Sudut Penulis dan Menuju Realiti Mistik

Oleh : Faizal Sidik

Redza Piyadasa (tengah) sedang mempertahankan karya ‘Toward of Mystical Reality’ semasa debat awam yang diadakan di dewan Sudut Penulis, Dewan Bahasa dan Pustaka, Julai 1974. Juga dapat dilihat dalam gambar ialah (dari kiri) Josseph Tan, Suleiman Esa, Syed Ahmad Jamal dan Ismail Zain.

Seniman-seniman Renaisan mereka bergerak atas dasar pencerahan yang dibawa oleh ahli falsafah dan juga reformis-reformis seperti Rene Descartes, Spinoza yang menyarankan pentingnya perubahan-perubahan dimana sebelum ini Eropah berada di Zaman Gelap hampir 1000 tahun. Maka lahirlah seniman-seniman Venice seperti Leonardo da Vinci, Micheangello, Donatello dan lainya. Mereka ini bukan sahaja pelukis misalnya khalayak sering mengaitkan Leonardo dengan catan Mona Lisa di Muzium Louvre, karya itu hanyalah sebahagian daripada manifestasi zaman itu yang mempercayai realisme, naturalisme yang menyarankan rasionalisme atau berfikir dengan akliah yang waras tetapi juga menerobos juga dalam bidang-bidang yang lain juga, Leonardo juga seorang saintis, jurutera, arkitek dan pereka hasil perasaan ingin tahu selepas runtuhnya kuasa gereja yang memasung fikrah mereka selama ini. Daripada perasaan ingin tahu tentang dunia maka bermullah ekspedisi pelayaran mengelilingi dunia yang dibiayai oleh istana dalam mencari-cari sumber-sumber baru di Timur sehinggalah ke Melaka.

Penciptaan dan penerokaan awal mereka ini pula telah membuka laluan kepada French Revolution oleh Jean Rousseau yang merupakah ahli falsafah, penulis dan komposer muzik abad ke-18 dengan Revolusi Perancis yang juga dikenali Revolusi Perindustrian dalam seni lukis misalnya menghasilkan cara baru dalam menghasilkan warna dengan cepat maka Paris telah menjadi pusat seni penting oleh seniman bukan sahaja daripada benua Eropah malah Amerika Utara, Amerika Tengah, Amerika Selatan dan dari Timur. Mereka migrasi ke lingkuangan artistik ini memahami falsafah pengkajian cahaya dan warna dalam Impressionis, Cafe Montparnsse di Paris telah menjadi pusat intelektual dan artistik bukan sahaja kepada pelukis atau pengarca tetapi penulis, penyajak, pengarah filem duduk berbincang dalam merencana. Seniman seperti Manet, Degas Pablo Picasso, Jean Cocteau, Marc Chagall, Fernand Leger, James Joyce, Ernest Hemingway, Amedeo Modigliani, Ezra Pound, Marcel Duchamp, Constantin Brancusi, Diego Rivera, Alberto Giocometti, Andre Breton, Salvador Dali, Samuel Backett dan Joan Miro adalah antaranya.

Hubungan ini sukar untuk dilihat dimana-mana lagi kecuali kita disini di sekitar tahun 1970-an apabila Dewan Bahasa dan Pustaka menyediakan satu ruang iaitu dewan Sudut Penulis bukan sahaja untuk penulis berwanca mengenai pengkaryaan mereka tetapi untuk terbuka untuk pelukis, pengarca, penyajak, lain untuk duduk berbicang mengenai pengkaryaan seni tanahair antara mereka ini ialah Usman Awang, Keris Mas, Samad Ismail, A. Samad Said, Baha Zain, Maarof Saad, Jaafar H.S. Sutung Umar RS, Ismail Zain, Syed Ahmad Jamal, Redza Piyadasa, Suleiman Esa, T.K Sabapathy, Joseph Tan, Krishen Jit, Kamarul Ariffin, Sharifah Fatimah Zubir, Ahmad Khalid Yusof, Tan Teong Eng, Grace Selvanayagam dan lain-lain. hasilnya pameran ‘Toward of Mystical Reality’ 1974 di pamerkan selain pameran ‘Manifestasi Dua Sen I’ 1970 dan ‘Manifestasi Dua Sen II’ 1971 yang disenggara oleh Usman Awang editor Dewan Sastera ketika itu untuk menghubungkan seni lukis dan sastera.

Pameran ‘Toward of Mystical Reality’ (TMR) telah mengundang perdebatan seni bukan sahaja di kalangan pelukis malah penulis, penyair dan ahli akademik. Sutung Umar salah seorang penolong editor majalah Dewan Sastera terawal dan juga yang mencetuskan Polemik Kesusteraan Islam di antara Kassim Ahmad dan Shahnon Ahmad yang mengemparkan dunia kesusasteraan pada suatu ketika dahulu pernah menceritakan bagaimana semasa perasmian yang dirasmikan oleh Ismail Zain itu mencetuskan perasaan cemas kepada Redza Piyadasa dan Suleiman Esa kerana penyajak Salleh ben Joned telah meyiram urinalnya ke dalam pasu bunga yang merupakan objek yang terdapat dalam pameran itu. Menurut beliau lagi yang berada di dalam dewan  Sudut Penulis itu lagi bahawa  kegilaan Salleh itu sebenarmya untuk membuang ‘sisa perkumuhan’ ke salah satu karya di dalam pameran itu namun membatalkan hasratnya itu.

Dewan Sastera yang merupakan majalah sastera dan seni budaya yang terawal pada masa itu dibawah kendalian Usman dan Sutung telah mencetuskan medan wacana kritikan seni yang hebat berkenaan seniman TMR dengan pengkritik-pengkritiknya antaranya Siti Zainon Ismail “Pengaruh dan Identiti dalam Seni Lukis” (Mac 1975) dijawap oleh Piyadasa dengan “Satu Jawapan Terhadap Tulisan Siti Zainon” (Mac 1975), Siti Zainon membalas pula dengan  “Satu Esei untuk Piyadasa” (Mei 1975), dikembalikan semula Piyadasa dalam “Lagi Satu Jawapan Untuk Siti Zainon” (Jun 1975), kemudian dicelah oleh Salleh Ben Joned dengan tulisan bertajuk “Kencing dan Kesenian: Surat Salleh ben Joned untuk Piyadasa” (Julai 1975). Beberapa bulan tahun itu Dewan Sastera di isi dengan tangkisan oleh Piyadasa terhadap pengkritik-pengkritiknya itu.  Sebelum debat itu hadir Raja Zahabuddin Raja Yaacob juga telah terlebih mencetuskannya dengan“Wawancara Dengan Dua Orang Pelukis Konseptual” di dalam Dewan Sastera (Julai 1974) dan “Seni Lukis Membosankan” di Berita  Mingguan (4 Ogos 1974) di samping Krishen Jit yang menggunakan nama pena Utih dengan “Towards a Mystical Reality” di Sunday Times (4 Ogos 1974) Perdebatan seni yang dilontarkan menerusi persoalan-persoalan dan jawapan-jawapan ini boleh dikatakan sebagai pencetusnya sejarah kritikan seni yang terawal di negara ini yang mempersoalkan antara karya seni dan bukan karya (objek) yang setelah itu membangkitkan gerakan kesedaran umum tentang seni lukis agar seni itu kembali kepada rakyat apa yang yang dikatakan sebagai ‘Seni untuk Masyarakat’. Inilah wadah yang seharusnya berlaku dalam dunia penerbitan seni pada hari ini di sini agar ia dapat mencerna budaya ilmu diantara seniman dan kesenimannya.

Namun itu sebelum itu terdapat juga percubaan-percubaan yang dilakukan kearah itu seperti pameran ‘The New Scene’ pada tahun 1969 yang diadakan di Gallery Eleven oleh pengkarya yang baru balik setelah menerima pendidikan di luar yang membawa idea-idea seni reka Bauhaus oleh Tan Tong Eng, Tan Tuck Kan, Tan Teong Kooi, Jolly Koh dan Redza Piyadasa yang bernafas Konseptual dan Minimalis sebagai reaksi terhadap gerakan Ekspresionis Abstrak yang di bawa oleh Syed Ahmad Jamal, Latif Mohidin, Yeoh Jin Leng dan lain-lain, walau bagaimanapun tidak banyak lontaran kritikan yang boleh dikongsikan untuk khalayak seni negara ini melihat pertembungan ini melainkan penulisan oleh Azmi Manaf ‘Avant Garde’ di Dewan Sastera, Okober 1971.

Selepas itu terdapat dua lagi pameran yang diadakan iaitu ‘Experiment’ 1971 yang juga diadakan di Galeri Eleven oleh seniman-seniman seperti Chong Kam Kow, Redza Piyadasa, Suleima Esa, Tan Tuck Kan dan Teong Eng dan ‘Dokumentasi’ 1972 di Samat Art Gallery oleh Redza Piyadasa dan Suleiman Esa yang mana pameran ini ditulis oleh Ismail Zain dengan tajuk ‘Malaysia Art-Quao Vadis?’, ini merupakan gabungan pertama mereka berdua sebelum tampil di Sudut Penulis, DBP dengan‘Situasi Baru’, 1971 dan ‘Towards Mystical Reality’, 1974. Selepas itu seniman yang bergerak secara kolektif yang membawa Minimal-Konstruktif ini berpecah dan bergerak secara solo. Misalnya Piyadasa ke arah rupa Malaysia dan Suleiman ke arah seni Islam.

Art Trio: Curate@Seni

By: Faizal Sidik

Affandi, Portrait Of Tan Sri Kamarul Ariffin, 1971, Oil on canvas, 130cm x 100cm

Henry Butcher Art Auctioneers (HBArt) opened first art space, Curate@SENI . The first show in this space titled ‘Art Trio’ was open on 13 March. Art Trio is a collections work by prominent Malaysian art collector such Azman Hashim, Kamarul Ariffin and Daim Zainuddin. The trio started actively to build up their collection since 1960 s until today.

Azman Hashim, 75 is a CEO of Arab-Malaysia Bank and now AM Bank. As a corporate collector he said  the painting that he bought to represent the corporate images of the bank and at the same time he wants the staff in the office work with a motivation and inspiration environment.

Kamarul Ariffin, 80 renown as a cultural observer which has a closed ties with the Malaysian artists such as Latiff Mohidin, Ibrahim Hussein and Syed Ahmad Jamal. He was a chairman of National Art Gallery’s (NAG) Board of Trustee from 1976-1985, he was also who a chairman of Bank Bumiputra and spearheaded the preservation and promotion of National Language as head of Dewan Bahasa dan Pustaka.

Daim Zainuddin, 76 trained in law was a  politician, he was became a Minister of Finance from 1984 to 1991. What was interesting of these three collector is they are from finances background in their carrier.

The selected 30 artworks of portrait from the collector in the exhibition is bring us not only Malaysian artists but also from Southeast Asia like Georgette Chen (Singapore), Fernando Cueto Amorsolo, Jose Joya and Onib Olmedo (Philippine) Affandi, Basoeki Abdullah, Hendra Gunawan and Kartika Affandi (Indonesia)

“Art Trio” runs at the Curate@SENI through March 31

Seniman dan Kesenimanannya

Oleh : Faizal Sidik

(Esei ini merupakan penulisan daripada katalog pameran 'Salut 55' yang diadakan di Galeri 3A dan 3B di Balai Seni Lukis Negara pada 25 Mac-2 Jun 2014.)

Pertemuan diantara pelukis dan penulis di dewan Sudut Penulis, Dewan Bahasa dan Pustaka, Kuala Lumpur pada awal 1970, Antara yang kelihatan dalam gambar (dari kiri ke kanan) ialah: Maarof Saad, Jaafar H.S., Usman Awang, Kemala, Suleiman Esa, Kamarul Ariffin, Redza Piyadasa, Sharifah Fatimah Syed Zubir, Ahmad Khalid Yusof, Tang Teong Eng dan Grace Selvanayagam.

“Berjuta-juta seniman  mencipta,  hanya beberapa beribu yang dibincangkan atau diterima oleh penonton dan ia semakin kurang dan kurang oleh generasi akan datang”

Marcel Duchamp.

Apabila membicarakan seniman di sini masyarakat kita seringkali terkeliru sama ada beliau adalah seorang pelukis, penari, pemuzik, pelakon, penyanyi, pengarah dan lain-lain karier seni yang menuntut keseniman seseorang. Sehinggakan di sini persatuan seniman itu hanya dianggotai oleh mereka yang terlibat dalam bidang hiburan sahaja. Kecelaruan ini ditambah pula dengan sikap yang memandang artis itu hanya untuk penyanyi dan pelakon. Oleh kerana itulah sebabnya mengapa persatuan tersebut hanya dianggotai oleh dua genre itu. Namun tidak yang lain kerana kelemahan dalam memahami permaknaan dalam sudut yang lebih luas.

Saya tertarik membicarakan perihal ini kerana termanilogi itu sendiri sudah memberi banyak pertanyaan untuk ditanya. Seni atau Art dalam bahasa Inggeris adalah benda yang halus, saya masih ingat dizaman persekolahan dahulu di dalam makmal sains apabila kita mahu menoropong unsur-unsur yang halus kita memerlukan mikroskop kerana unsur-unsur ini tidak boleh dilihat dengan mata kasar. Dalam makna yang lain terdapat perkara yang tersembunyi, disembunyikan atau menyembunyikan kehadirannya. Saya fikir perkara ini adalah lorongan-lorongan atau jalan-jalan dalam untuk memahami seni halus atau nama lain yang sinonim untuk memperlihatkan sesuatu pengkajian iaitu fine arts .

Namun perihal demikian mempunyai perbincangan yang lain yang lebih spesifik untuk diberi pencerahan. Kita membuat permaknaan ‘man’ dalam bahasa Inggeris kepada ‘orang’  dalam bahasa Melayu. Maka mengapa ‘seniman’ tidak sahaja disebut ‘orang seni’ dan perlu meminjam daripada bahasa Inggeris yang mungkin juga meminjam daripada bahasa Latin. Murah sangatkah untuk memanggil orang seni? Tinggi sangatkah pencapaian seseorang itu untuk menamakannya seorang seniman?

Saya fikir kecelaruan ini ada asasnya dalam memahami pergerakan seni tempatan yang ingin membuktikan kita juga mengikuti dalam perkembangan seni antarabangsa. Dalam kajian tempatan ada beberapa contoh yang boleh saya berikan di sini, dalam untuk menyakinkan penggunaan keseniman seseorang. Filem-filem Jalan Ampas di Singapura yang telah dulu menggunakan nama tajuk filem mereka antaranya ‘Seniman Bujang Lapok’ (1962) selain ‘Kembara Seniman Jalanan’ (1986). Jika ditelusuri tema-tema filem ini mengabungkan nyanyian dan lakonan atau pelakon yang menyanyi. Adakah berdasarkan pertanyaan saya diawal tadi mereka memberikan nama persatuan mereka sedemikian rupa dan melupakan yang lebih seni seperti seni lukis, seni tari, seni teater jika ingin mengangkat intisari kesenian daripada hiburan popular semata-mata.

Kadang-kala apabila badan bahasa membuat percaturan penggunaan kata-kata ianya agak membingungkan juga. Adakah seniman juga adalah manusia adi wira dalam rancangan-rancangan animasi yang popular ditahun 1980-an dahulu seperti Spiderman, Ultraman, Superman, Batman dan kini ada yang telah direalisasikan dalam bentuk filem sains fiksyen yang latarbelakang ceritanya mengisahkan manusia biasa yang bertukar menjadi wirawan dalam menyelamatkan dunia. Saya amat bersyukur jika seniman-seniman kita dengan bakat kesenimannya yang mereka ada boleh menyelamatkan umat manusia agar menjadi manusia yang lebih baik dari semalam.

I

Meminjam kata Picasso “Every children is a artist” atau setiap setiap kanak-kanak itu merupakan seniman. Melihat apa yang surahkan beliau ini adalah di dalam diri kanak-kanak itu telah ada ciri-ciri seorang seniman. Jika anda perhatikan di zaman kanak-kanak bakat individu itu boleh diperhatikan,  mereka sangat haus dalam meneroka bermacam-macam perkara. Jika anda memberikan peralatan melukis anda boleh melihat proses kreatif menerusi lakaran-lakaran yang mereka lakukan ianya adalah tulen kerana mereka belum lagi dipengaruhi dengan aturan-aturan seni yang akademik sifatnya.

Jika dibandingkan cara didikan ibu bapa orang Barat mengapa mereka menghantar anak-anak mereka sejak kecil lagi untuk mendalami bidang seni umpamanya seni lukis, muzik, teater dan tarian kerana seni ini melatih anak mereka agar berfikiran kreatif dan terpulang kepada anak-anak itu dalam mengembangkan daya kreativiti mereka sama ada untuk meneruskan amalan-amalan kreativiti di dalam bidang itu apabila sampai di peringkat remaja atau dewasa atau ingin menceburi bidang-bidang lain seperti seni bina, kejuruteraan, teknologi  yang sudah tentu memerlukan daya kreativiti dan inovasi dalam menyelesaikan masalah.

Namun bezanya dengan sesetengah ibu bapa disebelah sini adalah mereka menganggap memberi pengalaman kepada anak-anak mereka sejak kecil dalam menerokai bidang seni ini sejak kecil adalah dikira membuang masa dan wang. Mereka lebih berselera agar anak-anak mereka mendapat keputusan yang cemerlang dalam peperiksaan dan memilih bidang-bidang yang boleh mendatangkan pendapatan yang lumayan seperti bidang kedoktoran, keusahawanan dan sebagainya. Hasilnya kita di rantau sebelah sini bukan dikenali sebagai bangsa-bangsa pencipta inovasi baru tetapi hanya pembeli dan pengikut teknologi. Inilah antara sebab itu mengapa orang Barat sentiasa berada di puncak kreativiti. Puncak kreativiti ini bukan sahaja berlaku dalam perlumbaan dalam sains dan teknologi malah dalam bidang kesenian juga.

Semasa saya berada di pra-sekolah dimana pada peringkat ini kanak-kanak didedahkan dengan pelbagai aktiviti yang menjana kreativiti mereka seperti melukis, menyanyi, berlakon dan bermain. Walaupun saya tidak menyedarinya semasa melakukan aktiviti penerokaan aktiviti tersebut kerana mungkin terlalu naif untuk memikirkan kesan psikologi pembelajaran yang diperolehi pada masa itu namun jika anda membuat pembacaan tentang pemikiran kanak-kanak mereka akan mengatakan bahawa dunia kanak-kanak adalah dunia yang penuh dengan perasaan dan pengalaman ingin tahu. Ia samalah juga dengan anda membaca buku, maklumat yang melekat diminda anda hasil daripada pembacaan bukan untuk dipraktikkan dan dilakukan secara serta merta, tetapi memori itu dimunculkan kembali secara tidak disengajakan kerana anda telah menyimpankannya di dalam fikiran, dimana sel otak anda berfungsi sebagai arkib ilmu.

Pengalaman negara ini kreativiti, penciptaan dan perekaan di latih sejak pra-sekolah, sekolah rendah sehinggalah di peringakat awal menengah. Semasa pelajar kita berada di sekolah rendah mereka didedahkan dengan pembelajaran seni ini dengan lebih sistematik oleh guru yang mempunyai pengalaman contohnya subjek seni visual akan dilatih oleh guru yang mempunyai diploma atau ijazah dalam jurusan pendidikan seni lukis dan seni reka. Murid-murid ini akan diajar ilmu-ilmu asas berdasarkan buku teks yang disusun dari segi teknik, kemahiran dan juga sejarah seni secara ringkas. Manakala subjek kreatif yang lain seperti  kelas muzik murid akan dilatih menggunakan peralatan asas muzik dan vokal suara. Kebanyakan guru-guru seni ini dilatih daripada universiti-universiti kerajaan yang menawarkan bidang-bidang pendidikan seni visual, muzik dan seni kreatif. Namun sebelum institusi ini wujud terdapat kolej seni atau lebih khususnya Jabatan Seni di Maktab Ilmu Khas pada 1966 yang terletak di Kuala Lumpur yang mengajar ilmu-ilmu ini. Pengajar-pengajar awal dalam bidang seni lukis seperti Syed Ahmad Jamal, Redza Piyadasa, Yeoh Jin Leng dan lain-lain.

Penubuhan sekolah yang lebih spesifik dalam memberi pendedahan awal kepada pelajar mendalami bidang seni kreatif adalah daripada resolusi-resolusi yang dilakukan semasa Konvensyen Pendidikan Seni Visual, diantara matlamatnya adalah untuk menyarankan kepada kerajaan pembinaan sekolah yang lebih tertumpu kepada melatih tunas-tunas baru di peringkat menengah. Hasilnya dua sekolah seni ditubuhkan iaitu Sekolah Seni Johor Baharu dan Sekolah Seni Kuching. Sekolah ini bertujuan untuk menyediakan laluan yang lebih awal kepada potensi-potensi yang dikenalpasti di setiap daerah-daerah di negara ini untuk dipilih bagi menyediakan mereka dengan latihan awal seni kreatif sebelum mereka melanjutkan pengajian yang lebih tinggi lagi atau terus memenuhi pasaran industri. Perkara ini ada baiknya, kerana apabila pelajar sekolah rendah memasuki alam baru sekolah menengah mereka tidak lagi diajar lagi aspek-aspek kesenian secara menyeluruh. Pendidikan seni visual hanya di ajar sehingga penilaian menengah rendah sahaja itupun dalam bidang seni lukis dan apabila meraka mengambil peperiksaan menengah atas ianya bergantung kepada pilihan sendiri. Jadi sukar bagi mereka yang telah dikurniakan bakat sejak kecil untuk mengembangkan potensi-potensi yang dimiliki dalam  mengembangkannya terus kehadapan.

Tahukah anda bahawa sistem pembelajaran yang anda lalui selama ini telah disarankan sejak 2000 tahun dahulu di Athens oleh Plato, beliau menyarankan pembelajaran yang baik adalah sehingga seorang itu berumur 22 tahun. Apabila anda memasuki peringkat yang lebih tinggi dalam sistem pendidikan moden pada hari ini seperti di universiti pengkajiannya pula lebih terperinci mengikut bidang pengetahuan. Sesetengah pusat ilmu meletakkan kajian seni ini dibawah gugusan ilmu Kemanusiaan dimana terdapat fakulti-fakulti yang bergabung dengannya. Fakulti-fakulti ini membentuk jabatan-jabatan kecil seterusnya genre-genre seni tertentu didalam ilmu memahaminya. Perkara ini yang biasanya di praktikkan di dalam dunia pengajian seni peringkat tinggi pada hari ini. Persoalannya bolehkah seniman dan kesenimanannya seorang seniman dilahirkan di pusat-pusat tertinggi keilmuannya setelah mendapat pendidikan formal seni yang bertahun-tahun lamanya atau seniman itu adalah mereka yang lahir dengan sendirinya yang bergelut bersama-sama dengan nadi denyut rakyat di luar sana?

II

Semasa revolusi Indonesia banyak kumpulan-kumpulan timbul menentang penjajahan Jepun disekitar Jakarta. Seniman-seniman Persatuan Ahli-Ahli Gambar Indonesia atau PERSAGI yang dipimpin oleh Sudjujono seperti Affandi, Hendra  Gunawan, Otto Djaya, Sudarso, Trisno Sumarjdo, Heng Ngantung dan lain-lain bukan lagi menentang manifesto menentang lukisan Mooi Indie yang telah tidak relevan lagi semasa revolusi ini. Sudjojono telah membuka langkah baru dengan menubuhkan kumpulan pelukis Seniman Muda Indonesia. Pelukis Djajenasmoro merupakan pelopor Pusat Tenaga Pelukis Indonesia, manakala Affandi dan Hendra Gunawan pula dengan Pelukis Rakyat. Mereka semua mempunyai idea dan objektif yang jelas dalam revolusi itu. Kebanyakan karya-karya yang dihasilkan oleh mereka sama ada catan atau lakaran agak berlatarbelakangkan warna-warna gelap dan agak kesuraman yang terbit daripada emosi yang dalam terhadap situasi yang berlaku ketika itu. Karya ini dihasilkan pada tahun-tahun akhir revolusi memperlihatkan kegagahan dan keberanian rakyat Indonesia. Seniman bergerak secara gerila dalam memberi kesedaran kepada masyarakat untuk membebaskan negara dari belenggu penjajah.

Di Filipina gaya asing Romantisme yang digerakkan oleh Amorsolo School yang mengambarkan kecantikan dan keindahan kehidupan cara hidup di desa tidak menerangkan realiti sebenar kehidupan mereka yang mundur, miskin lagi  tertindas oleh penjajah Sepanyol, seolah-olah mereka menipu fakta seperti indah khabar dari rupa. Pada awalnya sekolah itu di tentang oleh dua seniman reformis rakyat Filipina yang belajar di Sepanyol iaitu Juan Luna dan Felix Hedalgo mengkritik penjajahan Sepanyol  menerusi catan gergasi mereka mengenai penyiksaan dan penindasan yang khusus ditujukan kepada kerajaan Sepanyol di Filipina . Sekembalinya dari pengajian di luar Victorio Edades yang dijolok sebagai Bapa Seni Lukis Moden Filipina bersama-sama rakannya seperti Galo Ocampo, Carlos Francisco, Dementrio Diego, Vicente Manansala, Cesar Legasp dan Anita Magasayho kemudiannya menubuhkan kumpulan mereka ‘Triumvite’ dan ‘Ateliar of Modern Art’ dengan menjadikan kafe Ivory Tower sebagai tempat pertemuan. Pengkarya pameran kumpulan ini tidak bersentimental dan prejudis, mereka hadir melihat kepada alam dimana mereka berada dalam mengambarkan keadaan kelas pekerja di bandar dan  bergerak secara terancang seperti pergerakan bawah tanah. Kemudiannya kumpulan-kumpulan dilumpuhkan oleh Jepun kerana mengancam pemerintahan mereka.

Seni Lukis Malaysia dan Singapura atau pada masa itu Malaya sedikit berbeza kerana tidak ada penentangan besar oleh seniman. Pergerakan awal seni moden yang dibawa oleh Akademi Nanyang adalah penghijrahan beberapa seniman daripada Tanah Besar ke Malaya akibat daripada konflik ideologi antara angkatan nasionalis Chiang Kai-Shek dan angkatan komunis Mao Tse Tung. Walaupun terdapat kejadian rusuhan di Singapura dan Malaysia selepas kemerdekaan penglibatan adalah secara individu yang tidak mempunyai tujuan atau manifesto yang jelas. Gerombolan seniman hadir bersama-sama bukan menentang penjajah tetapi menentang ketidakadilan dalam penyalahgunaan kuasa dalam sistem politik tanah air akhir tahun 1990-an. Apa yang menariknya kebangkitan ini lahir bukan sahaja daripada golongan seniman sendiri yang sudah tentu kebejatan yang berada diperkitarannya sudah tentu menganggu proses pengkaryaan mereka, malah kesedaran ini dikongsi bersama-sama rakyat bukan lagi menerusi cat dan kanvas tetapi mereka hadir sebagai aktivis yang turut sama dijalanan menuntut hak rakyat dikembalikan. Pada era reformasi ini lahirlah karya besar dan kontroversi oleh suara-suara sasterawan, seniman dan budayawan seperti Shahnon Ahmad, Syed Ahmad Jamal, A. Samad Said, Muhammad Haji Salleh, Ito Blues Gang, Dinsman, Hishamuddin Rais, Zunar, Nasir Jani, Pyanhabib dan lain-lain. Terdapat juga yang bergerak secara berkumpulan  seperti Seniman Paksi Rakyat (Paksi) dan Kelab Bangsar Utama (KBU)  yang turun ke daalam masyarakat mengkritik pemimpin korup dan zalim menerusi kepakaran kesenimanan masing-masing yang berterusan sehinggalah ke hari ini.

Rujukan:

Faizal Sidik, Pengaruh Pelukis School of Paris Terhadap Pengkaryaan Awal Seni di Asia    

Tenggara’, www.faizalsidik.blogspot.com

Faizal Sidik. ‘Pengaruh Seni Lukis Barat di Filipina’, Dewan Budaya, Februari 2014, Dewan

Bahasa dan Pustaka, 2014, ms 60-63.

Robert Lebel,  Creative Act  dalam ‘Marcel Duchamp’, Grove Press, New York, 1959,  ms

77-78.

Syed Ahmad Jamal, ‘Art in, Malaysia, Artist and Areas of Commitment’,  Balai Seni Lukis

Negara, 1978,

T.K. Sabapathy, ‘Piyadasa’, Archipelago Publisher, Kuala Lumpur, 1978

T.K. Sabapathy, ‘Piyadasa An Overview 1962-2000’, Balai Seni Lukis Negara, 2001, ms 117.

The Space Between

by Syar A Alia

Syar A Alia (2014), `Art Curation: The Space Between`, Baccarat Magazine (Malaysia), art design & culture interview, Issue 005, ACG Media, Petaling Jaya, pg 126-129.

Bacarat Magazine: Dear Faizal, I hope this email finds you well. My name is Syar S. Alia, and I'm a freelance writer working on a piece for Baccarat Magazine that looks into what curation is in Malaysia/SEA and the people that work for the institutions (private and public) that allow the public access to art. I found your name through the Singapore Biennale curators list, and got this email through Khairuddin Hori.

 I'd love to speak to you about your experience with curation, especially within the National Visual Arts Gallery, and about the navigation of the relationship between artists, their artwork, and its display. Hopefully this request won't impose too much on your time. Likely the interview will be done via email. Thanks very much, and looking forward to your reply. 

Just to brief you on the structure of the piece: it will be a compilation of hopefully 4, maybe 5, interviews with various curators - independent ones and those attached to a museum or gallery. The questions should roughly be the same for each interview, but with tweaks to personalize it to the subject I'm speaking to, and their experience. I want to take a large view of curation as an "art" in itself, to present the gatekeepers or mediators in the circuit involving artist-artwork-institution. Although you make take issue with either of those two words!

I come from a layman's perspective - I've never studied art, although I'm an avid museum/gallery-goer, and I try and take every opportunity to see & participate in all kinds of art, so I'd just like to put that disclaimer there if any of my questions seem too obvious to you; it all comes from a place of sincere curiosity!

Baccarat Magazine: What is a curator? What is their role in the world of making, displaying, consuming, selling,    and learning about art?

Faizal Sidik: Curator from my point of view is a person who act as a bridge between the artwork from artist studio and  gallery. He is a very powerful man who makes a decision whether the art work can be shown or not. In term of educating the audiences he is also may be able to share his eye view to give a talk and write about art.

BC: How did you become an art curator? What drew you to it? Could you perhaps tell us about the first show you ever put on as a curator, and how it went?

FS: First I curated a show when I just graduated from Fine Art Department, Faculty of Art and Design, Mara University of Technology (UiTM), it happened when we had a Degree Show outside of our campus in Seri Manjung, so my first curated show entitled ‘Dinamika Tampak' (Visual Dynamic) in 2001 at Perak Art Foundation (YKP) somewhere in Ipoh. It was a group show by 18 artist who just graduated from art school. For me it seems like ‘Frieze' show when Damien Hirst became a curator  for the first time.

BC: How long have you been working for National Visual Arts Gallery? What is your role there, and what kind of work do you do? What are your goals as a curator within the premier art institution in Malaysia?

FS: I have joined National Visual Art Gallery (NVAG) since 2010, but before that I had a experienced 8 years teaching numerous art colleges and universities and at the same time was an independent curator for Mara University of Technology, MTDC Multimedia Academy, Art Film Design Academy (AFDA) and Segi University College. From indie-artist curator I changed my direction to be institution curator. I like to challenge my ability, I asked myself if I wanted to go beyond to stage a big show and need huge budget I need to associate with an institution which can give me that kind of material.  What is interesting in NVAG is you learn so many thing. They put me as a Curator of Collection in the Collection and Conservation Division, my task was to propose a potential art work for new national acquisition, so I did a lot of artist studio visit and gallery exhibition.

After one year I was transferred to the Research Department under the Exhibition and Research Division, art collection is the heart of art museum liked NVAG, so when I was there from 2011 to 2012 I did a lot of research writing about our collection. We have big name artists like Victor Vaserly and  Robert Rauschenberg, and our pioneer artists like Syed Ahmad Jamal, Redza Piyadasa, Sulaiman Esa, Lee Kian Seng, Nirmala Shangmughalingam and so on. I think so many stories are still undiscovered based on collection from the artist which are very interesting to discussed, I write a lot of reviews and published them in local newspapers and art magazines like Dewan Budaya, Senikini  and blog.

Now I am the Curator of Publication Department in the Publication and Design Division, as assistant editor.  We publish Senikini magazine 4 times a year, this art magazine covers local and international art event especially contemporary art in Southeast Asia. The articles contributor or correspondents of Senikini magazine not only a writer who based in Malaysia but internationally.

BC: What do you think are three necessary skills a good curator should have in their toolkit, or what three skills have gotten you through your time as a curator?

FS: Since 2001 I have curated more than 25 solo and group shows. Based on my experience artist as curator is the good curators. Firstly, you need a good eye, what I mean here your eye  should penetrate the art work that you see. Uber-curator he will perforate what the layman cannot see inside the painting. Second, you need to be critical with what you see.

Clement Greenberg told us that a good art critic is he who can tell layer by layer something behind the scene inside the artwork. Lastly, for sure as a curator you need travel  a lot, you need to meet the artist, do a studio visit, be a regular face at the art party (exhibition opening), have a close relationship with the galleries, peer curators and collectors. You need a ‘radar' with the artworld.

BC: What are the challenges of being an art curator in Malaysia?

FS: You need to know in Malaysia art history is different from western art approach. What I can tell you is our art system is quite different from other area. In Malaysia we have the same problem what was face by our neighboring country Singapore. When I attended the Art Talk at Art Stage 2014 in Singapore last January, one of the panel said there are no Liberal Studies in art school in Singapore.

Based on that statement but I am not sure whether other Southeast Asian countried like Indonesia, Thailand and Philippines offered a Liberal Studies in their art academy institutions. The lack of art academy which will offers this subject in their school is our major challenges here. We produced thousands of artists and designer every year, but dont produced so many art historians, art critics, art writers, philosophers or aestheticians who will take part as curator. For me the imbalance of art production in art education system should be reviewed. We need art and design faculty in university to open their liberal art programme.

BC: Outside of working on NVAG exhibits, do you have personal curation projects that involve your own personal interest in art?

FS: As a institution curator I am quite often invited to be the guest curator, writer and judge to the private gallery or state gallery for their exhibition. But beside that I have also my personal interest to curate show by Manjung Artist. Let me give you a short history of Manjung Artist. Manjung is one district in the centre of Perak, the ITM Seri  Manjung opened in 1985 but only after ten years later fine art, ceramic and fashion deparment was established. Manjung Artists are artist who studied of ITM Seri Manjung from 1996 until 2002, I myself is a product from this art school. Like a School of Paris or New York School each art school has its school of thought.

For me Manjung School is very unique  compared to it peer in Shah Alam because of the location nearby the sea and it has very strong with a Malay history and maritime influences. It seems like East Coast artist in California versus New York artist, For the first project I started last year, I curated first Manjung School group exhibition  titled ‘Manjung School: Pilihan Rakyat’ in Gallery Shah Alam. I invited 5 artists who are active making artworks but unrepresented by the private gallery.

They were also an art star in the Manjung School who won so many national award and competition like Young Contemporary Art Award (Bakat Muda Sezaman), Nokia Art Award. Philip Morris Asean Art Award and so on. Why I used the title ‘Pilihan Rakyat’  when I curated this show, has because our country was in a general election fever or PRU (Pilihan Raya Umum) so In this project I wanted the artist to react with a political issue surrounding them. For the next show I  plan to make one more show at the end of this year, still using the Manjung School but maybe I will open not only fine artist but also the other department like ceramic and fashion designer.

BC:  All things being equal - that is, putting asides issues of "genre", location, medium - what makes a good exhibition? As a curator, what do you want people to walk away with after they've seen or participated in an exhibit?

FS: For me a good exhibition not only to put right issue of genre, location and medium in a one roof but it is beyond that. As a curator you should also look at the type whether your show is a thematical, chronological or retrospectical. Thematic show is based on one issue or manifesto brought by the artist or group of movement. A lot of private galleries in Malaysia exhibited solo or group show like to hire independent curator or writer to curate their shows based on the theme. Even that, a big institution like a national gallery or museum they have different kind of direction and vision. They have a committee who makes a selection and approval of an the exhibition.

The show is actually in honor of the prominent and senior solo or group artist who have made a huge contribution to Malaysian art history. And actually the museum  invites a big name of art historian who look at this show based on the chronology and retrospective of the artist. The good show not only the production the object being displayed  in the show but we should look also at the pre-production and post-production like the  promotion, public relation to media, opening management and post-mortem of the show, for me all this are related to each other.

As curator you have a very big responsibility about what show you want to display. For me to stage a good show you  invite a people to into your worlds, your intellectual and your images. You are also like a narrator of a story book who brings audiences to your journey. As if you bring them inside the mouseleum and after that they walk away  with different feeling and the way they look at the world is the not the same as before.

BC: Do you think art curators have a responsibility to the public, with regards to art education? Especially with your experience in Malaysia, what roles can curators play, what dialogues are they having, or should be having with the public?

FS: For the last question please refer to my writing titled ‘TheTransformation of Roles: Curatist (Artist as Curator)’ at the link below:.
http://faizalsidik.blogspot.com/2014/03/the-transformation-of-roles-curatist.html

BC: Thanks very much for taking the time to answer these questions, Faizal, and for providing your bio and extra information. The article should come out in Baccarat's April issue, and I'll keep you posted when it does come out. Thanks again, have a good week ahead. 

 

http://syarsalia.com/the-space-between/

The Transformation of Roles: 'Curatist' (Artists as Curators)

By: Faizal Sidik

Faizal Sidik, 'The Transformation of Roles: 'Curatist' (Artists as Curators', )Senikini  #22, Balai Seni Visual Negara, Kuala Lumpur.

(The title of this paper was presented at the 'National Conference of  Studio Practice' organized by the Sultan Idris Teaching University - UPSI on 27 and 28 January 2011 in Colmar Tropicale, Bukit Tinggi, Pahang) 

Introduction

The main idea of this paper is to study who is ' Curatist'. The term was coined from the combination of word artist and curator. It tried to see practical changes to the functioning of an artist who takes the role of the function as a curator. The birth of the artist as curator not only filling a vacuum of appreciation but also building and opening a new emphasis on creativity definition of artistic creation of the artist. This transformation happens because most of the country's art institutions do not have a program of art history and philosophy of art which specialized in producing art historian therefore causing imbalance in terms of practical and appreciation.

Faizal Sidik,"The Transformation of Roles: Curatist (Artist as Curator)" Asian Museum Curator Conference, Rimbun Dahan Gallery,2009

'Curatist' not only serves as the curator of an exhibition even more than that, the curatorship of  curatist done by taking into account the terms of artistic direction in which the artist as curator to better understand what is to be communicated to the audience, especially in terms of approach and presentation and exhibition design plan designed to achieve the primary purpose of an exhibition built.

In the survey most curator exhibitions in our country have a fine art education background where they also are  artists, exhibitions such as "Towards a Mystical Reality","Appearance and Soul” ,"Appearance of Malaysia","Manifestation of the Soul of Islam","The Art and Imagery" and "First Electronic Arts" are some of the important and successful curatorial exhibition  by assuming the role of the artist as curator in further appreciation of art in the country where their exhibiton are still discussed and debated until today.

Terminology

 Who is curator and who is 'curatist'? Curator traditionally be defined as a builder, keeper, manager, entrepreneur, guardian and custodians in the institution of art, culture and heritage such as galleries, museums, libraries and archives who are responsible for the collection of institutions. Usually object questioned in terms of curator is the object that can be seen and touched such as works of art, historical artifacts and scientific collections.

Yet the definition is different according to the place and role. In Britain the term is manifest curator in charge of the civil service works contract archaeologist in charge of the cultural resources of the area. In the United States the term used for the chief curator of cultural organizations, and the latest technological developments increased the scope of the role of the curator in the field of curatorship also been the object of academic study and scientific research in major art institutions there. But the title of my presentation is not only focused on the curator alone but the artist as curator directly involved in contemporary art where they act as the person making the selection, builders and interpreter of contemporary art exhibitions where they also serve as a catalog or book publishers as material documentation.

Artist as curator or 'curatist' is not a new idea, it has a long tradition before. In the course of the history of art previously it also were discussed but not seriously. At the end of the 19th century in Europe, particularly in Paris where it  become the arts center, the artists protest the Salon jury  and a conservative institution at the time of the 'Paris Salon' in 1863 and they formed their own group of avant-garde 'Salon des Refuses' or  the rejected works exhibition' to exhibit their art works  outside  from institutions  determination. After thirty years later, in the 20th century in New York, the motion of artist-run-space or arts center which is moved by artist became a worldwide phenomenon.

Artist as curator of the exhibition is not only curator  but they are capable of writing and publishing a good book about art, artists like Joseph Kosuth, Ad Reinhardt, Frank Stella, Donald Judd, Robert Smithson and here are artists like Redza Piyadasa, Suleiman Esa, Syed Ahmad Jamal and Ismail Zain are honored to contribute their literature texts in the exhibition  curating by them before.Their words are still relevant and still prevail and quoted as discourse opener made ​​to strengthen the argument for bringing the audience closer to it .

Curatorial activities of an art exhibition can be said officially began after the establishment of a national art institution,  National Art Gallery in 1958. However, the role and contribution of the artist as curator in the development of Malaysian art may not be realized by us, may also no specific discussion in looking at the border that separates the two roles of institutional curators and artists as curators. Here I put some displacement why this transformation happened and how it works and the effect or impact on the development of the visual arts as a whole. 

Challenging the Limitations of Cultural Institutions 

For those who are directly involved in the arts now have to moved to current trend which is said as contemporary which identify and recognize new models, new approaches and a tendency to make changes to the curatorial practice. The creation of this role can be said to relate to deny or anti history of the institution that wants antimony and customized in mainstream exhibition and creativity. Artists as curators see what was overlooked by the  institutional curators, their purpose of curating the exhibition and writing their own concept of the exhibition is one of the reactions in response to the limitations of art institutions in understanding their requirements which seems to be challenging the limits allowed by the policy maker to comply with the provisions of freedom allowed.

"Regarding the arguments curating as art, or uber-curator as 'author', stems, therefore from the lack of definition regarding the limits of curating, and consequently the troubling of the potentiallly unfettered power of the agency of curation. The reverse of this, the artist as curator, similarly emerges from collapse of any viable distinction betwen the work of artists and the work of curators, whilts the professional and institutional distinction between them remains and in the process of being further professionalized"

 Due to limitations in this expression is prevented the artist as curator find a way that will work well with the mission and vision they want to bring by moving collectivly or opening alternative space or artist-run-spaces driven by the artists in solo and group exhibits their own work or other works with the same theme and direction. Among the spaces normally run by the artist as curator in the country are Rumah YKP, Rumah Air Panas, Lost Gen Space, inspired to deny the existence of museums and art galleries and displays an innovative and experimental art direct to new audiences, it is not only the visual arts but also in music (indie band) which also deny pop music recording company and the theater (home theater of the absurd) against mainstream theater.

Exploration of the New Ways of Seeing

Interesting directing take storytelling to impress audiences, curators are like a film director, or more precisely as exhibition 'director'. At the end of the twentieth century and continuing into the 21st century saw many artist start curating an exhibition denying the role of the curator of the institution. In view of potentials creativity in displaying it has become a current trend in major art events such as the bi-annual art event  (Biennale) and the contemporary art festival (Art Fair) organizers invite artists as an art director or curator full of freedom to curate a show. Reputation created by the artist as curator of the exhibition offering unusual and interesting ideas attract audiences' attention to see their presentation.

The approach of the artist as curator and curator of the institution is quite different in terms of creativity.'Curatist' came up with the idea first before looking for artists that fit his ideas centered on his thought rather than setting ordinary exhibition that originated from an idea in the artist's studio. They are against the conventional approach in mainstream exhibition with as much as possible to explore something that has never been seen by anyone in terms of artistic design in displaying. Visitors who enter the gallery or museum entered into a new world made by curatist. When they entered the gallery the audience are no longer  in regular daily life, they seem to be in another world created by curatist, the world of aesthetic, the world that can not be spoken with words, the world of imigination. That is why when you go into a museum or gallery audience will be offered by the quirky image created by artists.

Conceptual artist John Baldessari was entrusted by the Los Angeles Contemporary Art (LACMA) in displaying the works of surrealist artists in their collection. The exhibition 'Magritte and Contemporary Art: The Treachery of Images' is an exhibition held in 2006 to explore the impact of Belgian painter Rene Magritte (1898-1967) against ganeration of visual artists of post-war America and Europe. The exhibition displayed 68 paintings and drawings from various media by Magritte from 31 contemporary artists such as Richard Artschwager, John Baldessari, Vija Celmins, Robert Gober, Jasper Johns, Jeff Koons, Ed Ruscha, and Andy Warhol.

This exhibition saw the difference  and the approach present in pop art which was unnoticed, conceptual and post-modern sensibility referring to the idea and imagination of Magritte. Interestingly this exhibition Baldessari of design was so simple and funny with the new creativity in exhibition performances in a better understanding of visual Magritte clouds he used the cloud subject so dominantly in the surrealist artists on the walls and floor of the gallery as if visitors who were in this space was floating in the air to see the artwork above the clouds and blue sky.

Findings in Construction Exhibition

New findings not only occur in scientific laboratories but also the studios of artists as culture incubator center. Arguably the artist as curator acts as the 'social scientists' who seek the findings of the objects on display. They are the link between the visual world with the meaning of the text and dialogue, it can be considered as a 'bridge' mediating interpretation and appreciation by the artist in the work product or 'production of meaning' in explaining a comment, vision or manifesto.

In Malaysia there are some samples of such exhibition construction that can be role models. Many important exhibitions of art built by artists involved in the exhibition such as research exhibition 'Form and Soul' curated by Syed Ahmad Jamal is  concerned with the study of traditional Malay art. The findings and his exploration is documented.  He curated the show which explore the  visual art exhibitions on artists who have continuity of artistic tradition. Conceptual art exhibition 'Towards a Mystical Reality' collaboration by Suleiman Esa and Redza Piyadasa is and assimilation of Eastern and Western culture in a new perspective of art as a scientific study of the mental, meditative and mystical philosophy found in Asia in relation to the philosophy of Taoism and Zen practice which is leaving the influence and polemics to this day.

Conclusion
Consciously or unsciously most important curated show in this country are those that consist of the artist as curator. Curated show by the  'curatist' has enormous influence on visual art in the country after the exhibition and recommendations in their writings such as Redza Piyadasa, Sulaiman Esa, Syed Ahmad Jamal, Ismail Zain, artist Hasnul Jamal Saidon, Nirajan Rajah and Wong Hoy Cheong. The presence of the new generation such as Nurhanim Khairuddin, Faizal Sidik, Safrizal Shahir, Yap Sau Bin and Fuad Arif noteworthy for their commitment in curatorship.

Curatists are not only educated but also 'gifted'. They are not only able to discuss the influence of the history of art, ideas, concepts, theories of visual aesthetics and philosophy in their art work but also in practical arts in general. 'Contemporary curatist ' not only identify and introduce new approaches in curating but they also serve as a versatile multi-tasking as well as critics and art administrators, a transformational role dualism more cohesive and powerful in the art world system (artists, curators, galleries, collectors) in future.

References.

Judy Rugg, Michele Sedgwick, 2007. ‘Issues In Curating Contemporary Art and Performances’. Intellect Book.

Redza Piyadasa, Sulaiman Esa, 1972. ‘Towards a Mystical Reality: A Documentation of Jointly Initiated Experienced by Redza Piyadasa and Suleiman Esa’. Dewan Bahasa dan Pustaka.

Faizal Sidik,’The Transformation of Roles: Curatist’, Senikini #22, Balai Seni Visual Negara, Kuala Lumpur