Malaysian & Southeast Asian
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Jalaini Abu Hassan
MALAYSIAN ART SUNDAY 19 JUNE 2011 LOT 95 (DETAIL) | ABDUL LATIFF MOHIDIN, PAGO-PAGO FORMS, 1968 LOT 47 | CHANG FEE MING, REZEKI, 1996 AUCTION DAY 19 June 2011, Sunday 1pm Registration & Brunch starts 11am Artwork Inspection (by appointment) starts 10am White Box, MAP @ Publika Level G2-01, Block A5 Dutamas, Jalan Dutamas 1 50480 Kuala Lumpur, Malaysia KUALA LUMPUR FULL VIEWING 28 May - 18 June 2011 Mondays - Sundays 11am - 7pm White Box, MAP @ Publika Level G2-01, Block A5 Dutamas, Jalan Dutamas 1 50480 Kuala Lumpur, Malaysia SINGAPORE PREVIEW 19 - 22 May 2011 Thursday - Sunday 11am - 8pm The Luxe Art Museum 6 Handy Rd #02-01 Singapore 229234 PENANG PREVIEW 12 - 15 May 2011 Thursday - Sunday 11am - 7pm a2 Gallery 27 Bangkok Lane 10250 Penang, Malaysia 4 5 LOT 104 (DETAIL) | DATUK SYED AHMAD JAMAL, GUNUNG LEDANG SERIES (CHERRYVALE), 1985 CONTACT INFORMATION Auction Enquires Bidder Registration & Payment & & Condition Reports Telephone / Absentee Bid Collection / Delivery Linda Leoni Chris Tay Jessica Ho +6012 227 5325 +6016 298 0852 +6012 977 1022 [email protected] [email protected] [email protected] HBart Infoline +603 2691 3089 [email protected] IMPORTANT NOTICE All lots are sold subject to our Conditions of Business printed at the back of this catalogue which apply to both buyers and sellers. Prospective buyers should also read our Buying at HBArt guide. Catalogue descriptions do not state any imperfections. However, condition reports can be obtained by contacting the personnel listed above. This service is provided for the convenience of prospective buyers and cannot be taken as the sole and absolute representation of the actual condition of the work. -
Brother Joseph Mcnally P
1 Design Education in Asia 2000- 2010 Exploring the impact of institutional ‘twinning’ on graphic design education in Singapore Simon Richards Z3437992 2 3 Although Singapore recently celebrated 50 years of graphic design, relatively little documentation exists about the history of graphic design in the island state. This research explores Singaporean design education institutes that adopted ‘twinning’ strategies with international design schools over the last 20 years and compares them with institutions that have retained a more individual and local profile. Seeking to explore this little-studied field, the research contributes to an emergent conversation about Singapore’s design history and how it has influenced the current state of the design industry in Singapore. The research documents and describes the growth resulting from a decade of investment in the creative fields in Singapore. It also establishes a pattern articulated via interviews and applied research involving local designers and design educators who were invited to take part in the research. The content of the interviews demonstrates strong views that reflect the growing importance of creativity and design in the local society. In considering the deliberate practice of Singaporean graphic design schools adopting twinning strategies with western universities, the research posits questions about whether Singapore is now able to confirm that such relationships have been beneficial as viable long-term strategies for the future of the local design industry. If so, the ramifications may have a significant impact not only in Singapore but also in major new education markets throughout Asia, such as the well-supported creative sectors within China and India. -
The Artistic Adventure of Two Bali Trips, 1952 and 2001
Wang Ruobing The Quest for a Regional Culture: The Artistic Adventure of Two Bali Trips, 1952 and 2001 Left to right: Liu Kang, Cheong Soo Pieng, Luo Ming, Ni Pollok, Adrien-Jean La Mayeur, Chen Chong Swee, Chen Wen Hsi, 1952. Courtesy of Liu Kang Family. iu Kang (1911–2004), Chen Wen Hsi (1906–1991), Cheong Soo Pieng (1917–83), and Chen Chong Swee (1910–1986) are four Limportant early artists of Singapore. They were born in China and emigrated to what was then called Malaya before the founding of the People’s Republic of China.1 In 1952, these four members of the Chinese diaspora went to Bali for a painting trip. Struck by the vibrant scenery and exoticism of Balinese culture, on their return they produced from their sketches a significant amount of artwork that portrayed the primitive and pastoral Bali in a modernist style, and a group exhibition entitled Pictures from Bali was held a year later at the British Council on Stamford Road in Singapore. This visit has been regarded as a watershed event in Singapore’s art history,2 signifying the birth of the Nanyang style through their processing of Balinese characteristics into a unique “local colour”—an aesthetic referring to a localized culture and identity within the Southeast Asian context. Their Bali experience had great significance, not only for their subsequent artistic development, both as individuals and as a group, but also for the stylistic development of Singaporean artists who succeeded them.3 Vol. 12 No. 5 77 Exhibition of Pictures from Bali, British Council, Singapore, 1953. -
Singapore Biennale 2019: Every Step in The
Media Release Singapore Biennale 2019: Every Step In The Right Direction Opens Across Multiple Sites in Singapore on 22 November 2019 77 artists and collectives reflect on contemporary life and the human endeavour for change 20 Nov 2019 - Singapore Biennale 2019 (SB2019) returns for its sixth edition, with 77 artists and art collectives from 36 countries and territories. Titled Every Step in the Right Direction, the international contemporary art exhibition invites the public to engage with the act of artistic exploration, drawing on the importance of making choices and taking steps to consider the conditions of contemporary life and the human endeavour for change. Commissioned by the National Arts Council and organised by SAM, the Singapore Biennale will run from 22 November 2019 until 22 March 2020 across 11 venues in the city. With a strong focus on Southeast Asia, the sixth edition welcomes over 150 works across a breadth of diverse mediums including film, installation, sound art and performance, as well as new commissions and works that have never been presented in contemporary art biennales and exhibitions internationally. SB2019’s opening weekend will feature programmes for the public, including artist performances, curator and artist tours and talks. Organised by Singapore Art Museum | Commissioned by National Arts Council, Singapore Supported by the Ministry of Culture, Community and Youth 61 Stamford Road, #02-02, Stamford Court, Singapore 178892 . www.singaporeartmuseum.sg 1 Singapore Biennale 2019: Every Step in the Right Direction refers to the ethical imperative for both artists and audiences to make choices and take steps to reflect on the conditions of contemporary life. -
Authentication, Attribution and the Art Market: Understanding Issues of Art Attribution in Contemporary Indonesia
Authentication, Attribution and the Art Market: Understanding Issues of Art Attribution in Contemporary Indonesia Eliza O’Donnell, University of Melbourne, Australia Nicole Tse, University of Melbourne, Australia The Asian Conference on Arts & Humanities 2018 Official Conference Proceedings Abstract The widespread circulation of paintings lacking a secure provenance within the Indonesian art market is an increasingly prevalent issue that questions trust, damages reputations and collective cultural narratives. In the long-term, this may impact on the credibility of artists, their work and the international art market. Under the current Indonesian copyright laws, replicating a painting is not considered a crime of art forgery, rather a crime of autograph forgery, a loophole that has allowed the practice of forgery to grow. Despite widespread claims of problematic paintings appearing in cultural collections over recent years, there has been little scholarly research to map the scope of counterfeit painting circulation within the market. Building on this research gap and the themes of the conference, this paper will provide a current understanding of art fraud in Indonesia based on research undertaken on the Authentication, Attribution and the Art Market in Indonesia: Understanding issues of art attribution in contemporary Indonesia. This research is interdisciplinary in its scope and is grounded in the art historical, socio-political and socio-economic context of cultural and artistic production in Indonesia, from the early twentieth century to the contemporary art world of today. By locating the study within a regionally relevant framework, this paper aims to provide a current understanding of issues of authenticity in Indonesia and is a targeted response to the need for a materials- evidence based framework for the research, identification and documentation of questionable paintings, their production and circulation in the region. -
INDONESIA NEW ACQUISITIONS Additions to Our Catalogues
GERT JAN BESTEBREURTJE Rare Books Langendijk 8, 4132 AK Vianen The Netherlands Telephone +31 - (0)347 - 322548 E-mail: [email protected] Visit our Web-page at http://www.gertjanbestebreurtje.com LIST 70 – INDONESIA NEW ACQUISITIONS Additions to our catalogues 173: INDONESIA - Including books from the library of professor Teuku Iskandar - please click HERE 175: Urban culture in S.E. Asia – Batavia, Singapore, Hong Kong. - please click HERE 1 ATLAS VAN TROPISCH NEDERLAND. Uitgegeven door het Nederlandsch Aardrijkskundig Genootschap in samenwerking met den Topografischen Dienst in Nederlandsch-Indië. (Batavia, Amsterdam), 1938. Large folio. Original green cloth with gilt lettering. With 31 double-page coloured maps, and register (17) pp. € 95,00 First edition. - Still the best and only scientific atlas of the Dutch East Indies and the Dutch territories of the Antilles and Suriname. 'For its time, an unparelleled atlas of a colonial empire, highly praised for its cartographic standard. The maps were drawn by the cartographers of the Topographical Survey at Batavia. In its final stage of preparation, the supervision was with Dr. A.J. Pannekoek' (Koeman VI, p.189). 2 BOROBUDUR. Kunst en religie in het oude Java. Amsterdam, Rijksmuseum, 1977. Folio. Wrappers. With many illustrations (several in colours). 194 pp. € 20,00 3 BUDAYA INDONESIA. Arts and crafts in Indonesia. Kunst en cultuur in Indonesië. Amsterdam, Tropenmuseum, 1987. 4to. Wrappers. With many illustrations (several in colours). 284 pp. € 35,00 € 35,00 Deals with the various cultural influences on Indonesian crafts from prehistoric times to the present, based on the Tropenmuseum`s collection. 4 CORPUS DIPLOMATICUM NEERLANDA-INDICUM. -
Cultivated Tastes Colonial Art, Nature and Landscape in The
F Cultivated Tastes G Colonial Art, Nature and Landscape in the Netherlands Indies A Doctoral Dissertation by Susie Protschky PhD Candidate School of History University of New South Wales Sydney, Australia Contents Acknowledgments …………………………………………………………….. iii List of Abbreviations ………………………………………………………….. v List of Plates …………………………………………………………………… vi F G Introduction ……………………………………………………………………. 1 Part I — Two Journeys Chapter 1: Landscape in Indonesian Art ……………………………………….. 36 Chapter 2: Dutch Views of Indies Landscapes …………………………………. 77 Part II — Ideals Chapter 3: Order ………………………………………………………………. 119 Chapter 4: Peace ………………………………………………………………. 162 Chapter 5: Sacred Landscapes ………………………………………………… 201 Part III — Anxieties Chapter 6: Seductions …………………………………………………………. 228 Chapter 7: Identity – Being Dutch in the Tropics …………………………….. 252 Conclusion …………………………………………………………………….. 293 F G Glossary ……………………………………………………………………….. 319 Bibliography …………………………………………………………………... 322 ii Acknowledgments First, I would like to express my gratitude to the Faculty of Arts and Social Sciences at the University of New South Wales for granting me an Australian Postgraduate Award between 2001 and 2005. The same Faculty funded two research trips abroad, one to the Netherlands in 2004 and another to Indonesia in 2005. Without these sources of funding this thesis would not have possible. In the Netherlands, I must thank Pim Westerkamp at the Museum Nusantara, Delft, for taking me on a tour through the collection and making archival materials available to me. Thanks also to Marie-Odette Scalliet at the University of Leiden, for directing me toward more of her research and for showing me some of the university library’s Southeast Asia collection. I also appreciate the generosity of Peter Boomgaard, of the KITLV in Leiden, for discussing aspects of my research with me. Thanks to the staff at the KIT Fotobureau in Amsterdam, who responded admirably to my vague request for ‘landscape’ photographs from the Netherlands Indies. -
KLAS Art Auction
KUALA LUMPUR, Sunday 26 JUNE 2016 KLAS Art Auction Malaysian modern & contemporary art Lot 38, Abdul Latiff Mohidin, Pago-Pago Sculpture, 1970 KLAS Art Auction 2016 Malaysian modern & contemporary art Edition XXI Auction Day Sunday, 26 June 2016 1.00 pm Registration & Brunch Starts 11.30 am Artworks Inspection From 11.30 am onwards Clarke Ballroom Level 6 Le Meridien Kuala Lumpur 2 Jalan Stesen Sentral 50470 Kuala Lumpur Supported by Lot 63, Siew Hock Meng, Far Away, 1989 KL Lifestyle Art Space c/o Mediate Communications Sdn Bhd 31, Jalan Utara 46200 Petaling Jaya Selangor t: +603 7932 0668 f: +603 7955 0168 e: [email protected] Contact Information Auction enquiries and condition report Lydia Teoh +6019 2609668 [email protected] Datuk Gary Thanasan [email protected] Payment and collection Shamila +6019 3337668 [email protected] Lot 36, Awang Damit Ahmad, Marista “Pun-Pun dan Biangsung”, 1998 Kuala Lumpur Full Preview Date: 16 June - 25 June 2016 Venue: KL Lifestyle Art Space 31, Jalan Utara 46200 Petaling Jaya Selangor, Malaysia Auction Day Date: Sunday, 26 June 2016 Venue: Clarke Ballroom Level 6 Le Meridien Kuala Lumpur 2 Jalan Stesen Sentral 50470 Kuala Lumpur Malaysia Time: 1.00 pm Map to KLAS @ Jalan Utara Lot 36, Awang Damit Ahmad, Marista “Pun-Pun dan Biangsung”, 1998 5 Lot 28, Abdul Latiff Mohidin, Gelombang Rimba, 1995 Contents Auction Information 5 Glossary 9 Lot 1 - 83 20 Auction Terms and Conditions 146 Index of Artists 160 Lot 2, Ismail Latiff, Tioman Tioman..Bay Moon Fantasy, 1994 Glossary 6 AWANG DAMIT AHMAD 1 KHALIL IBRAHIM E.O.C “SISA SEmusim”, 1994 EAST COAST SERIES, 1992 Mixed media on canvas 76 x 61 cm Acrylic on canvas 43 x 24 cm RM 45,000 - RM 80,000 RM 6,500 - RM 9,500 2 ISMAIL LATIFF 7 KHALIL IBRAHIM TIOMAN TIOMAN. -
Artists Imagine a Nation
ARTISTS IMAGINE A NATION Abdullah Ariff Boo Sze Yang Chen Cheng Mei (aka Tan Seah Boey) Chen Shou Soo Chen Wen Hsi Cheong Soo Pieng Chia Yu Chian Chng Seok Tin Choo Keng Kwang Chuah Thean Teng Chua Mia Tee Foo Chee San Ho Khay Beng Khaw Sia Koeh Sia Yong Kuo Ju Ping Lee Boon Wang Lee Cheng Yong Lim Mu Hue Lim Tze Peng Mohammad Din Mohammad Ng Eng Teng Ong Kim Seng Tumadi Patri Phua Cheng Phue Anthony Poon Seah Kim Joo Tang Da Wu Tay Bak Koi Tay Boon Pin Teo Eng Seng Tong Chin Sye Wee Beng Chong Wong Shih Yaw Yeh Chi Wei Yong Mun Sen Contents Foreword Bala Starr 8 Pictures of people and places Teo Hui Min 13 Catalogue of works 115 Brief artists’ biographies 121 Acknowledgements 135 Foreword Works of art are much more than simple collectables or trophies, in the A work of art maintains its status as a speculative object well past the date same way that history is more than a compilation of triumphal stories or nostalgic the artist considered it ‘finished’ or resolved, and in fact meanings might never reflections. Histories build and change through their own telling. The works in actually fix or settle. What we identify ascontemporary is as much about a process this exhibition, Artists imagine a nation, record individual artists’ perceptions, of looking back and re-evaluating the practices and insights of those who have experiences and thinking, and document their aspirations for their communities travelled before us as it is about constantly seeking the new. -
Homage to Tradition (Hong Kong, 13-15 Dec 12)
Homage to Tradition (Hong Kong, 13-15 Dec 12) Chinese University of Hong Kong, Dec 13–15, 2012 Chia-Ling Yang, University of Edinburgh Homage to Tradition A Symposium on East Asian Art in Honour of Professor Roderick Whitfield Chinese University of Hong Kong, 13th-15th December 2012 This symposium and a related festschrift publication to follow will include papers by Professor Whitfield’s students and colleagues. Both will honour Roderick Whitfield’s excellent scholarship, his unwavering support and teaching to his students, and his significant contribution to the field of Asian art history and archaeology. The main theme of this symposium, ‘Homage to Tradition,’ pays respect to Roderick Whitfield’s tireless exploration of China’s past and his numerous publications in search of beauty and truth. Many of Roderick Whitfield’s students are playing leading roles in Chinese art history, architecture and archaeology, in academia, museums, in publishing and the commercial sector. We hope all of us will present new research relating to the ways of appreciating art and cultural relics, linking art history with a multitude of other disciplines, including religion, anthropology, architecture, literature, political and social history, language, and translation theory. 13 December, 13.00-17.30 Session 1 Paradigm - Meihua Shao (Tree Valley Foundation, CIST Centre, Taiwan), The Manufacture of Neolithic Nephrite and Stone Yue Axes from the Liangzhu Burial Mounds in Southeast China - Jenny Chao-Hui Liu (Cambridge History of China, Princeton University), -
A Story of Singapore Art
artcommune gallery proudly presents A Story of Singapore Art An art feast that captures a uniquely modern Singapore cross-fertilized by decades of East- West sensibility in fine art. A Brief Overview The story of Singapore art could be said to have first taken roots when the island flourished as a colonial port city under the British Empire. In addition to imported labourers from India and China, unrest and destitution brought on by civil conflicts and the great world wars culminated to a significant exodus of Chinese intellectuals (educators, scholars, writers and painters) and businessmen to Singapore in search of better work-life opportunities. By the early-20th century, Singapore (then still part of the Straits Settlements) was already a melting pot of diverse migrant traditions and cultures; the early Singapore art scene was naturally underpinned by these developments. During this period, most schools under the British Colonial system taught watercolour, charcoal and pastel lessons under its main art scheme while the more distinguished Chinese language-based schools such as Chinese High School often taught a combination of Western oil and Chinese ink paintings (in fact, a number of these Chinese art teachers were previously exposed to the Paris School of Art and classical Chinese painting during their art education in China in the 1920s). Furthermore, art societies including United Artists Malaysia as well as the Society of Chinese Artists were in place in as early as the 1930s, and the Nanyang Academy of Fine Arts (NAFA) was formally established by Chinese artist-educator Lim Hak Tai in 1938. To paint a simplified picture: the local art production in early Singapore may be broadly characterised into three veins – the traditional Chinese painting, the Nanyang style, and British watercolour style. -
Socio-Political Criticism in Contemporary Indonesian Art
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2019 Socio-Political Criticism in Contemporary Indonesian Art Isabel Betsill SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Art and Design Commons, Art Practice Commons, Asian Studies Commons, Contemporary Art Commons, Graphic Communications Commons, Pacific Islands Languages and Societies Commons, Politics and Social Change Commons, Race, Ethnicity and Post-Colonial Studies Commons, Social Influence and Political Communication Commons, and the Sociology of Culture Commons Recommended Citation Betsill, Isabel, "Socio-Political Criticism in Contemporary Indonesian Art" (2019). Independent Study Project (ISP) Collection. 3167. https://digitalcollections.sit.edu/isp_collection/3167 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. SOCIO-POLITICAL CRITICISM IN CONTEMPORARY INDONESIAN ART Isabel Betsill Project Advisor: Dr. Sartini, UGM Sit Study Abroad Indonesia: Arts, Religion and Social Change Spring 2019 1 CONTEMPORARY INDONESIAN ART ABOUT THE COVER ART Agung Kurniawan. Very, Very Happy Victims. Painting, 1996 Image from the collection of National Heritage Board, Singapore Agung Kurniawan is a contemporary artist who has worked with everything from drawing and comics, to sculpture to performance art. Most critics would classify Kurniawan as an artist-activist as his art pieces frequently engages with issues such as political corruption and violence. The piece Very, Very happy victims is about how people in a fascist state are victims, but do not necessarily realize it because they are also happy.