Art KL-itique

Over the past 30 years, a singular version of local art history has persisted. Much of the credit/ blame is attributed to the authors of Modern Artists of Malaysia - T.K. Sabapathy and R. Piyadasa. As it is with the nature of history, where physical documentation takes precedence, the list of artists chosen is subjective at best. Alternative histories do exist and narrative questions will arise, as more educated persons offer their views. Nonetheless, exhibiting works which reference this accepted account of events, presents a good opportunity for the Malaysian public to appreciate seminal works from the local art canon. Patrick Ng's 'Semangat Tanah, Air dan Udara' is commonly quoted as an early masterpiece, which I am inclined to agree despite classical posturing and a dark palette. Elongated features exaggerate movement in 'The Big Fight', depicted by Patrick's student Ismail Mustam in a dynamic composition that recalls El Greco. Ismail Mustam - The B...

Regional players enter the Malaysian market in a collaborative manner, where Indonesian auction house One East Larasati joins into the fray by offering 19 lots via the Henry Butcher sale . With the exception of a beautiful Chang Fee Ming, the remaining works are moderately priced, in an effort to increase public awareness towards Indonesian artists. The local auctioneer allocates a section to recently-deceased Tew Nai Tong, whose 'Lady with Orchid' is the pick of the pops with its sensual contours and lively colours. Kuo Ju Ping and Tajuddin Ismail present great paintings, while a rare gem emerges in Chew Teng Beng's handmade paper, a wonderful creation from a successful experiment. Its pristine condition contrasts with Lee Jor For's 'Monolithic Figure II', where bad framing crumpled and deteriorated the paper of a brilliant printed design. Chew Teng Beng - Untitled (1985) Judging from the vivid depiction of nature's sheer power, Yusof Ghani's s...

After navigating landscapes , eyebrows raise when the third part of Galeri Petronas’ 2013 agenda relate Cultural Legacy with Indo-Chinese and Nusantara influences, perhaps stating a fact that escapes most Malaysians’ recognition of cultural identity. Latiff Mohidin and Nadiah Bamadhaj form a formidable feature, the curatorial decision to showcase two artists with contrasting styles, rewarding the visitor whom identifies similitude. Agave plants evolve into contemplative dots then powerful brush strokes, Latiff amalgamating figurative observations with an honest visual language. Nadiah’s 2001 monochromatic works are sprawling, panoramic, and detached – its precise lines carefully drawing a specific narrative. Cultural multiplicity and social complexity unravel to the well-travelled artist.  Latiff Mohidin - Vientiane - Pago-pago (1967) Utopia is irrelevant when one lives in the current, evident in this selection of works which highlight deeply personal yet contemporary...

Since Henry Butcher's "The (MAS) Modernist" auction was risibly called off over the Art Expo weekend , wishful thinking is directed towards the national investment arm in hope of publicising its burgeoning art collection. The non-event was a godsend to KL Lifestyle Art Space, who secured a 90% sales ratio. 21% of lots sold at the lowest estimate or lower (excluding buyer's premium), which curiously included the last two highlights by Latiff Mohidin and Ibrahim Hussein. At Masterpiece , Nanyang pioneer Cheong Soo Pieng's moody pieces sold at 230% and 370% over the high estimates, as investors clamour over his piping hot status in the Asian secondary art market. However, the more characteristically Nanyang 'Offering in Bali' found no takers. Ib's busy 'Val Bon' recorded RM 594,000 including buyer's premium, while Latiff's 'Dark Voyage' (estimated RM 250,000 - RM 350,000) was bought in.  Jolly Koh - Green Movement (2007) ...

Pastoral, sensual, vigorous - these common descriptions surmise the prominent art collection of Zain Azahari, where a selection of 38 pieces are displayed at this exhibition. Large works by Ibrahim Hussein and Hendra Gunawan greet the visitor with titillating intent, where Fauvist colours and sinuous contours excite primitive human senses. Flanking both sides of the lobby, Latiff Mohidin and Anuar Rashid arouse the spiritual with abstract illustrations of great control and harmonious beauty, easily subjugating works by young artists hung in the same area. Ramlan Abdullah's aluminium sculpture also blends into the gallery's medieval design, as the contemporary takes a back seat to master artists belonging to the Modern era. Earth and human form an unbreakable bond in these works, implying the collector as one whom possess deep faith and a resilient outlook of life.  Kampung truths: Jalaini Abu Hassan - Di Murahkan Rezeki, Di Berkatkan Hati (2011) This philosophy is cle...

Choy Chun Wei’s collage diptych ‘Global Citizens’ grabs attention, but the works from Hamidi Hadi’s “Antara” series capture the imagination, all 3 successfully sold at this showing . Enlarged photographic prints recall Roy Lichtenstein’s appropriation of comic drawings, although the pixellations seen here imply a vague memory. Spreading a low-resolution picture seems contrary to the Ben-Day dots technique, but both essentially employ the same approach of re-framing, in this case a mechanical reproduction of a personal destination. Enamel paints demarcate a picture horizon with utmost simplicity, a splash of colour sufficient to depict pathways and elements. Hamidi tilts and flips the canvas to render naturalistic forms, his method limited in control and subjected to a randomness, that augments the objectification of its background. Choy Chun Wei - Global Citizens (2011) The result of playing with polyurethane is most memorable in ‘Untitled (home)’, where drops of liquid protru...