said, “The Singapore Biennale is dedicated to contemporary art’s propositions for our changing worlds. With this edition we hope to encourage artists and audiences to respond to their lived experiences and explore what kind of worlds they want to live in. We seek to explore these questions through the work of Southeast Asian and Asian artists; a majority of artists presented at SB 2013 will be from this most dynamic of regions, reflecting, mediating, and envisioning responses to their changing worlds, whatever it may mean to them!”
Curatorial ModelTo harness the energy of the region and build a distinctive Asian identity for the Singapore Biennale, SB 2013 will adopt a bold new collaborative curatorial structure comprising a team of over 20 co-curators—art professionals with distinct local knowledge of regional art practices offering their viewpoints and local knowledge. SB 2013 promises a showcase of new artists and fresh works from the region, with many not seen before at any other Biennale worldwide.
Through differing curatorial perspectives, SB 2013 will serve as a premier international platform for artist presentation and discourse, and a leading entry point into regional contemporary art practices, in the context of developments worldwide. This new format, which sees the combined efforts of individuals who each bring specific expertise and understanding, also allows SB 2013 to expand its focus beyond the major metropolitan centres to present a greater diversity of artistic responses. Organisers also hope to identify more artists from Singapore and the region and provide them with the opportunity to showcase their works within a global context to international audiences.
Biennale Open CallSB 2013 is inviting artists to submit their proposals for consideration. All material will be reviewed by members of the curatorial team and shortlisted artists may be invited for further discussion with the curators and possible inclusion in the Biennale.
Bras Basah-Bugis Precinct VenuesSB 2013 will take place across a number of active art spaces in the Bras Basah-Bugis precinct. The precinct is filled with rich cultural institutions and icons which SB 2013 will partner with. At the same time, SB 2013 hopes to inject cultural vibrancy into the area.
SB 2013 is organised by SAM of the National Heritage Board and supported by the National Arts Council.  It will run from 26 October 2013 with the Vernissage on 24–25 October 2013.
For more information, please visit www.singaporeartmuseum.sg/sb2013.

Rabu, 18 Mei 2016

Exhibition exemplifies six artists’ mission statement

(From left) Sukor Romat, Safwan Ahmad, Mia Farizza and Faizal Sidik are among the artist taking part in the exhibition

By: Yip Yoke Teng

Yip Yoke Teng, “Bold, Different  and Loud”, Published by The Star (Metro), 13 Aug 2009, sec M20-M21 (illustrated). (Online) (PDF)


THE art movement of Neo-Abstraction has set off a fountain of possibilities for young artists, who are encouraged to be bold, inspired to be different and provoked to be loud.
This trend is exemplified by six young artists who call themselves “Satu” with a joint exhibition titled “Neo-Abstraction: Space, Colour and Light”, which is on now until Sunday at Wisma Kebudayaan SGM in Kuala Lumpur.
The exhibition presents a diversity of styles reflecting the views, likings and experiences of the artists, brought together by the curator Faizal Sidik.
However, the diversity brings forth a common concept that is not only visually pleasing, but also thought-provoking.
A coil of wonder: ‘Lingkaran Empat Segi’ by Elias Yamani has interesting curves and colours.

“Neo-Abstraction is basically an extension of the abstract movement; it is also a step forward of the ideas that have tugged the artist’s emotions,” said 31-year-old Faizal from Petaling Jaya.
He said he had always preferred abstract over realism. “To me, art is about conveying an idea instead of merely capturing a scene. Instead of being just an illustration, an art work should be able to strike a chord among its audience.”
Faizal started looking for like-minded art buddies six months ago by visiting a number of studios and exhibitions.
His newfound buddies are Elias Yamani Ismail, Isnian Ibrahim, Mia Farizza, Safwan Ahmad and Sukor Romat who used various media and methods to explore the untapped possibilities of space, colour and light.
“The purpose of this exhibition is to discover several possibilities and variables that arts and science could co-exist. Science is not only confined to experiments in the labs but also human behaviour,” he said.
“The various media used in this exhibition is an attempt to enrich the viewers’ perception and experience in looking at objects of art in their everyday life,” he added.
Pounding: Faizal Sidik's 'Broken Heart' depicts the feeling an unsuccessful relationship

Faizal’s offering is the “Broken Heart” series comprising four heart-shaped boards — some with trickles of red while another coated with sugar — to etch out the feelings entailing an unsuccessful relationship. Red round-shaped boards painted with radial lines, which are from his earlier series called “Sublime”, steer one’s attention to the inner space, are interspersed among the hearts.

Faizal Sidik's 'Sweet Heart' , Sugar on panel, 244 cm x 244 cm
2009.

The works of Sukor Romat, 24, and Mia Farizza, 33, are a refreshing splash of colours.
Sukor uses bubbles of mainly blue and yellow hues to show the beauty of the universe, which can only be seen with the existence of light. “Light grants us these beautiful sights,” said the artist who had been fascinated by astronomical elements ever since he attended a talk by Malaysian astronaut Datuk Dr Sheikh Muszaphar Shukor.
Graceful sways: Mia’s acrylic works lure with lightness, movement and translucence reminiscent of Chinese ink painting.

Mia, a producer-turned-artist, moves her audience with her depiction of seaweeds in warm tropical colours. Her acrylic works lure with lightness, movement and translucence reminiscent of Chinese ink painting.
“The works actually reflect my impulsive and impatient nature, that’s why I like acrylic because it dries up fast,” she said.
She glided on the colours and mixed them with dashes of water according to how she felt at the very moment. As a result, the subjects and colours swayed gracefully and they, to the artist, were abstract portrayals of the stories she had in mind.
“I grew up wanting to be a writer, I always have these stories I want to tell and I find art an engaging way to share these feelings with others,” she added.
Meanwhile, Safwan Ahmad’s “Isolate” adopts wooden blocks as the medium while Elias Yamani Ismail’s “Lingkaran” is characterised by colourful curves and colours. Isnian Ibrahim captures the massive and sometimes unhealthy development of the city in his works titled “Blooming Lights”.
Wisma Kebudayaan SGM is located at No: 243, Jalan Bukit Bintang, Kuala Lumpur. For details, call 03-2141 2003. The exhibition is open from 11am to 6pm daily.

Press Coverage
Yip Yoke Teng, “Bold, Different  and Loud”, Published by The Star (Metro), 13 Aug 2009, sec M20-M21 (illustrated). (Online) (PDF) 
(Artists: Faizal Sidik, Elias Yamani, Isnian Ibrahim, Sukor Romat, Mia Farriza & Safwan Ahmad