An A–Z Guide to Malaysian Art is produced in conjunction with the publication project Narratives in Malaysian Art. The Narratives in Malaysian Art project AN is made possible through the generosity of our corporate supporters, sponsors, friends and other contributors. A – Z Editorial team GUIDE TO Adeline Ooi, Beverly Yong, Hasnul J. Saidon, Nur Hanim Khairuddin, Rachel Ng MALAYSIAN ART

Other contributors Eva McGovern, Ng Jing Yi

Thanks to Anurendra Jegadeva, Jamil Mat Isa CONTENTS Assistants Nick Chin, Dill Malik

Design Studio MMCMM 2 a glossary of

Printing malaysian art Pakatan Tusen Cetak Sdn Bhd 2 50 years of malaysian Published by RogueArt art in pictures i-7 Taman Tunku Apartments Bukit Tunku 38 calendar Kuala Lumpur 50480 Malaysia 43 Narrative In Malaysian Art Sponsorswww.rogueart.asia spaces PENDING LOGO LIST narrativesinmalaysianart.blogspot.com 48 resources 1 Malakoff CorporationKenneth Tan 2 Krishen Jit-ASTRO Fund 53 services The information provided herein is accurate to the best of our Rosemary & Steve Wong knowledge. Neither the publishers nor contributors may be held liable for any errors and/or omissions however caused. All listings 56 opportunities Narrative In Malaysian Art Sponsors are correct at time of going to press but subject to change. © 2012 RogueArt, and image copyright holders. 59 PENDING LOGO LIST 30 Art Friends All rights reserved. No part of this publication may be reproduced, study stored in a retrieval system, or transmitted in any form or by any means, except for purposes of research or private study, criticism 1 Malakoff Corporation and review, without prior written permission from the publisher. 62 people 2 Krishen Jit-ASTROWith supportFund from NarrativeThe Krishen In Jit-ASTRO Malaysian Fund Art Sponsors NarrativePENDING LOGO In MalaysianLIST Art Sponsors PENDING1 Malakoff LOGO Corporation LIST Narrative In Malaysian Art Sponsors12 KrishenMalakoff Jit-ASTRO Corporation Fund PENDING LOGO LIST 2 Krishen Jit-ASTRO Fund 1 Malakoff Corporation 2 Krishen Jit-ASTRO Fund Narrative In Malaysian Art Sponsors PENDING LOGO LIST Narrative In Malaysian1 Malakoff Art Sponsors Corporation PENDING LOGO LIST2 Krishen Jit-ASTRO Fund 1 Malakoff Corporation Narrative In Malaysian2 KrishenArt Sponsors Jit-ASTRO Fund PENDING LOGO LIST 1 Malakoff Corporation 2 Krishen Jit-ASTRO Fund a Nik Zainal Abidin, Wayang Kulit Kelantan, 1959 National Visual Arts Gallery Collection

Patrick Ng Kah Oon, Semangat Tanah, Air dan Udara/Spirits of Earth, Water and Air, 1958 National Visual Arts Gallery Collection Alternative spaces Abstraction “Alternative” spaces are commonly associated with The return of students from art studies in the UK artist-run spaces locally. Pioneering artist-run and Europe during the late 1950s and 60s spurred spaces include Rumah Air Panas, Rumah YKP, a local modern abstract art movement. Tay Hooi Spacekraft and 1948. One of their goals is to pro- Keat and Syed Ahmad Jamal were early abstract vide venues for art that may not easily find a place practitioners, fusing international styles with lo- Akar-akar Peribumi in commercial galleries - experimental, temporary, cal forms and colours. Works from this era were Seminar Akar-akar Kesenian Peribumi dan conceptual, site-specific works, etc., but they often expressionistic, taking a conceptual and objective Perkembangan Kini, held at ITM Shah Alam in also organise residencies, workshops, talks, and turn in the early 70s. By the end of the 70s, art- 1979, aimed at reviving the spirit of Malay-Islamic screenings. Survival is a struggle, and many artist- ists became preoccupied with producing non- identity in visual art, and part of the government’s run spaces are located away from the city centre. representational works that reflected local identity, agenda to kick off an Islamisation process within There are also “neutral” venues such as MAP KL, integrating motifs and themes from Islam and the arts education. In his keynote address, Awang Had The Annexe Gallery and recently Urban Village, Malay world, as well as local craft techniques and Salleh stressed the need to create a local educa- based on a rental policy, and unconventional public materials, with eclectic and broad-ranging results. Cheong Soo Pieng, Tropical Life, 1959 tion philosophy capable of countering Western spaces have been used for site-specific art projects. Since the 90s, abstract art practices have been National Visual Arts Gallery Collection hegemony. Issues such as resolving the dichotomy Such “alternative” efforts are not so much about characterised by diverse individual approaches between the traditional and modern were raised. rebelling against the mainstream as offering artists and interests, involving materiality and process An exhibition highlighting Malay traditional art and audiences with options to present and experi- to more conceptual concerns. was held in conjunction with the seminar. ence different kinds of art.

2 3 Abdullah Ariff, Bumi Yang Bahagia – Lombong Bijih Timah Malaya, 1960 National Visual Arts Gallery Collection

Artists’ associations Artist groups and associations were fundamental to the creation of early art scenes in Penang, Kuala Lumpur and Singapore, organising classes, exhibi- tions and other activities, and in some cases also representing different approaches and principles of art-making. The first decades of the 20th century saw the formation of expatriate art groups like Tay Hooi Keat, Plantscape, 1959 the Penang Impressionists, and of associations National Visual Arts Gallery Collection of local-born painters and artists arriving from Mainland China.

Alongside advancements in formal art education, the growth of the market and different models Anak Alam APS of artist initiatives, formal artist associations Hoessein Enas, Admonition, 1963 today play an important role in representing spe- Anak Alam was the brainchild of artist-poet Angkatan Pelukis SeMalaysia (APS) began as Majlis Collection of Tenaga Nasional Berhad/Photography: Puah Chin Kok cific communities (Johor Art Society, Penang Art Latiff Mohidin, officially founded on 1 May 1974, Kesenian Melayu in 1956, becoming Angkatan Society) or types of practice (Malaysian Water- with Mustapa Ibrahim, Ali Rahamad and Zulkifli Pelukis Semenanjung in 1957, and adopting its cur- colour Society). Dahalan among its early members. Its 1974 rent name in 1968. It was first chaired by Hoessein manifesto called for a respectful and harmonious Enas, and boasted a wide membership. Mazeli Mat multicultural co-existence, and celebrated nature Som took over its leadership in 1964 and in 1967, Auctions and the artist’s imagination as states of purity and it took the motto “art for society”. While Malaysian artists are generally under-repre- inner truth. More permanent members lived, sented at auction, they have appeared regularly in worked and played in its Taman Budaya studio In the Western-centric art environment post the Southeast Asian art auctions held in Singapore near Padang Merbok. Most active through the Independence, the main objective of the APS was (since 1997) and Hong Kong (since 2002) by in- 1970s and 80s, their works were experimental to champion a Malaysian identity as a basis for ternational houses like Sotheby’s and Christie’s, and avant-garde with a surrealist bent, and often a national art. It espoused a style of naturalistic and regional houses like Larasati and Borobudur. provocative and critical of the establishment. Their portraiture in oil and pastel, celebrating Malay In 2010 Henry Butcher Art Auctioneers held the Open Theatre events helped sow the seeds of local identity, culture and values, although members’ first dedicated commercial (non-charity) auction performance art. approaches became more diverse from the 70s. of Malaysian art works in Kuala Lumpur.

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Collectives There are various models of artist collectives - groups of close-knit artists who come together, working with a shared aim, interest or ideology. Anak Alam in the 1970s to 80s adopted the idea of a commune, living and working together as an extended family. There are collectives that work Dzulkifli Buyong, Kapal Kertas/Paper Boats, 1965 collaboratively, or as individual artists coming National Visual Arts Gallery Collection together for particular projects, such as Matahati, Rumah Air Panas and Dikalajingga. Lost Gen- eration, Findars and SiCKL maintain spaces for making and exhibiting art, while Buka Koletif is Chuah Thean Teng, Fruit Season, 1968 nomadic by nature. In 2007, Matahati founded National Visual Arts Gallery Collection House of Matahati (HOM), an organisation and b space to help artists in need and nurture emerging talents. Competitions Art competitions have been an important platform Community projects for encouraging young artists. The National Art Over the past few years, artists and artist groups Gallery organised several competitions in its early have increasingly come together to find new ways years, notably the first Salon Malaysia (1968) and of using and presenting art in the public sphere, Man and His World (1973). Winners of the Young interacting and working with different kinds of Contemporaries Competition (since 1974) have Batik sites and communities. Notable projects have often gone on to become leading artists of their Chuah Thean Teng introduced batik as a fine art included Let Arts Move You (LAMU) involving generation. Malaysian artists have participated in medium during the 1950s, and it came to be used works and performances at KL Sentral Station and regional competitions such as the Phillip Morris in new and innovative ways by many artists. Batik on KTM Komuter trains (2007), Contemporary ASEAN Art Awards (1994-2004 – Malaysian art imagery from this period was largely romantic, Art in School (CAIS), an exhibition and workshop Kow Leong Kiang won the Grand Prize in 1998) celebrating the spirit of nationhood and the land, project at Stella Maris High School (2007), Bangun and Nokia Art Awards Asia Pacific (1999-2001). although more modernist approaches were taken – Abandon Project (set in abandoned buildings in Bank Negara, Maybank and MRCB have also held during the late 1960s. The 1980s saw artists like KL 2008), Bangun Penang! (at the Penang Clan public art competitions intermittently. In 2009, Fatimah Chik exploring Islamic and regional ide- Latiff Mohidin, Pago-Pago Landscape, 1968 Jetties, 2009), and Bonding with Gaya Street (Kota artist initiative HOM launched the Malaysian ologies and aesthetics through batik patterning. National Visual Arts Gallery Collection Kinabalu, 2012). Emerging Artists (MEA) Awards.

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Corporate collections and galleries Drawing Local corporations have long been supporters of A tradition of drawing in the Southeast Asian art as a representation of the nation’s creativity region can be traced back to the Neolithic period. and contemporary cultural heritage. Following Latiff Mohidin’s book Line: From Point to Point Independence, patronage was led by enlightened weaves together his prose and seminal Pago-Pago executives, who started collections for major bod- drawings of the 1960s based on regional forms in ies such as LLN (now Tenaga Nasional) and Bank an exploration of narrative line. However, drawings Negara. International companies such as Shell by artists who trained abroad in the 50s and 60s, and Esso also showed an interest in local art. In especially in the British academic tradition, are the late 1980s and early 90s, Hong Leong Bank mostly sketches, developing concepts for painting and Maybank created dedicated gallery spaces in and sculpture, giving insights into artists’ working their headquarters. The late 90s Asian economic Joseph Tan, Love Me in My Batik, 1968 methods, draftsmanship and sensibility. A younger crisis slowed down corporate support, but today National Visual Arts Gallery Collection of generation of artists has explored different ap- big corporate entities are again playing a central proaches (process-based, narrative, calligraphic, role in the art scene. Petronas holds an impressive conceptual) to drawing as an independent form. collection of modern and contemporary art while its gallery has sustained a programme of public exhibitions and activities over the past 20 years. Cross-disciplinary practice Bank Negara plans to highlight its collection Cross-disciplinary practices began to flourish dur- and develop further art programming in its new ing the 1990s with the emergence of new informa- Museum and Art Gallery. Meanwhile, Khazanah tion and communication technologies as well as Jolly Koh, Fan Fern, 1968 Nasional provides strategic corporate support to the return of specially trained practitioners from National Visual Arts Gallery Collection Malaysian art projects while building on its core overseas, and the activities of Five Arts Centre, corporate art collection highlighting contemporary Centre Stage and labDNA, who mounted “multi- Malaysian art. sensorial” projects bringing together elements from different disciplines, for example combin- ing theatre, dance, music, sound and visual arts together, and often including video elements - in a single performance. Key performances include Skin Trilogy (1995), Rama & Sita: Generasi Baru (1996), and To Catch a Cloud (1996). Today, cross- disciplinary collaboration continues in the work of young multimedia artists and groups experi- menting with digital video feed, sound art, video Ahmad Khalid Yusof, Alif Ba Ta, 1971 mapping, VJ-ing and performance. National Visual Arts Gallery Collection

8 9 Education Nanyang Academy of Fine Arts in Singapore was the first art education institution to be set up in Malaya in 1938. The colonial administration at first e paid little attention to art, but just before Indepen- dence supported significant initiatives, including providing for locals to study art and art education in the UK. The appointment of Peter Harris as Su- perintendent of Art Education in Kuala Lumpur in 1951, and of Tay Hooi Keat to a similar post to cover northern Malaya in 1952, marked the beginning of modern art education. Specialist Teachers’ Train- Electronic (New Media) art ing Institute (now Maktab Perguruan Ilmu Khas) The first seeds of electronic art can be traced back was founded in Kuala Lumpur in 1960, including to Ismail Zain’s Digital Collage (1988), an exhibi- among its first local lecturers Syed Ahmad Jamal tion of Macintosh-based digital prints. Electronic and Yeoh Jin Leng. art is often associated with “new media art”, with Zulkifli Dahalan, Realiti Berasingan – Satu Hari di Bumi Larangan, 1975 video art at its core, thriving in the 1990s as part The School of Art & Design at Institut Teknologi National Visual Arts Gallery Collection of cross-disciplinary projects and site-specific MARA (now UiTM) was established in 1967 to presentations. By the end of the 90s, new media offer higher education for indigenous students, had found a firm place in the local art scene, as training professionals in the creative field, as part testified by the landmark1st Electronic Art Show at of the government’s scheme to rectify economic dis- the National Art Gallery in 1997, and the resource parity along ethnic lines and the nation’s larger in- E-Art ASEAN Online. dustrialisation and modernisation agendas. Courses offered were Fine Art, Graphic Design, Industrial Design, Fashion Design, Textile Design, Fine Metal Design, Ceramic Design and Photography, as well as an Art Teachers’ Diploma. The early teaching staff was made up of noted local practitioners such as Sulaiman Esa, Redza Piyadasa, Ahmad Khalid Yusof, Joseph Tan, Ismail Zain, Choong Kam Kow, Ponirin Amin and Jolly Koh. f The Malaysian Institute of Art, a private art col- lege, was established in 1967 by Chung Chen Sun, a graduate of the Nanyang Academy of Fine Arts. Another NAFA graduate, Cheah Yew Saik then Chia Yu Chian, Election Fever, 1978 set up Kuala Lumpur College of Art (now closed). National Visual Arts Gallery Collection Universiti Sains Malaysia became the first local university to offer a Fine Art degree course in Fairs 1972. Fine Art programmes are now also offered The art fair is a new phenomenon on the local scene. at Universiti Malaysia Sarawak, Universiti Malaysia Malaysian Art Expo, supported by MATRADE, Sabah and Universiti Pendidikan Sultan Idris. first opened its doors in 2007, and is now an an- There is a marked absence of Art History or Art nual event. Leading Malaysian galleries promoting Redza Piyadasa & Sulaiman Esa, Empty Bird-cage After Theory programmes. Numerous private colleges also local artists have long participated in art fairs in Release (from Towards a Mystical Reality), 1974 offer general Art & Design courses, although these Singapore, occasionally venturing to the bigger National Visual Arts Gallery Collection usually focus on Design and Multimedia. fairs in Hong Kong and Beijing.

10 11 Five Arts Centre Founded in 1984 by theatre directors Krishen Jit and Chin San Sooi, Five Arts Centre is a collective of artists and producers dedicated to generating alternative art forms and images in the Malaysian creative environment. The collective's scope of work includes theatre, dance, music, visual arts and Amron Omar, Pertarungan, 1980 young people's theatre. It has proved instrumental National Visual Arts Gallery Collection in creating a platform for interdisciplinary practice Syed Ahmad Jamal, Gunung Ledang/Tanjung Kupang, 1978 through its many groundbreaking projects. Singapore Art Museum Collection Figurative art Folklore The figure has played an important and varied role Malaysia’s artistic community has access to a rich in Malaysian art. It was central to early modern store of folkloric and classical narratives – from developments, as pioneer artists explored Ma- the tales of makyung and wayang kulit to Sejarah layan or Southeast Asian figure-types and social Melayu, to the tribal lore of Sabah and Sarawak realist subjects. Around Independence, the figure and the Orang Asli, to Chinese and Indian myths became a powerful tool for expressing modern and legends. A popular subject is the final duel be- individual experience, while at the same time por- tween Hang Tuah and Hang Jebat. Syed Thajudeen traits of the Malay female figure came to represent has based his paintings on the Ramayana epic the beauty of traditional values and culture for and Parameswara’s journey to Melaka. Folkloric artists of the APS. narratives have also been used as powerful social Festivals and political allegories in the works of younger Arts festivals throughout the country have helped Following the National Cultural Congress’ call to artists working with multi-media installations. to bring art to the public, often also bringing visual artists to address traditional cultural forms and artists together with theatre practitioners, writ- Islamic elements, and also the rise of abstract ers, designers and musicians. In Kuala Lumpur, painting, figurative representation waned through artist collectives and other independent groups the 1970s and 80s. A new generation of artists have spearheaded notthatbalai Art Festival, Chow emerging in the late 80s and early 90s brought Kit Festival, Buka Jalan Performance Art Festival, about a revival of figuration as part of a more and Rantai Arts Festival while corporations have socially critical approach to art, using it to address supported contemporary culture events such as issues such as contemporary identity, gender, and Urbanscapes. Outside the capital, key initiatives social tension. Today such tendencies remain very have included Digital Art+Culture Festival (Pen- much alive, with artists also exploring conceptual, ang), Melaka Art & Performance Festival, Ipoh Arts spiritual and philosophical aspects of portraying Nirmala Dutt Shanmughalingam, Flower Seller by the Festival, and Sasaran International Arts Festival. the human figure. Gombak River II, 1982 Collection of HRH Raja Nazrin Shah

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Galleries The gallery scene has mushroomed intermittently over the past ten years. Today there are perhaps a score of commercial galleries of some seriousness, mainly in Kuala Lumpur but more recently also in Ismail Zain, DOT: The Detribalization of Tam binti Che’ Lat, 1983 Penang, holding regular exhibitions, representing National Visual Arts Gallery Collection artists, and/or dealing in the secondary market. These exist within a much larger array of walk-in art galleries, café galleries, curio/household/frame i shops selling art works and itinerant art dealers and runners. The famous forerunner of the modern International exhibitions gallery was Samat Art Gallery, started in 1966 by Malaysian art entered the international circuit with Frank Sullivan with Samat Silat. Saujana Fine Arts the growing interest in Asian art during the 1980s was an attempt at an artists’ co-operative gallery, Installation art and 1990s. The Asia Pacific Triennial and Fukuoka started in 1986. The Asian Tiger boom of the 1990s Early installation art works of Lee Kian Seng, Asian Art Triennale have helped to frame Malay- and corporate collecting spurred pioneering efforts Redza Piyadasa, Sulaiman Esa, Ponirin Amin and sian art within the larger Asian context, while a at commercial gallery enterprises, and those that Zakaria Awang in the 1970s were termed “mixed series of ASEAN art workshops, travelling shows survived the economic crisis remain major players Fatimah Chik, Nusantara Series I, 1982 Artist's collection/Photography: Puah Chin Kok media”. The term “installation art” was not used and symposia have kept Malaysian artists very today. In recent years, artists and collectives have in Malaysia until the 1980s. Nirmala Dutt Shun- much a part of the regional scene, participating claimed a stake in the market by starting galleries mughalingam’s Statement I: Pollution Piece was in and initiating regional exchange. The National to encourage younger emerging artists. perhaps the first installation work to be presented Visual Arts Gallery and Galeri Petronas have

in the National Art Gallery in 1973. Since the also brought Malaysian exhibitions overseas, for Graffiti GRUP 1990s, interest in installation art in Malaysia has example Rupa Malaysia: A Decade of Art 1987- The longest and perhaps most well-known graffiti GRUP was the title of an exhibition held in 1967 at been propelled by the international recognition of 1997, Kata Di Kota (2006), Jejak (2007), Out of art "gallery" could be found along the banks of the AIA Building in Kuala Lumpur, which brought local artists who have explored political and social the Mould: The Age of Reason (2007/8). Malaysian the Klang River by Pasar Seni LRT from 2006 to together Syed Ahmad Jamal, Yeoh Jin Leng, Ibra- themes. A number of young contemporary artists artists have been invited to prestigious events such 2008 but has since been painted over by City Hall. him Hussein, Cheong Laitong, Latiff Mohidin, in Malaysia work with installation art, incorpo- as the Venice Biennale, Sydney Biennale and Docu- Graffiti artists are now gaining public recognition Jolly Koh and Anthony Lau. These seven artists, rating complex video and digital technology and menta since the 2000s, as well as biennales and and acceptance. Some of their well known pseud- educated abroad in the UK and Europe, working elaborate interactivity. Susyilawati Sulaiman takes institutional exhibitions in Singapore, Yogyakarta, onyms are They, The Kioue, Tha-B, The A80s, The in abstract and often gestural approaches to local “installation” to a new extreme, investigating and Shanghai, Tokyo and Seoul, which have positioned Damis, Mile09, F-code, Jo Tribe, Phobia Klik and and regional subjects, have become regarded as relocating actual personal sites such as her home themselves as contemporary art centres with an Vector Crew. leading pioneers of modern Malaysian art. and studio, as artworks. Asian focus.

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Ismail Hashim, I Can Sleep Through Even If The Bomb Explodes, 1984 The Malayan Arts Council National Visual Arts Gallery Collection The Malayan Arts Council was formed in 1952 by a group of expatriates and local professionals Islamic art interested to promote local drama, music and art. In the visual arts, it encouraged recognition and Islamic principles and aesthetics have long played patronage of local artists, organising exhibitions a role in traditional Malay art forms. However, it and competitions on a national scale, such as the was with the National Cultural Congress in 1971 first Malaya Open Art Exhibition in 1954. It was and the Islamic revolution which began in the the Malayan Arts Council who mooted the idea of Middle East in 1979 that a modern Islamic art l a National Art Gallery to Tunku Abdul Rahman movement came to the fore in the late 1970s and before Independence. The MAC included among its through the 80s, with a large number of Muslim Syed Thajudeen, Merdeka, 1989 members Bill Elmsley, Peter Harris, P.G. Lim, King- artists consciously seeking ways in which to situ- National Visual Arts Gallery Collection ton Loo, Dato Nik Ahmad Kamil, Noel Ross, Mubin ate their art practice within an Islamic paradigm, Stepphard, Frank Sullivan, Yong Pung How, and either through adopting Islamic patterning and Dato Zainal Abidin Abas. calligraphic script or basing their approach on Landscape theological concepts. Omar Basaree pioneered Portrayals of landscape have been a mainstay of the use of khat – a branch of jawi script – as local painting, tracking both the changes and the Modernism an element of modern painting, while Ahmad continuities of the environment we live in, from the Modernism in Malaysia is tied with the post- Khalid Yusof used jawi letters in a gestural ab- romantic and topographical views of colonial Ma- Independence notion of modernisation and the stract manner. Syed Ahmad Jamal and Sulaiman laya painted by early settlers to the busy cityscapes aspiration to be on par with other developed Esa have been important spokespersons for the of Kuala Lumpur today. A tradition of coastal and countries. Most texts claim that modern art in movement. Exhibitions at the National Art Gal- paddy-field scenes in oil and watercolour continues Malaysia (or Malaya) was introduced by the Nan- lery in the 1980s and early 90s which focused to this day, while urban artists attempt to capture yang artists in the 1930s and the British colonial on Islamic Art in the modern Malaysian context the inhabited sprawl of our capital. The effects of administration during the 50s. It has also been include Identiti Islam Dalam Seni Rupa Malaysia: development and industrialised agriculture on our argued, however, that the true “spirit” of modern Pencapaian dan Cabaran (1992) and Pameran natural environment are critiqued in works during art in Malaysia was born during the years of In- Seni Lukis & Seni Khat: Pameran Tamadun Islam the 1980s and 90s. Younger generation artists use dependence, manifested in the modern abstract (1984). The Islamic Art Museum, founded in more contemporary painterly languages to express movement of the 60s. The idea of a western type of 1998, has played a role in exhibiting local modern the stress of urbanisation on nature. Artists have modernism has been challenged, especially since and contemporary Islamic-influenced art along- also used mixed media and installation works the National Cultural Congress, by artists looking side its collection of artefacts and international using real elements of the landscape, like soil, to to Islamic and other Eastern sources of thinking exhibitions of Islamic art. comment on environmental degradation. Ramlan Abdullah, Mother and Child, 1990 Artist's collection and artistic expression.

16 17 National Cultural Congress The National Cultural Congress convened in 1971 at the University of Malaya. Opened by YAB Tun Abdul Razak, Prime Minister of Malaysia, the aim of this meeting was to discuss and lay the ground for Malaysia’s national cultural policy in response to the racial segregation that led to the May 13 riots in 1969. At this meeting, Syed Ahmad Jamal and Redza Piyadasa presented proposals and Professor Ungku Aziz triggered a hot debate on the role of art. The three principles of the National Cultural Policies that arose were that: (i) The National Culture must be based on the indigenous culture of this region Zakaria Awang, Muraqabah, 1991 (ii) Suitable elements from the other cultures can Private Collection be accepted as part of the National Culture Tan Chin Kuan, Tragic of Blue Night, 1990 (iii) Islam is an important component in moulding Singapore Art Museum Collection/Image courtesy of the artist the National Culture. National Visual Arts Gallery The National Art Gallery (NAG) was launched Hence, Malaysia’s national cultural identity should on 27 August 1958, housed in a two-storey build- be founded on Malay core values, Malay cultural ing at 109 Jalan Ampang with four paintings forms and the Malay language as official national in its collection, making it the first dedicated language, as a unifying basis. national art institution in Southeast Asia. With the help of donations and other public and n private support, the NAG would go on to build a substantial benchmark collection of Malaysian art and support local artists through patronage, its programme of exhibitions and sponsorship.

In its first decades the NAG was led by passionate Nanyang and dynamic figures such as Frank Sullivan, and Murals The term “Nanyang artists” is most commonly artists Ismail Zain, Syed Ahmad Jamal and Joseph During the early 1960s, the new Malaysian govern- used to describe graduates of the Nanyang Tan. It moved to 1 Jalan Hishamuddin (the former ment initiated various public cultural projects in its Academy of Fine Arts (NAFA) from the 1940s to Majestic Hotel) in 1984 where it remained until it efforts to forge a sense of common national identity. 60s. Founded in Singapore in 1938 by artist Lim moved to its current premises at 2 Jalan Temerloh Cheong Laitong created two murals for Muzium Hak Tai, the Academy and its mainly Shanghai- in 1998. Today the newly-renamed National Visual Negara's exterior depicting historical events and trained teachers encouraged students to address Arts Gallery (NVAG) boasts almost 4000 works local crafts in 1962-1963. Other important mu- local and regional cultures and climate, fusing art in its collection, and its programmes such as the rals from this period include Dewan Bahasa dan approaches of the East and Western modernism, Young Contemporaries have helped to shape and Pustaka’s The Malaysian Way and the National and to develop a “Nanyang style”. Today many support the development of Malaysian art practice. Language by Ismail Mustam and the murals at associate this style with influential figures such as Most major artists’ retrospective exhibitions in Stadium Negara. Recently two large-scale historical Cheong Soo Pieng, with his eclectic and stylised Malaysia are held at the NVAG. Conceived as a paintings of Malaysia have been commissioned interpretations of tropical life and landscape. The statutory body, with an independent agenda, in – The Merdeka Mural (2008) to commemorate Equator Art Society, which emerged from NAFA, 2011 a Visual Art Development Board Act was Malaysia’s 51st year of Independence, and Sime took a social realist approach, creating an impor- passed, placing the NVAG further under the remit Darby’s Epic Painting (2011), in conjunction with tant and powerful visual record of the turbulent Bayu Utomo Radjikin, Bujang Berani, 1991 of the Minister of Information, Communication the corporation’s centennial. Emergency years. National Visual Arts Gallery Collection and Culture.

18 19 Photography Photography’s emergence as a form of art practice can be traced back to the 1950s. Early Chinese p migrant photographers borrowed the principles of Pictorialism and integrated elements of ink paint- ing and calligraphy in their photos. The birth of photo clubs during this era also encouraged the creative potential of photography among local enthusiasts. Remarkable pioneers include HRH New Scene Painting Sultan Ismail Nasiruddin Shah and K.F. Wong who The New Scene artists were dubbed after theNew Painting has been the dominant medium for captured Malaysia’s rural and urban landscapes and Scene exhibition of 1969, which included Redza art-making since the inception of Western-type peoples post-Independence, and Ismail Hashim Piyadasa, Sulaiman Esa, Tang Tuck Kan, Tan Teong art practices in the area before Independence. and Eric Peris in the late 1970s, with their fresh, Kooi, Tan Teong Eng and Choong Kam Kow, and Both Western and Chinese-trained artists have critical approaches to photographic form and was positioned as a response to the expressionist embraced and grown out of a Western tradition narrative. Since the late 1990s, photography has tendencies dominating the abstract scene at the of oil painting, which is closely tied to early local become an important part of contemporary art time. Influenced by “hard-edged” Constructivist concepts of modern art as well as the “picturing” practice, subject to experimentation, technical and Minimalist ideas, these artists shared a belief Kok Yew Puah, Portrait of an Insurance Salesman in Pulau of local subjects. Painting still forms the core of and digital manipulation, with artists drawing that art-making could be rational and objective, Ketam, 1993 Collection of Khazanah Nasional Berhad/Image the art curriculum in major fine art schools. As the upon elements of collage, montage, and computer based on “pure” elements of art such as line, colour, courtesy of Valentine Willie Fine Art most accessible art media, paintings are also the technology to address themes such as memory, texture and shape. The New Scene was followed by most collected of Malaysian art works. history and identity. similar initiatives Experimentasi ’70 (1970), and oDokumentasi 71 (1972).

Outsider artists A broad term which could be used to denote artists working outside of a so-called “mainstream” art scene. Some of our art history’s most original and beloved works were made by Dzulkfili Buyong and Zulkifli Dahalan, neither of whom had formal training, while their peers and mentors studied at leading art schools in the UK and Europe. Today, art therapy, as well as the emergence of talented autistic artists making a living from their work, have created a new significance to the term Wong Hoy Cheong, She was Married at 14 and Had 14 Raja Shariman, Gerak Tempur, 1996 “outsider art”. Children, 1994 National Visual Arts Gallery Collection/Image National Visual Arts Gallery Collection courtesy of the artist

20 21 Printmaking Early printmaking developed together with the printing industry in the Straits Settlements. Abdullah Ariff used printmaking techniques for his magazine illustrations as early as 1936. Print- making began to play an important role in fine art practice in the 1940s and 50s, when it was a popular medium among the Equator Art Society artists who were influenced by the Chinese woodcut print movement. It also formed part of the training of artists in Europe and the UK in the 50s and 60s, who came back to spearhead a modernist move- s ment. It was one of the early courses offered at the School of Art & Design at Institut Teknologi MARA from 1970. Printmaking techniques have been used extensively in more conceptual, or "pop", paintings and mixed media works since the late Ahmad Zakii Anwar, Dark Interior, 1997 Collection of 60s. However, few artists have adopted a regular Pakhruddin and Fatimah Sulaiman/Image courtesy of the artist printmaking practice, the most notable exceptions Sculpture being Ilse Noor and Juhari Said. While tribal carvings and sculpture from Ma- laysian Borneo and by the Orang Asli of the Private collectors peninsula enjoy long and complex traditions, Private collectors are a crucial source of support for sculpture as a modern art form has not shared the artists, creating a lively and well-informed domes- r same popularity as painting in Malaysia. There tic art market over the past 15 to 20 years, with a were few dedicated sculptors in earlier decades – focus on contemporary works. Pioneer collectors notable exceptions include Anthony Lau and ex- such as P.G. Lim, Lim Chong Keat, Chen Voon Fee, patriate artist Waveney Jenkins. Since the 1990s, Hisham Albakri, Kington Loo, Zain Azraai, Zain sculpture has become an important medium for Azahari, and Kamarul Ariffin bought the work of artists wishing to explore local materials, aesthetics local artists as a form of encouragement and sup- Residencies and cultural traditions and tensions; many cite port. Today, a wide range of individuals collect local Local residency programmes provide artists with family or local building and craft traditions as art. Some of the most visible figures include Prof. space and time to work in a new environment. an inspiration to their practice. Wood, steel and K.G. Rampal, Dr Steve Wong, Karim Raslan and Most cater to both local and foreign artists, with ceramics are predominant materials. Sculptural U-Wei Saari. Pakhruddin and Fatimah Sulaiman, Zulkifli Yusoff, Don't Play During Maghrib, 1996 a view to stimulating exchange. Early residency expression tends to cross into the field of installa- and Ng Seksan have set up dedicated spaces National Visual Arts Gallery Collection programmes were supported by University of tion art, assemblage and the use of found objects in for visitors to their collections, and Farouk and Malaya (recently revived) and Muzium Negara. a wide range of practices. Public sculpture remains Aliya Khan have published a major book on their Privately-funded Rimbun Dahan is a successful relatively under-developed although sporadic ef- Malaysian collection. Avid collectors have at times long-standing programme in Selangor, while forts have been made to foster the practice, notably become gallerists, notably Frank Sullivan in the artist-run spaces like HOM and Lost Generation the ASEAN Sculpture Garden conceived in 1987. 1960s, and more recently Valentine Willie and also host and organise residencies for emerging Recent efforts include theSculpture Island Penang Richard Koh. artists. eARTh Project, begun in 2005.

22 23 Susyilawati Sulaiman, Kedai Ubat Jenun, 1997 National Visual Arts Gallery Collection

Ahmad Fuad Osman, "Hoi hoi… Apa ini?! Dia kata hang salah, Hang kata dia yang tak betoi… Sapa yang salah, sapa yang betoi ni?!!! Hangpa ni sebenaqnya nak apaaa???", 1999 Collection of Pakhruddin and Fatimah Sulaiman/Image courtesy of the artist Social and political criticism Since the early efforts of the Equator Art Society, artists have consistently responded to local and international events and popular phenomena in their surroundings. Some of the most powerful socio-political artworks are responses to flash- State galleries points in Malaysia history and issues of human Other than the National Visual Arts Gallery Kuala rights, for example the May 13 riots, Operation Lumpur, several states in Malaysia have their own Lalang in 1987, the sacking of Anwar Ibrahim art galleries. Penang State Art Gallery (est. 1965) in 1998 and the HINDRAF rally in 2007. Key owns a collection of colonial paintings, drawings advocates of social political consciousness in and prints, as well as modern artworks by promi- Sound art artmaking include Nirmala Dutt Shanmughal- Chang Fee Ming, Year 2000, So What?, 1998–1999 nent artists, mostly from the state of Penang. Kedah ingam and Ponirin Amin, active since the 1980s, Collection of HRH Raja Nazrin Shah/Image courtesy of the artist Abdul Ghaffar Ibrahim’s public recital of his State Art Gallery was established in 1983, followed and artist/educator Wong Hoy Cheong in the 90s. poem Tak Tun in the 1970s may be considered by Sabah Art Gallery in 1984 and Kelantan State Today, younger Malaysian artists engage with a the first instance of sound art on the Malaysian Museum in 1988. Galeri Shah Alam, Selangor was wide spectrum of social issues beyond specific scene. Current experimentations combine sound established in 1991, followed by Johor Art Gallery ethnic and political concerns and have shifted to and visuals with live performances. Noted sound in 1993 and Melaka Art Gallery in 2006. These wider global concerns, reflecting a generation in artists and collaboratives include Goh Lee Kwang, galleries run solo and group exhibitions mostly search of its voice and struggling to adapt to the Kamal Sabran, Space Gambus Experiment, SiCKL by local artists and organise art competitions and challenges of the 21st century. and SoSound. art activities for the public.

24 25 Niranjan Rajah, Telinga Keling, 1999 t National Visual Arts Gallery Collection/Image courtesy of the artist u

Jalaini Abu Hassan, Bomoh Hujan, 2004 VK Collection

Towards a Mystical Reality Traditional art forms University collections The exhibition Towards a Mystical Reality: A Many artists have sought to bring together contem- Initiated in 1955, University of Malaya’s art col- documentation of jointly held experiences by Redza porary concerns and their cultural heritage through lection (then situated in Singapore) was the first Piyadasa and Sulaiman Esa stunned and outraged the use of traditional art forms. Early immigrant institutional fine art collection in the country. audiences when it opened in 1974 at Sudut Penu- or first generation Chinese artists fused traditional The collection was divided between University lis (Writer's Corner), Dewan Bahasa & Pustaka, ink and brush painting techniques and aesthetics of Malaya (UM) and the National University of Kuala Lumpur. It consisted of an arrangement of with local subjects and modern sensibilities. Artists Singapore in 1966, following Singapore’s split from found objects – a statement about celebrating the have transformed textile media and techniques, Malaysia in 1965. UM’s collection is housed in the ephemeral debris of our daily reality, and the right including batik, as well as songket and other in- University's Asian Art Museum. of the artist to claim these objects as art. It was digenous weaving forms, into modern art media. A accompanied by a 20-page manifesto stressing number of sculptors reference Malay woodcarving Universiti Sains Malaysia’s collection was born in the need to define ideas about "national identity", or metalsmithing traditions in their works, and 1972, with a core selection purchased from Frank turning towards Asian philosophical approaches many painters have also introduced elements of Sullivan. The collection now holds modern and and belief systems. TMR marked a turning point traditional culture into their works as motifs and contemporary works from Malaysia and Southeast in the direction of Malaysia’s cultural development subject matter. The call of the National Cultural Asia, recently expanding to include Malaysian through its conceptual approach and rejection of Policy for artists to address Malay and other tradi- video art, and is housed at Muzium & Galeri Western aesthetics. Controversial responses on its tional forms also played a part in inspiring artists to Tuanku Fauziah. opening night included poet Salleh Ben Joned pee- look to their roots after 1971, and led to important ing on the manifesto and Abdul Ghaffar Ibrahim exhibitions like Rupa dan Jiwa (1979), surveying the UiTM (Universiti Teknologi MARA) also holds a standing upside down against the wall. richness of our traditional cultural heritage. collection of works by its students and alumni.

26 27 Nadiah Bamadhaj, The Island, 2007 PETRONAS Art Collection/Image courtesy of the artist v

Video art w Liew Kungyu’s A Passage Through Literacy shown Hayati Mokhtar & Dain Iskandar Said, Near Interdivisible Lines at the Young Contemporaries Competition 1989 (video still), 2006 Image courtesy of the artists marked the birth of video art in Malaysia. Early experiments with video by students and lecturers at USM from the early 1990s took the form of synchronised video, robotics, live-streaming and Watercolour computer animation. Video’s ability to record, Watercolour was perhaps the first “Western” art represent, and create alternative narratives has medium to be used widely in Malaya. Portable, made it a powerful tool to address a multitude of less expensive and more accessible than oil paints, Wednesday Art Group concerns, questioning the pervasive influence of it was the preferred medium of British maritime The Wednesday Art Group was founded by Peter mass media on contemporary culture, identity, painters, civil servants and expatriate amateur art- Harris in 1952. An informal group meeting weekly memory and history. Video became ubiquitous ists in the colonial period. Watercolour paintings to for art lessons and other activities, with an em- as technology shifted from analog to digital plat- have become a major reference for early pictures phasis only on art as a means of self-expression, it forms. Works by younger generation artists tend of Malayan life and landscape, notably the works included among its members the young Patrick Ng to be more whimsical, humourous and “pop” in of Governor Frank Swettenham. Well-known Kah Onn, Syed Ahmad Jamal, Dzulkifli Buyong, sensibility compared to the hard-edged content Malaysian watercolourists include Abdullah Ariff, Cheong Laitong, and Jolly Koh, all of whom went of their predecessors. Tan Choon Ghee, and Chang Fee Ming. on to become considerable figures in the scene.

28 29 Yee I-Lann, The Kinabalu Series: Huminodun, 2007 Image courtesy of the artist Liew Kung Yu, Cadangan-Cadangan Untuk Negaraku: Konkrit Jungle, 2009 Artist's collection

Writing Art writing is mostly published in English and, Esa wrote key texts. Wong Hoy Cheong, Victor to a lesser extent, Bahasa Malaysia. The National Chin and J. Anu were art critics and reviewers Visual Arts Gallery has been an active publisher, for The Star in the 80s and 90s. Artist-academics especially of artists’ monographs to accompany include Zakaria Ali, Siti Zainon Ismail, Muliyadi retrospectives. Commercial gallery catalogues Mahamood, Zainol Shariff and Hasnul J. Saidon. provide the bulk of literature on Malaysian art. Nur Hanim Khairuddin, Chai Chang Hwang, Yap Sau Bin, and Tengku Sabri Ibrahim have played Early critics and commentators in the 1950s and an important role as writers, curators and even 60s included Michael Sullivan, Frank Sullivan, publishers in the past fifteen years. Dolores Wharton, and Dawn Zain. Marco Hsu’s A Brief History of Malayan Art (1963) is one of Literary writers, filmmakers, and theatre directors the earliest books on local art. T. K. Sabapathy have written on the visual arts, notably Krishen and Redza Piyadasa’s Modern Artists of Malaysia Jit, Amir Muhammad and Huzir Sulaiman. Ooi (1983) and T. K. Sabapathy (ed.), Vision & Idea: Re- Kok Chuen, Hasmi Hashim and Azman Ismail Looking Modern Malaysian Art (1994) are standard are noted journalists writing on art, and Laura references. Recent efforts include Encyclopedia of Fan wrote a long-running art column for The Edge Malaysia: Crafts and the Visual Arts, Vol. 14, Mu- Options. A growing number of freelance curators liyadi Mahamood’s Modern Malaysian Art: From and museum professionals contribute regularly to the Pioneering Era to the Pluralist Era, Ooi Kok local art magazines SentAp! and Senikini, as well Chuen’s A Comprehensive History of Malaysian Art as local newspapers, lifestyle magazines, art web- Roslisham Ismail a.k.a. Ise, Hi(S)tory (video still), 2008–2009 Image courtesy of the artist and an ongoing, four-volume project, Narratives sites, blogs, exhibition catalogues and institutional in Malaysian Art. publications.

The “artist-writer-curator” has figured prominently in Malaysian art writing since the 60s. Syed Ahmad Jamal, Ismail Zain, Redza Piyadasa and Sulaiman

30 31 narratives in malaysian art is a four-volume The Narratives in Malaysian Art publication project, which attempts to gather project is made possible by: knowledge and perspectives on the history, practice and infrastructure of visual art in our corporate supporter Malaysia. Khazanah Heritage and Art Initiative volume i: imagining identities considers the intellectual, philosophical and thematic our sponsors Narratives in Malaysian Art, preoccupations that have shaped art practices National Visual Arts Gallery Volume I: Imagining Identities (Eng. edition) in Malaysia since their beginnings, and how Malaysia ISBN 978 967 10011 1 0 Malaysian artists have contributed to a Bangsar Village picture of our experience, negotiating issues (Eng Lian Enterprise) Naratif Seni Rupa Malaysia, of modernity, tradition, nationhood, and Kenneth Tan Jilid 1: Menanggap Identiti (BM edition) identity. Gudang Damansara ISBN 978 967 10011 2 7 Rosemary and Steve Wong volume ii: reactions – new critical strategies Tenaga Nasional Berhad

Edited by Nur Hanim Khairuddin & Beverly Yong,

Malakoff Corporation Berhad art malaysian examines the development of artistic strategies in narratives malaysian art art malaysian

from the late 1960s to today, taking into Libra Invest Berhad in narratives with T.K. Sabapathy; essays by Anurendra malaysian art art malaysian narratives in narratives Jegadeva, Beverly Yong & Adeline Ooi, consideration changes in socio-political Helu-Trans (Singapore) Pte Ltd volume 4 volume contexts, technological developments and 30 Art Friends 3 Chai Chang Hwang, Emelia Ong, Izmer volume the emergence of new methodologies in art 2 Ahmad, Kelvin Chua, Laura Fan, Ooi Kok practice and thinking. with support from Chuen, Rahimidin Zahari, Redza Piyadasa, The Krishen Jit-ASTRO Fund Safrizal Shahir, Siti Zainon Ismail, Sulaiman volume iii: infrastructures assesses the Esa, Syed Ahmad Jamal, T.K. Sabapathy, development of the Malaysian art scene – its friends of the project Tengku Sabri Ibrahim, Yee I-Lann, history, current situation and future prospects, NN Gallery Zakaria Ali, Zainol Shariff. looking at art education, art institutions, the Galeri Chandan art market and other supporting initiatives, as Mr and Mrs Humphrey Carey well as the role and perception of artists and Mr Harry Naysmith Published by artist groups. RogueArt also volume iv: perspectives presents diverse Mr Philip Hemnell (in memory

viewpoints on key issues in reading and of Choong Hung Fah) malaysia malaysia

discussing visual art in the Malaysian context, Mr Yee Tak Hong rupa seni naratif malaysia malaysia

hoping to stimulate further discourse in this Mr and Mrs Too Hing Yeap rupa seni naratif

malaysia malaysia naratif seni rupa seni naratif growing field. Ms Khadijah Khalid jilid 4

jilid Ms Claire Barnes 3 jilid Bringing together existing and commissioned and other private donors 2 essays and papers by academics, artists, curators, writers on culture, journalists, and special thanks to Recommended Retail Price: RM 35 art workers from Malaysia and beyond, this T.K. Sabapathy Soft cover, 384 pages (Eng.), 420 pages (BM), project hopes to begin a larger exploration of Perspective Strategies with 140 colour illustrations our artistic heritage for today’s generation and Teratak Nuromar Published July 2012 for generations to come. Studio MMCMM Suryani Senja Alias Narratives in Malaysian Art Volume II: Reactions – Omar Halim Dahlan New Critical Strategies scheduled for release in late 2012. Volume III: Infrastructures & Volume IV: All profits from sales of books are re-channelled Perspectives scheduled for release in 2013. into development and promotion for the Narratives in Malaysian Art project, to fund expansion of volumes, related talks and events Available at selected book stores. and online initiatives. Further contributions are Visit www.narrativesinmalaysianart.blogspot.com welcome. To sponsor, become a Friend of the project or support us in other ways, please write for more information. to [email protected] or call +6016 2667413.

32 33 Samsudin Wahab Untitled 2010, acrylic on canvas

Mumbai Artist Residency and Art Commissioning

Khazanah Heritage and Art Initiative In 2010, khai chose to support young, The residency was an eye opener (KHAI) was conceived in 2010 with the emerging Malaysian artists through for Budin and Kwai Fei, exposing establishing a 2-month artist residency them to a more cosmopolitan art main aims of institutionalising the acquisition in Mumbai, India. Khazanah has a scene in Mumbai. The artists were of art and heritage objects in Khazanah, and corporate office in Mumbai, and the able to conduct research trips and providing strategic support to projects that city offers a vibrant contemporary art see art through new perspectives. scene. Two artists, Samsudin Wahab Sharmila arranged an art talk by inculcate an appreciation of Malaysian art aka “Budin” and Liew Kwai Fei were the Malaysian artists, which were and her rich cultural heritage amongst selected for the residency based on attended by artists and curators Khazanah staff and the Malaysian public. their applications, professional profile in India, adding more depth to the and art portfolio. young artists’ experiences in Mumbai. Finally, the residency provided them The residency provided an with valuable opportunities to work opportunity for the two artists to with a corporate collector and an work with an established artist and international curator.

curator from Mumbai, Sharmila Liew Kwai Fei Samanth who facilitated visits to art Untitled 2010, acrylic exhibitions and networking with on paper Indian artists. In addition, Khazanah commissioned works from the two artists for its corporate collection. As a result, Khazanah owns two figurative works in acrylic by Budin, and five mixed media works by Kwai Fei.

Narrative In Malaysian Art Sponsors PENDING LOGO LIST 1 Malakoff Corporation 2 Krishen Jit-ASTRO Fund Malaysian Narratives in Malaysian Art Book for Art and An A to Z Guide Children to Malaysian Art

One of the biggest gaps in Malaysia khai worked in partnership Although Malaysia has an established is creative education and quality with the Khazanah Corporate art history from pre-Merdeka days, a creative content on Malaysian art Responsibility team and pintar vibrant art scene and artists who are and heritage for children. With the Foundation who ensured that the active in Malaysia and internationally, objective of setting a precedent for books were distributed to over 200 little has been written to record the creative content, khai decided to under-privileged schools as a creative developments in Malaysian modern fund a high quality, well-written education tool. The books were also art history especially in the past 20 Malaysian Art Book for Children distributed in bookshops nationwide. years, document the current discourse in both English and Bahasa Malaysia Proceeds from the book sales will on Malaysian art, and open discus- (Buku Seni Rupa Malaysia untuk be applied to future programmes on sions on the future of Malaysian Kanak-Kanak). The book encourages art and culture for children at the We hope that this contemporary art. With filling up critical thinking and harnesses visual participating schools. project will catalyse this critical gap in mind, khai and spatial intelligence through the and encourage more is supporting the difficult task of introduction of important Malaysian The Deputy Prime Minister and knowledge creation gathering and compiling writings on artworks in varying media and Minister for Education, Tan Sri and dialogue on Malaysian art, its history, influences genres. The Malaysian artworks Muhyiddin Yassin, launched the Malaysian modern and artists who shaped and who are also used to engage children Malaysian Art Book for Children and contemporary art, are shaping the landscape. We hope on Malaysian traditions, culture, on 25 June 2011. Since then, children contributing to the that this project will catalyse and history and geography as well and the public at large have warmly nation’s rich cultural encourage more knowledge creation as universal concepts of peace, received the book. Recognising its heritage and creative and dialogue on Malaysian modern friendships and family. unique quality, the book was recently content. and contemporary art, contributing nominated to represent Malaysia to the nation’s rich cultural heritage for the prestigious international and creative content. BolognaRagazzi award for children’s books at the Bologna Children Book Fair, Italy. Fuyoh Art Bazaar Melaka Art & Performance An arts and crafts bizarre on the Festival calendar last Sunday of every month at Melaka Art & Performance (MAP) Publika's Boulevard and Art Row Festival seeks to promote Melaka facebook Fuyoh Art Bazaar to the world as a Creative Hub for innovative arts. It was first initiated 1 Malaysia Contemporary Art Georgetown Festival in 2009 and is now an annual Tourism (1MCAT) Georgetown Festival, inaugurated event inviting local and foreign Protect our fireflies. Organised by the Malaysian in 2011, is an annual arts and artists to respond to Melaka's Tourism Ministry, MCAT is held culture event held across Penang's history and tradition. Nature’s priceless treasure. annually in the months of July capital, bringing together local and www.melakafestival.com to September with art activities international talent to celebrate its held in shopping complexes, art rich local heritage. Rantai Art seminars and workshops at various www.georgetownfestival.com Held annually at the Urban Village art institutions in the country since 2006, this event centers in a www.1mcat.com.my KL International Photo Awards main theme each year showcasing See Opportunities. artworks, installations, short films, Art Expo Malaysia at MATRADE www.klphotoawards.com music and art performances at the Exhibition & Convention Centre house in Bangsar. Started in 2007, this annual art fair Malaysian Emerging www.rantai-art.blogspot.com attracts a wide range of local and Artist Award international gallery participants. Another HOM initiative, this Rimbun Dahan Residency www.artexpomalaysia.com annual award culminates in Exhibition an exhibition of shortlisted The yearly Malaysian Australian Art for Grabs entries, and also individual Visual Artists’ Residency at Annexe Gallery solo exhibitions for the winners. culminates in an exhibition of An affordable art bazaar See Opportunities. works completed during the bringing together young artists’ matahati-meaa.blogspot.com residency. See Opportunities. works, art merchandise and www.rimbundahan.org publications – everything is under Malaysian Modern and RM 100, every three months. Contemporary Art Collection Young Contemporaries at the www.annexegallery.com Auction National Visual Arts Gallery Holding its first auction in 2010, Initiated by then National Art Art Triangle Henry Butcher Art Auction plans Gallery director Ismail Zain in House of Matahati (HOM) to hold two sales of pioneer and 1974, the Young Contemporaries brings together artists from contemporary Malaysian art takes place every two years, an different countries in Southeast each year. award intending to showcase Asia in an exhibition every two www.hbart.com.my young artists at the cutting edge of years, to encourage a network of Malaysian art. See Opportunities. exchange. Half of the benefits from www.artgallery.gov.my/web/guest/ exhibition sales are channeled to bakatmuda_sezaman the MATAHATI Art Fund (MAF). matahati-artriangle.blogspot.com

A community project by The firefly is symbolic of TNB’s commitment to our customers and the country. TNB supports the 38 39 conservation of the Lampyridae firefly colony found along riverbanks of Kampung Kuantan, Kuala Selangor. The area turns magical as the sun sets and the sky is enveloped in darkness. The fireflies will then flash their lights in unison, creating a spectacular light show only nature could provide.

Balai Seni Lukis Melaka Galeri Shah Alam Jalan Laksamana Persiaran Tasik, Tasik Barat spaces Bandar Hilir, Melaka 40000 Shah Alam —public t 06 2841 934 t 03 5510 5344 www.melakahariini.com.my www.galerisa.com open Wed – Sun 9am – 5.30pm open Daily 8.30am – 5.30pm, Alliance Française closed public holidays 15 Lorong Gurney Bank Negara Malaysia Museum 54100 Kuala Lumpur and Art Gallery Islamic Art Museum t 03 2694 7880 Sasana Kijang, 2 Jalan Dato’ Onn Jalan Lembah Perdana kl.alliancefrancaise.org.my 50480 Kuala Lumpur 50480 Kuala Lumpur open Tues – Sat 10am – 6pm t 03 9179 2888 t 03 2274 2020 www.museum.bnm.gov.my www.iamm.org.my The Annexe Gallery open Daily 10am – 6pm open Daily 10am – 6pm 1st & 2nd Floor, Central Market admission Adults RM 12, Students Annexe Jalan Hang Kasturi Elken Oriental Arts (with ID) RM 6, Senior Citizens 50470 Kuala Lumpur & Cultural Centre (Malaysian 55 and over) RM 6, t 03 2070 1137 10 & 12, 2nd & 3rd Floor Children (6 and under) Free www.annexegallery.com Pusat Elken, Jalan 1/137C open Daily 11am – 8pm Batu 5, Jalan Kelang Lama Johor Art Gallery 58000 Kuala Lumpur 144 Jalan Petri Artist Colony at Jalan Conlay t 03 7785 6363 Johor Bahru Craft Centre www.efoacc.org t 07 2263 266 Kompleks Kraf Kuala Lumpur open Tues – Sun 11am – 8pm, open Mon – Sun 9am – 4.30pm, Seksyen 63, Jalan Conlay closed public holidays closed Fri 50450 Kuala Lumpur t 03 2162 7459 Galeri MIA Laman Asean www.kraftangan.gov.my Malaysian Institute Of Art (Asean Sculpture Square) open Daily 9am – 8pm 294 – 299 Jalan Bandar 11 Perdana Lake Garden Taman Melawati (Lake Gardens), Kuala Lumpur Badan Warisan Malaysia 53100 Kuala Lumpur open Daily 2 Jalan Stonor t 603 4108 8100 50450 Kuala Lumpur www.mia.edu.my/miagallery MAP @ Publika t 03 2144 9273 Level G2-01, Block A5 Dutamas www.badanwarisan.org.my Galeri Petronas 1 Jalan Dutamas 1, Off Jalan Duta open Mon – Sat 10am – 5.30pm, Lot 341–343, Level 3 50480 Kuala Lumpur closed public holidays Suria KLCC t 03 6207 9732 50088 Kuala Lumpur www.mapkl.org Balai Seni Visual Negara t 03 2051 7770 open Mon – Sat 11am – 6 pm (National Visual Arts Gallery) www.galeripetronas.com.my 2, Jalan Temerloh open Tues – Sun 10am – 8pm Museum of Asian Art Off Jalan Tun Razak University of Malaya 53200 Kuala Lumpur Galeri Seni Tuanku Nur Zahirah 50603 Kuala Lumpur t 03 4025 4990 School of Art & Design t 03 7967 3805 www.artgallery.gov.my Universiti Teknologi MARA www.museum.um.edu.my open Daily 10am – 6pm Jalan Kreatif open Mon to Thur 9am – 40450 Shah Alam 12.45pm/2pm – 5pm, t 03 5521 1729 Fri 9am – 12.45pm/2.45pm – facebook GESTURZ 5pm, closed public holidays open Mon – Fri 8.30am – 5.30am 42 43 Muzium & Galeri Tuanku Fauziah Penang State Museum Soka Gakkai Malaysia (SGM) Universiti Sains Malaysia & Art Gallery 243 Jalan Bukit Bintang 11800 USM Penang Paras Bawah 55100 Kuala Lumpur t 04 6533 888 ext 3261 Dewan Sri Pinang t 03 2141 2003 www.mgtf.usm.my Lebuh Light, 10200 Penang www.sgm.org.my/en open Mon – Thur 10am – 5pm, t 04 2613 144 Fri 10am – 12pm/1pm – 5pm, www.penangmuseum.gov.my Tapak Sat 10am – 1pm, closed 1st & 3rd open Mon – Fri 8am – 5pm 1 Jalan Tanjong 8/28 Sunday of the month Section 8 Sabah Art Gallery 40000 Shah Alam Muzium Seni Sarawak Jalan Muzium t 013 348 9565 Jalan Tun Abang Haji Openg 88300 Kota Kinabalu e [email protected] 93566 Kuching t 088 268 798 open Mon – Sat, 10am – 6pm t 082 244 232 open Mon – Sun 9am – 5pm, open Daily 9am – 4.30pm closed Fri Tenaga Nasional Berhad Gallery admission Tourists RM 5, Jalan Timur Pahang State Gallery Locals RM 2, Students 46000 Petaling Jaya, Selangor 579 Jalan Sri Kemunting (in school uniform) Free t 03 2296 5566 ext 6364 25100 Kuantan www.tnb.com.my/galeritenaga t 09 517 8855 open Mon – Fri 10am – 3pm balaisenilukispahang.blogspot.com

CHAN KOK HOOI Archana Gallery Art Row @ Publika spaces F1-1 Taman Tunku Publika Shopping Gallery Careless Whisper —private 2009 Jalan Langgak Tunku, Bukit Tunku 1 Jalan Dutamas 122cm x 153cm 50480 Kuala Lumpur Solaris Dutamas Acrylic on Jute t 012 3009 788 / 03 2691 5833 50480 Kuala Lumpur 12 (Art Space) www.archanagallery.com t 03 6207 9732 12 Jalan Gombak www.facebook.com/artrowpublika Off Jalan Pahang, Setapak Art Case Galleries Sdn Bhd 53000 Kuala Lumpur Lot 7, Level 4, Great Eastern Mall Art Salon @ Seni – Seni Gallery t 03 4023 4128 303 Jalan Ampang Lot 55350 Changkat Duta Kiara www.12as12.com 50450 Kuala Lumpur Off Jalan Duta Kiara t 03 4257 4007 Mont Kiara A2 50480 Kuala Lumpur 27 Bangkok Lane The Art Gallery (Penang) www.theartgallerypg.com 10250 Penang 368-4-8 Bellisa Row t 04 227 4985 Jalan Burma, 10350 Penang Artfolio Gallery www.a2artgallery.com www.theartgallerypg.com 21G Jalan Jelatek 2 Pusat Perniagaan Jelatek Alpha Utara Gallery Art House Gallery 54200 Kuala Lumpur

53A & 56 Jalan Sulaiman 1 83 China Street 20-1 Jalan 24/70A t 03 4252 1339 Taman Ampang Hilir 10200 Penang Desa Sri Hartamas www.artfolio.com.my 68000 Ampang, t 04 2626 840 50480 Kuala Lumpur Selangor Darul Ehsan www.alpha-utara.com t 03 2300 1343 44 45 T 03 4270 6588 F 03 4270 3357 www.arthousegallery.biz www.nngallery.com.my ArtSeni Gallery Galeri Seni Mutiara Richard Koh Fine Art Lot P11, Level 4 118 Lebuh Armenian Lot No. 2F-3, Level 2 Lot 10 Shopping Centre 10200 Penang Bangsar Village II 50 Jalan Sultan Ismail t 04 262 0167 Jalan Telawi 1, Bangsar Baru 50250 Kuala Lumpur www.galerisenimutiara.com 59100 Kuala Lumpur t 03 2144 0782 t 03 2283 3677 e [email protected] NN Gallery www.rkfineart.com artsenigallery.blogspot.com 53A & 56 Jalan Sulaiman 1 Taman Ampang Hilir Segaris Art Centre AWAS. 68000 Ampang, Selangor Lot No. 8, Level G4 3e Lebuhraya Babington t 03 4270 6588 Publika Shopping Gallery Georgetown www.nngallery.com.my 1 Jalan Dutamas, Solaris Dutamas 10450 Penang 50480 Kuala Lumpur t 016 433 0552 Pace Gallery t 03 6243 1108 www.awasart.com 64 Jalan Kemajuan e [email protected] Petaling Jaya, 46200 Selangor Galeri Chandan t 03 7954 6069 Shalini Ganendra Fine Art Lot 24 & 25 (G4) www.pacegallery.net 8 Lorong 16/7B Publika Shopping Gallery 46350 Petaling Jaya, Selangor Jalan Dutamas 1 Pelita Hati Gallery of Art t 03 7960 4740 50480 Kuala Lumpur 1st Floor, No.8 Jalan Abdullah www.shaliniganendra.com t 03 6201 5369 Off Jalan Bangsar f 03 6201 8360 59000 Kuala Lumpur Studio at Straits www.galerichandan.com t 03 2092 3380 / 2282 9206 86 Armenian Street www.pelitahati.com.my 10200 Penang Core Design Gallery t 04 262 7299 87 Jalan SS15/2A Subang Jaya Penang Malays Art Gallery www.straitscollection.com.my/ 47500 Selangor 167 Lebuh Chulia, 10200 Penang Studio-at-Straits.htm t 03 5633 4348 t 04 262 2860 www.coredesigngallery.com m 016 416 0859 Galerie Taksu 17 Jalan Pawang Galeri Dunia Lukis Pipal Fine Art 54000 Kuala Lumpur 19 Jalan Pudu Ulu S-215, 2nd Floor, The Gardens Mall t 03 4251 4396 (Off Jalan Cheras) Mid Valley City www.taksu.com 56100 Kuala Lumpur Lingkaran Syed Putra t 03 9281 6868 59200 Kuala Lumpur Valentine Willie Fine Art www.artmalaysia.com.my t 019 7612 866 / 016 2207 828 1st Floor, 17 Jalan Telawi 3 www.pipalfineart.com Bangsar Baru KL Lifestyle Art Space 59100 Kuala Lumpur 150 Jalan Maarof Purple Houz t 03 2284 2348 59000 Kuala Lumpur 10 Jalan 5/31 www.vwfa.net t 019 3337668 46000 Petaling Jaya, Selangor www.kl-lifestyle.com.my/artspace t 03 7960 8005 Wei-Ling Gallery purplehouz.blogspot.com 8 Jalan Scott, Brickfields Metro Fine Art 50470 Kuala Lumpur Ground Floor Legend Hotel 100 RA Fine Arts t 03 2260 1106 Jalan Putra, 50350 Kuala Lumpur Unit A4-1-3A, Blk A4 www.weiling-gallery.com t 03 4042 2224 1 Jalan Dutamas, Solaris Dutamas www.metro3gallery.com 50480 Kuala Lumpur t 03 6211 1061 46 www.rafinearts.blogspot.com 47 Rupé Y2S Basheer Graphic Books A06 & A07, 3rd Floor Block A No. 9A, Jalan 5/62A resources Level 3, Bukit Bintang Plaza spaces Pusat Perdagangan Bandar Menjalara resources Kuala Lumpur —alternative —print —libraries & Taman Dagang 52200 Kepong, Kuala Lumpur book shops t 03 2713 2236 Jalan Dagang Besar t 03 6273 2853 www.basheergraphic.com 68000 Ampang www.y2sart.com.my 67 Tempinis Satu t 03 4270 7720 Art Malaysia Galeri Petronas Art Resource Borders 67 Jalan Tempinis Satu www.rupe.com.my www.artmalaysia.com.my/ Centre & Galeri Shop Level 1, Berjaya Times Square Lucky Garden, Bangsar By appointment only magazine Level 3, Suria klcc Kuala Lumpur 59100 Kuala Lumpur Kuala Lumpur t 03 2141 0288 t 03 2282 4611 Rumah Pena Malaysian Art Gallery Guide t 03 2051 7770 No. 734, Jalan Lapangan Terbang malaysianartgalleryguide.com www.galeripetronas.com.my Borders HOM (House of Matahati) Lama,Kuala Lumpur open Tues – Fri 10am – 6pm. Ground Floor 6A Jalan Cempaka 16 Kuala Lumpur 50470 Sentap! Contemporary Visual Weekends & holidays ,10am – 8pm The Curve Taman Cempaka sol-jah.blogspot.com Arts Magazine Petaling Jaya 68000 Ampang, Selangor sentapmalaysia.blogspot.com National Visual Arts Gallery t 03 7725 9303 t 03 9285 6004 Sekeping Tenggiri Resource Centre & Gallery Shop houseofmatahati.blogspot.com 46 Jalan Tenggiri Senikini 2 Jalan Temerloh Borders Taman Weng Lock, Bangsar facebook senikini Off Jalan Tun Razak Level 3, The Gardens Mall Instant Cafe House of Art & 59100 Kuala Lumpur 53200 Kuala Lumpur Kuala Lumpur Ideas (CHAI) t 017 2075 977 resources t 03 2687 1700 t 03 2287 4530 6 Jalan 6/3, Section 6 www.tenggiri.com —online f 03 2694 2490 46000 Petaling Jaya, Selangor w 58.27.16.8/vlibpro t 03 7784 8792 Small Talk with the Moon open Mon – Fri 9am – 5pm www.instantcafetheatre.com 5, Jalan 12/15 www.arts.com.my By appointment only. 46200 Petaling Jaya, Selangor www.art-her.com t 03 7955 0800 www.artpoint-penang.com Lost Generation Space www.smalltalkwiththemoon.com www.artgrup.org 54, Jalan Taman Seputeh 3 artist.borneocolors.com 58000 Kuala Lumpur SicKL (Studio in Cheras KL) artjihad.blogspot.com t 019 6838 397 75, Tingkat 3 balaikoleksi.blogspot.com lostgenerationspace.blogspot.com Amber Business Plaza balaiconservation.blogspot.com Jalan Jelawat 1, Cheras www.kakiseni.com PatiSatu 56100 Kuala Lumpur www.klue.com.my 1 Lorong Lautan Samudera www.emacm.blogspot.com malaysian-artist.blogspot.com 9/4 Bandar Puncak Alam Sutra Gallery www.malaysian-watercolours.com 42300 Selangor 12, Persiaran Titiwangsa 3 mappingklartspace.blogspot.com t 03 3393 5760 53200 Kuala Lumpur mgtf.usm.my patisatustudio.blogspot.com t 03 4021 1092 nationalartgallery.blogspot.com www.sutrafoundation.org.my openartforum.wordpress.com Rajawali Art Studio pelukis-malaysia.blogspot.com 51 Lorong 31 Urban Village www.penang-artists.com Taman Cenderawasih 25, Jalan Abdullah sendawamalaysia.bogspot.com 25200 Kuantan, Pahang Off Jalan Bangsar www.senivisual.com t 013 934 2121 59000 Kuala Lumpur senivisual2.blogspot.com rajawaliartgallery.blogspot.com t 03 2201 0306 www.timeout-kl.com www.urbanvillage.my whats-art.blogspot.com

48 49 DistroBuku Muzium & Galeri Tuanku Universiti Teknologi MARA Kiosk No.2, Teres Eko Niaga Fauziah Resource Room Perpustakaan Tun Abdul Razak Universiti Kebangsaan Malaysia Universiti Sains Malaysia, Penang Universiti Teknologi MARA (UKM), Bangi, Selangor t 04 6533 888 ext 3261 Shah Alam t 017 2793 252 w mgtf.usm.my t 03 5544 3718 / 3716 / 3763 www.distrobuku.com open Mon – Thur 10am – 5pm, www.library.uitm.edu.my Fri 10am – 12pm/1pm – 5pm, open Mon – Fri 8.30am – 9.45pm, Kinokuniya Book Store Sat 10am – 1pm, closed 1st & 3rd Weekends 8.30am – 4.45pm, Level 4, Suria KLCC Sunday of the month closed public holidays Kuala Lumpur t 03 2164 8133 University of Malaya www.kinokuniya.com Main Library Lembah Pantai, Kuala Lumpur resources MPH Book Stores t 03 7956 7800 —others Ground Floor, Mid Valley www.umlib.um.edu.my Megamall, Kuala Lumpur open Mon – Fri 8am – 10pm, t 03 2938 3800 Weekends 9am – 4pm Ministry of Tourism Malaysia www.mphonline.com Menara Dato’ Onn Putra World Trade Centre Rogue-ish Books 45 Jalan Tun Ismail t 016 2667 413 50480 Kuala Lumpur www.rogueish.asia Wilayah Persekutuan t 03 2693 7111 www.motour.gov.my

Investors are advised to read and understand the contents of the Master Prospectus dated 18 March 2012, before investing. The Master Prospectus has been registered with the Securities Commission, Malaysia, which takes no responsibility for its contents. Copies of the Master Prospectus can be obtained from the head o ce of Libra Invest Berhad (formerly known as Avenue Invest Berhad) or its centers. Units will only be issued on receipt of an application form referred to in and accompanying the Master Prospectus. The price of units and distribution payable, if any, may go down as well as up. Investors should consider the fees, charges, and risk factors (such as market risk, country risk, currency risk, sectorial risk, derivatives risk, interest rate risk, credit/default risk, specic risk, reclassication of Shariah status risk, counterparty risk, and liquidity risk) involved. Past performance of a fund is no indication of future performance.

50 51 Seven Stars Packaging 40 Jalan Kovil Hilir services services Off Jalan Ipoh —logistics —conservation 55100 Kuala Lumpur & restoration t 03 4042 1173

Agility Logistics Sdn Bhd Intermovers & Storage Bettina Ebert 2, Block B, Jalan Bumbung U8/90 130-1 Jalan SBC 3 t 017 3889 620 Seksyen U8, Perindustrian Bukit Taman Sri Batu Caves e [email protected] Jelutong 40150 Shah Alam Batu Caves, 68100 Selangor t 03 7843 9719 t 03 6187 7777 Islamic Art Museum www.intermovers.com Tuan Haji Mohd Razali Ben Art Trans Moves t 03 2274 2020 t 012 2833 214 (Ben Oh) IP Logistics (M) Sdn Bhd 41-1 Lorong Permai 1A/KS9 Lisa Stoddart Pioneer Movers Taman Pendamaran Permai t 012 9264 957 34 Jalan Sibu 16 42000 Port Klang, Selangor e [email protected] Taman Wahyu t 03 3168 3998 Batu 6, Jalan Ipoh 68100 Kuala Lumpur t 03 6250 5261 Wai Khuan Enterprise 43 Kampung Batu services Jalan Ipoh Batu 5 services —framing 51200 Kuala Lumpur —others t 012 3665 088 (Dennis Chan)

JinJit WL Framing & Art Photomedia 18-1 Lorong Az-Zaharah 3 & 5 Jalan Chantek 5/13 44 Jalan SS 2/67 A10/A, Seksyen 10 Off Jalan Gasing 47300 Petaling Jaya, Selangor 42300 Bandar Puncak Alam 46000 Petaling Jaya, Selangor t 03 7875 5227 Selangor t 03 7958 1848 t 012 2646 641 wlframeandart.blogspot.com RogueArt (Consultancy) t 016 2667 413 Pictureframe Inc WS Art & Frames Centre www.rogueart.asia C-1-13, Mezzanine Floor 34 Jalan Dang Wangi Blk B, Plaza Damas, Sri Hartamas 57100 Kuala Lumpur Snap-ni Snap-tu (Photography) 50480 Kuala Lumpur t 03 2698 0132 t 013 3699 133 t 019 2192 195 (David) e [email protected] WTW Art Enterprise PinkGuy A003A Jalan PJU 10/3D Teratak Nuromar (Editorial/ A-G-02, Marc Services Residence Damansara Damai Translation Services) Jalan Pinang, 50450 Kuala Lumpur 47830 Petaling Jaya, Selangor e [email protected] t 03 2166 2166 t 012 2877 485 (Wong) www.pinkguy.com.my

Studio MMCMM designs visual identities and logos, corporate literature, books and environmental graphics. Our services cover concept through to production.

For more information please email [email protected] 54

Gudang The Edge PressAd-12122011-FA_outline.indd 1 12/12/11 5:41 PM Lost Generation Art Space Artist Starhill Gallery Visual Arts Award Residency Programme www.starhillgallery.com/vaa opportunities e [email protected] Initiated in conjunction lostgenerationspace.blogspot.com with 1MCAT (1 Malaysian At the artists-run-space in a quiet Contemporary Art Trail) in 2010, enclave in Kuala Lumpur. open to artists below the age of Artist In Residency Program For local and visiting artists. 35 with limited exposure. with The Asian Art Museum, University of Malaya Malaysian Emerging Artist Universiti Sains Malaysia (USM) www.um.edu.my/museum (MEA) Award Artist-In-Residency Programme A newly revived grant. www.meaaward.com artistsresidencyusm.wordpress.com Annual award open to all Creative fellow attached to the Geran Industri Kreatif Malaysian visual artists below School of The Arts’ Fine Art www.kpkk.gov.my> 35 years (not for students). Department. The program requires perkhidmatan>geran industri the artists to interact with students kreatif Matahati Art Fund through workshops and tutorials. Special loan programme from e [email protected] the Ministry of Information, An initiative of the Matahati Vermont Studio Center Communication and Culture for artist collective, MAF offers aid Residency: Freeman Asian Malaysian citizens, corporations to artists in need of financial Artist Fellowships and organisations working in assistance and encouragement, www.vermontstudiocenter.org/ Multimedia, Arts and Culture. as well as supporting art projects. asian-fellowships One artist from Malaysia is Japan Foundation Annual Matahati Art Residency Program selected each year for this Grant Program e [email protected] Fellowship which funds an 8-week e [email protected] houseofmatahati.blogspot.com residency at vsc for outstanding www.jfkl.org.my At the House of Matahati, mid-career visual artists. For Japan-related intellectual for local emerging artists, & exchange projects sage Residency, a Southeast The Young Contemporaries/ Asian Group Exchange Residency Bakat Muda Sezaman KL International Photo Awards bringing together artists from www.artgallery.gov.my/web/guest/ www.klphotoawards.com different countries in the region. anugerah_bakat_sezaman A yearly competition showcasing A biennial competition held by new and emerging photographers Rimbun Dahan Malaysia- the National Art Gallery, open working in photographic portraits Australia Visual Artist Residency to Malaysian artists aged 20 to from many countries. www.rimbundahan.org 40. Past winners have gained A year-long, fully funded recognition as leading artists The Krishen Jit ASTRO Fund residency outside Kuala Lumpur of their generation, and the awards e [email protected] for Malaysian and Australian remain an important crucible for www.fiveartscentre.org artists. Southeast Asian artists the development of contemporary The fund, managed by Five Arts may also apply for shorter 1 to 3 local art practice. Centre and astro, gives annual month residencies. grants to encourage and support creative work in Malaysia. Open to all arts practitioners in Malaysia.

56 57 School of Arts Universiti Sains Malaysia study 11800 USM, Penang study —public t 04 653 3888 ext 3621 / 3415 —private www.usm.my Offers various undergraduate Cultural Centre programmes (Bachelor of Dasein Academy of Art University of Malaya Arts and Bachelor of Fine No 3A-12-G Level 1, Block E Arts) including Fine Art, and Jalan Wangsa Delima 10 Perdanasiswa Complex postgraduated programmes in Desa Wangsa University of Malaya related research studies, as well Sec 5 Wangsa Maju 50603 Kuala Lumpur as a Masters programme in 53300 Kuala Lumpur t 03 7967 3454 / 3288 Visual Art & Design. t 03 4142 2990 cultural.um.edu.my e [email protected] Offers a Masters programme Faculty of Art & Design www.dasein.edu.my in Visual Arts. Universiti Teknologi MARA Offers certificate and diploma Jalan Kreatif programmes in Fine Art, School of Arts 40450 Shah Alam Illustration, Design, Mass Universiti Malaysia Sabah t 03 5544 4001/4073/4004 Communications and Digital Locked Bag 2073 ad.uitm.edu.my Media. 88999 Kota Kinabalu Offers diploma, undergraduate t 088 320 342 and postgraduate degree Equator Academy of Art e [email protected] programmes in Art & Design, Amoy Lane Campus Wisma www.ums.edu.my including Fine Art, for Equator 8a Lorong Amoy 10050 Offers a Bachelor of Arts in bumiputera students. Penang; Leith Street Campus Creative Arts Studies and Bachelor 7 Leith Street, 10200 Penang in Visual Art Technology. Faculty of Art & Design, t 04 2615 116 Universiti Teknologi MARA e [email protected] Faculty of Applied Perak www.equator-academy.edu.my & Creative Arts Kampus Seri Iskandar Offers various certificate and Universiti Malaysia Sarawak 32610 Bandar Baru diploma programmes in art and 94300 Kota Samarahan, Sarawak Seri Iskandar Perak design, including Fine Art. t 082 581 334 / 337 perak.uitm.edu.my www.faca.unimas.my Offers diploma programmes in Art School of Design Its Department of Visual Arts & Design, including Fine Art for KBU International College and Technology offers a Fine Arts bumiputera students. 1 Persiaran Bukit Utama programme designed to be multi- Bandar Utama disciplinary and contemporary, 47800 Petaling Jaya, Selangor including, photography and t 03 7727 3200 electronic art as well as more e [email protected] conventional media. Its www.kbu.edu.my Department of Liberal Arts carries Offers a Foundation programme in an Arts Management programme. Art & Design, and various diploma and degree courses in architecture and design.

59 Limkokwing University of The One Academy School of Creative Arts Creative Technology 28 Jalan PJS 11/28A and Communications Inovasi 1-1, Jalan Teknokrat 1/1 Bandar Sunway, Sunway University 63000 Cyberjaya, Selangor 46150 Petaling Jaya, Selangor 5 Jalan Universiti t 03 8317 8888 t 03 5637 5510 Bandar Sunway e [email protected] www.theoneacademy.edu.my 46150 Petaling Jaya, Selangor www.limkokwing.net/malaysia Offers various diploma and degree t 03 7491 8622 Offers a plethora of degree courses programmes in Design, with a e [email protected] in Design. focus on new media. www.sunway.edu.my/scac Offers diploma programmes Malaysian Institute of Art (MIA) PJ College of Art & Design in Fine Art and Design. 294-299 Jalan Bandar 11 21 Jalan Barat Taman Melawati 46200 Petaling Jaya, Selangor Faculty of Creative Industries 53100 Kuala Lumpur t 03 7957 2000 Universiti Tunku Abdul Rahman t 03 4108 8100 www.pjcad.edu.my 13 Jalan 13/6 e [email protected] Offers Diploma courses in 46200 Petaling Jaya, Selangor www.mia.edu.my Interactive Multimedia and t 03 7958 2628 ext 8563 Offers foundation studies and Animation Design, Design e [email protected] diploma courses in Fine Art, Management and Innovation, www.utar.edu.my Illustration and Graphic Design. and other diploma courses in Offers degree programmes in design disciplines. Game Design, and Graphic Faculty of Creative Multimedia Design & Multimedia. Multimedia University School of Design, Saito College Cyberjaya Campus 18 Jalan Tengah, Section 52 Jalan Multimedia, PJ New Town Centre 63100 Cyberjaya Selangor 46200 Petaling Jaya, Selangor t 03 8312 5570 / 5000 t 03 7954 7200 w www.mmu.edu.my e [email protected] Offers undergraduate and www.saito.edu.my postgraduate degree programmes Offers certificates and diplomas in Digital Media, Film and in Design. Animation, Media Innovation, Interface Design, Virtual Reality. Faculty of Art & Design Universiti Selangor School of Media & Creative Arts Shah Alam Campus New Era College Jalan Zirkon A 7/A Lot 5, Seksyen 10, Jalan Bukit Seksyen 7, 40000 Shah Alam 43000 Kajang, Selangor t 03 5522 3400 t 03 8739 2770 www.unisel.edu.my e [email protected] Offers diploma programmes in www.newera.edu.my Photographic Technology and Offers Diploma courses in Visual degree for Digital Graphic Design. Art, and Art & Design, among other degree and diploma courses in design disciplines.

60 That Was The Year (2007)

Kontak! Persatuan Pelukis-Pelukis Klang kontaklab.wordpress.com (Klang Artists Society) people t 03 3259 2910 Labuan Visual Art Association Art Zone, Wisma Shoreservices Persatuan Seni Lukis dan Seni Jalan Kemajuan, 87008 Labuan Reka Pahang Angkatan Pelukis Darul Ridzuan senika-senika.blogspot.com (Perak Art Society) Langkawi Artist Visual Art pelukisperak.blogspot.com Association (LAVAA) Rumah Air Panas facebook Langkawi Artist e [email protected] telling alternative malaysian stories ArtGeng Johor Visual Art Association rumahairpanas.wordpress.com artgeng.blogspot.com e [email protected] Sarawak Artists Society Artist Colony @ Conlay Matahati (Artist Collective) www1.sarawak.com.my/org/sas artistcolony@ c/o House of Matahati (HOM) jalanconlaycraftcentre t 03 9285 6004 Sasaran Arts Association www.kraftangan.gov.my houseofmatahati.blogspot.com t 012 2973 016 e [email protected] ArtGroup International Ministry of Information www. sasaranarts.org www.artgrup.org Communication and Culture Kompleks Sultan Abdul Samad SATU Arts-Ed Jalan Raja 50610, Kuala Lumpur t 017 2954 365/ Arts Education Programs t 03 2612 7600 014 6458 835 (Satu) for Young People www.kpkk.gov.my e [email protected] www.arts-ed-penang.org facebook Satu Gerak Ombak-ombak ArtStudio kamibergeraksatu.wordpress.com Buka Kolektif t 012 4045 733 bukakolektif.blogspot.com ombakombak.blogspot.com Sebiji Padi Art Group t 012 4855 358 (Buden) Cracko Art Group ParkingProject e [email protected] artcracko.blogspot.com facebook Ise Parkingproject facebook Sebiji Padi Art Group

Chinese Ink Painting Society Penang Arts Council Space Gambus Experiment Kuala Lumpur 5th Floor Wisma Penang Garden kamalsabran.blogspot.com t 03 9223 9024 42 Jalan Sultan Ahmad Shah Road e [email protected] George Town, Penang Switch On t 04 2268 477 switchonndon.blogspot.com FINDARS findars.blogspot.com Penang Art Society TLG (They Art Group) www.penangartsociety.com t 016 2341 362 Five Arts Centre blog.artthey.com t 03 7725 4858 Penang Oil Painting Society www.fiveartscentre.org facebook Penang Oil Painting Watercolour Association Society Vice Chairman Kelvin Chuah GAPS (Gabungan Persatuan 012 3937 339, 03 7843 0339/ Pelukis SeMalaysia) Penang Water Colour Society Secretary Zela 017 3100 381/ t 06 5144 021 www.pwcs.org.my Treasurer Yeoh Eng Peng gabunganpelukis.blogspot.com 012 3674 037

62 63

www.fiveartscentre.org

FAC A5 ad 2011_280111.indd 1 2/1/11 12:32:40 PM Narratives in Malaysian Art is a publication project in progress, which attempts to gather knowledge and perspectives on the history, practice and infrastructure of visual art in Malaysia. Narratives in Malaysian Art will consist of four volumes, published in English and Bahasa Malaysia: Volume I: Imagining Identities, Volume II: Reactions – New Critical Strategies, Volume III: Infrastructures and Volume IV: Perspectives.

www.narrativesinmalaysianart.blogspot.com

An A-Z Guide to Malaysian Art can be found online at: www.narrativesinmalaysianart.blogspot.com/atozguide

cover Ahmad Shukri Mohamed, Pearl of the East, 1999 (detail) PETRONAS Art Collection