Category Archives: Editorial

How are Malaysian artists ranked? The Edge Galerie has compiled a list of their artworks that have exceeded the RM100,000 mark at auctions and private galleries.

The information was gathered from selected auction houses and private galleries.All auction prices include a buyer’s premium. The conversion rates listed are based on the date of sale. Some gallery owners have declined to declare and publish their record prices.

Leading figures

At the top of the list is the late Datuk Ibrahim Hussein, whose Red, Orange & Core, 1984, (198.3cm by 271.4cm), was sold at Henry Butcher Art Auctioneers in 2012 for RM797,500, which included a buyer’s premium of 10%.

Although sold below the “RM800,000 to RM1,200,000” estimate, the price realised remains the highest ever sold for a Malaysian artwork at an auction.This perhaps reflects the condition of the secondary art market, which has been affected by the deluge of auction houses entering the market in 2013, resulting in limited sources of “high quality” artworks; consignors preferring to sell privately instead of through auction; global economic insta- bility; and the weakening ringgit.

However, Malaysians have continued to splurge on artworks, albeit prudently, at galleries, art fairs and auctions.

Latiff Mohidin, 75, comes second with a piece from his latest series, Seascape, 2013, (166cm by 110.5cm). It fetched RM572,000 at The Edge Auction in 2014.

In November 2015, Christie’s auction, Convergences: A Special Sale of Singapore Art, featured Malaysian artists such as Tay Chee Toh and Chia Yu Chian (1936 – 1991). The late Chia’s By the River, 1954 (65cm by 80cm) was sold for HK$687,500 (RM378,751), a record price for the artist,whose paintings depicted the Nanyang style.

Although prices at auction do not necessarily reflect the importance of the artists or the true value of their artworks, it is an avenue for the public to obtain transparency in the art market, to a certain extent.

Private sales

The Edge Galerie’s exhibition, Latiff Mohidin: Modern Sculptures 2007 – 2015, in April this year showcased 31 sculptures made from stainless steel,resin and brass. The largest stainless steel work, Shiraz 2 (127cm in height by 248cm in length by 46cm in width) was sold forRM640,000,includingGoodsandServicesTax(GST).

Contemporary artist Ivan Lam, 41, created a trilogy of paintings for an exhibition entitled Day Zero, Night Hero at Wei-Ling Gallery in 2013. The first two pieces — Day – I have hated you too much to be grateful of the Day and Night – I have loved you too much to be fearful of the Night — were first exhibited at Art Basel Hong Kong in May 2013.The final work, Hero/Zero, was completed in November 2013. In 2015, the series was sold for RM250,000.

In 2014, Wei-Ling Gallery sold a mixed-media installation artwork by Anurendra Jegadeva, 51, for RM330,000. The piece was from his solo exhibition entitled MA-NA-VA-REH – Love and Loss in the Time of the Big Debate.

In the same year, NN Gallery sold an abstract painting by Cheong Laitong, 84, entitled No 29, 1995 (135cm by 175cm) for RM100,000.

Without doubt, many other artworks may have been sold privately at higher prices. As money is a delicate subject for most high-net-worth individuals, discretion is key when it comes to buying and selling art. Most art dealers adopt the “client confidentiality” principle, therefore the prices are usually only known to the privileged few.

Contemporary artists

Favourite artists in the Malaysian contemporary segment at auctions include Chang Fee Ming,Awang Damit,Ahmad Zakii Anwar,Jalaini Abu Hassan,Bayu Utomo Radjikin, Rafiee Ghani and Kow Leong Kiang.

At an auction in Singapore in 2013, Larasati Auctioneers sold a watercolour on paper by Chang entitled Mandalay for SG$103,700 (RM255,924), an auction record for the artist to date.

In June last year, Chang presented over 70 artworks at a Christie’s Private Sales exhibition in Hong Kong entitled Chang Fee Ming: Weaving the World in Watercolour. His paintings sold for over RM200,000 each.

In May 2015, Awang Damit’s diptych entitled Apa Khabar Ledang (Essence of Culture series) dated 1992 was featured at Christie’s Hong Kong. It was sold for HK$437,500 (RM206,430),breaking the artist’s previous auction record of RM100,800 for a 1993 artwork from the same series achieved at Henry Butcher Art Auctioneers in November 2014. At the Hong Kong sale, those present revelled in the bidding spectacle as the final price was 672% above the lower estimate of RM15,000.

Since the Southeast Asian Modern and Contemporary Art sale by Christie’s in Hong Kong in 2007, Ahmad Zakii Anwar’s artworks have been steadily fetching higher prices. Angkor 2, 2006, (66cm by 198cm) was sold for HK$427,500 (RM184,638), an auction record for the artist.

His previous record price of RM115,500 was achieved for an acrylic on jute painting entitled Oleg, 2013, (120cm by 180cm) at The Edge Auction in 2013.

At the same Christie’s auction in 2007 in Hong Kong, Jalaini Abu Hassan’s Halal, 2007, was sold for HK$391,500 (RM169,090), also an auction record for the artist. Locally, his highest auction price of RM121,000 was achieved at The Edge Auction in 2013 for a diptych mixed media on canvas entitled The Hallucination of Facts in Ungrounded History, 2012 (244cm by 305cm).

Established names

Another sought-after name at auction is Khalil Ibrahim, 82, whose 1993 multi-coloured abstract painting from his Fishermen Series was sold for RM107,084 at the Henry Butcher Art Auctioneers’ sale in October 2015.

Other artists whose works have performed well at auctions include Khoo Sui Hoe, 77, whose dreamy painting, Around the Moon, 1972 (88cm by 88cm) was sold for RM93,500 in 2013; Chong Siew Ying, whose oil on canvas work, L’ete, 2006 (150cm by 150cm) was sold for RM89,600 in 2014; and Lee Cheng Yong, whose oil on board painting, Rubber Collection, created in the 1960s and measuring 60cm by 50cm, was sold in 2015 for RM80,640.

Across the causeway, works of modern artists such as Chen Wen Hsi, Georgette Chen and Cheong Soo Pieng have surpassed the RM1 million mark at auctions. For instance, at Sotheby’s Hong Kong 40th Anniversary Evening Sale in 2013,Wen Hsi’s oil on board painting entitled Pasar (Market), circa 1950s, was sold for HK$13,240,000 (RM5,429,167). At the same auction, Georgette’s oil on canvas painting, Lotus Symphony, 1962, (58cm by 144cm) achieved HK$9,160,000 (RM3,756,131).

More recently, at last year’s Christie’s Convergences: A Special Sale of Singapore Art in Hong Kong, Cheong’s oil on canvas painting, Balinese Dance, 1953 (134cm by 87.5cm) was sold for HK$7,720,000 (RM4,250,601).

In Malaysia, artworks that could possibly exceed RM500,000 and reach RM1 million are those sold privately as well as commissioned pieces such as public sculptures. Latiff Mohidin, Datuk Syed Ahmad Jamal,Yusof Ghani,Abdul Multhalib Musa and Eng Tay have created public sculptures for conglomerates.

Contemporary artists who may have also sold artworks for more than RM100,000 include Ahmad Fuad Osman, Bayu Utomo Radjikin, Hamir Soib and Nadiah Bamadhaj.

“Value” in the art market is as complex and mysterious as an abstract painting. To understand it, one has to experience the entire journey of looking at art beyond the price tags.

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Major works sold at auction by top artists can and invariably do offer a better deal than at private sales. While incredible records are sometimes achieved in auctions for the biggest names in the international art market, for the rest of the field, the benchmark prices are more modest. In this second and final article on art auction bidding, we offer an insight of what to expect.

Major works by top Malaysian artists such as Datuk Ibrahim Hussein and Latiff Mohidin generally hover in the RM300,000 to RM500,000 range at local as well as international auctions.

In the Asian 20th Century Art auction by Christie’s Hong Kong on Nov 27, Ibrahim’s oil on canvas painting, Embracing, which had a presale estimate of HK$400,000 to HK$600,000, eventually sold for HK$687,500 (RM394,531), including the buyer’s premium. Dated 2001 and sourced from Germany, the 126cm by 126cm artwork depicts a nude couple in the act of embracing, executed in Ibrahim’s hallmark lines and in blue palette. That auction was part of the Autumn sale series from Nov 25 to 30 in celebration of Christie’s 250th anniversary. Overall, the sales totalled RM60 million (HK$104,725,000), including the buyer’s premium.

As a comparison, top modernist Latiff Mohidin’s oil on canvas Debris 1968 (89cm by 69.5cm) sold for RM330,741.96 (HK$575,000 with the buyer’s premium) at Sotheby’s Modern & Contemporary Southeast Asian Art on Oct 5, 2015. It had a presale estimate of HK$400,000 to HK$600,000 (RM230,000 to RM345,000). Subsequently, the same painting was offered at another auction in Kuala Lumpur in April this year with an estimate of RM420,000 to RM550,000. The painting sold for RM541,056,including the buyer’s premium.

Auction houses provide collectors the opportunity to buy artworks kept in private collections for years. In our previous article,we covered the preliminary steps to adopt before buying at auction, such as identifying the type of art desired, gaining better knowledge of such works, determining a budget and attending the preview. Now, we will delve into how to acquire an artwork at auction and understanding auction etiquette.

Ways to bid

Traditionally, the general public is physically present to attend and bid at auction. This is the best way to experience the excitement of bidding. By being there, bidders will not only be enthralled by the energy in the salesroom, but also gain insights from fellow attendees.

Auction-goers comprise seasoned and new collectors, art enthusiasts, gallerists, dealers and curious individuals.For many, auctions are merely social events but for some, it is an opportunity to keep track of the art market — to be in the know about hammer prices and bidders as well as the buyers of certain artworks.

Alternatively, for the convenience of those who wish to place their bids on an artwork or two but are unable to attend due to travel or prior engagements, auction houses provide other methods to submit their bids — by telephone or absentee.These options are also being used by bidders who wish to bid anonymously.

For telephone bids, an agent will be assigned to represent a bidder.The agent — a mediator for both auctioneer and bidder will provide a live description of the lot, informing the bidder exactly how much the bids are on the floor and to encourage prospective buyers to place a bid.

Because the auction is happening in real time, telephone bidders are at a disadvantage.Among the risks are dropped calls,poor reception or delayed communication due to long-distance calls or even language barriers.

Absentee bids are usually placed by those who are unable to be there in person or take telephone calls. Bidders with a strict budget also prefer to use this facility.

With the advent of eBay,auction houses have incorporated live online bidding into their sales through collaborations with online platforms such as Invaluable, Paddle8,Artnet,Auctionata or Artsy.This mode of bidding mainly attracts clients abroad as well as a younger audience. Live online bidding is also ideal for those who want to participate in the comfort of their home,primarily because of different time zones. However, this privilege comes with a surcharge. The online platforms will charge an additional percentage as commission, for example 5%, on top of the buyer’s premium charged by the auction house.

Auction day

Bidding increments vary among auctioneers but generally, increments will differ according to a set of price brackets. For instance, artworks ranging from RM1,000 to RM4,999 are increased by RM100; RM5,000 to RM9,999 by RM200; RM10,000 to RM24,999 by RM500; RM25,000 to RM49,999 by RM1,000; RM50,000 to RM99,999 by RM2,500; RM100,000 to RM199,999 by RM5,000; RM200,000 to RM499,999 by RM10,000; RM500,000 to RM999,999 by RM25,000 and so on.

Auction etiquette that needs to be observed include ensuring paddles are raised high enough for the auctioneer to see and accept a bid; refraining from slowing down the auction by “cutting the bid”; and taking too long to decide whether or not to place a higher bid.

Bid spotters are deployed in the salesroom to ensure that no buyer goes unnoticed.They stand to the side of the rostrum as well as in the aisles and constantly scan the room.

In Malaysia, the normal speed for an auctioneer is 30 to 40 lots per hour,but in Europe and America, an auctioneer may complete 60 to 100 lots per hour.

Winning a bid

The indication that a bid has been successfully won is when the auctioneer hammers the rostrum and announces “sold”.The auctioneer will then ask to see the bidder’s paddle number and write it down in his or her catalogue.

Moments later, an auction house employee will approach the bidder with an acknowledgement form and an invoice. It is the norm for the bidder to immediately sign the form and make payment for the lot sold.

For those who have won through telephone or as an absentee, the auction house will notify them in writing and make arrangements for payment within a certain period.As for online bidding,the amount will be charged directly to the bidder’s credit card as required during registration.

Underbidder

The role of an underbidder is important at auction in the sense that his or her final bid will determine the hammer price of an artwork as well as the buyer. In the event that the reserve price is not met during auction, the auction house may contact the final bidder and underbidders to sell an artwork in a post-auction sale at a price agreeable to both buyer and seller.

Finally, it is important to learn the auction glossary and terms of sales, which are normally published in an auction catalogue.

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Buying desirable artworks at auctions should not be left to chance. This first of a two-part article offers some tips on how to bid at auctions, locally and internationally.

With many private collections being put up for sale at auctions — most recently, the three-part auction of the David Bowie collection at Sotheby’s London on Nov 10 and 11, which recorded sales of RM180.8 million (£32.9 million) — auction houses are one of the best places to consider when purchasing art, besides galleries and fairs.

The leading artwork in the Bowie sale was Jean-Michel Basquiat’s Air Power (estimate: £2.5 million to £3.5 million), which fetched £7.093 million. Other works included Frank Auerbach’s Head of Gerda Boehm (estimate: £300,000 to £500,000), which was sold for a staggering £3.789 million, and Damien Hirst’s piece done in collaboration with Bowie, entitled Beautiful, Hallo, Space-Boy Painting (estimate: £250,000 to £350,000), which raised £785,000.

The results consist of hammer price with buyer’s premium.

Before even attending an art auction or raising your paddle to bid for a desired work, there are certain considerations to be taken into account.

Identify
First and foremost, one needs to determine the purpose of owning an artwork. Is the artwork for emotional enrichment and visual stimulation? Or is it for decorating a new home or office, a gift for someone or investment?

Secondly, what type of artwork is suitable? Do you prefer Malaysian, Southeast Asian or European themes; modern or contemporary; sculpture or painting; abstract or still-life; landscape or figurative; monochromatic or multicoloured; photography or print; batik art or Chinese ink; watercolour, charcoal or oil; on paper or canvas? And so forth.

By identifying the purpose first, it will ease the process of looking for the right artworks at auctions.

Knowledge
Now that the types of artworks have been narrowed down, one is ready to subscribe to online art platforms. There is a sea of information on the web — a good place to start would be Artnet.com, which focuses on global art politics and economics.

Locally, The Edge Galerie’s website lists art events in Malaysia and Southeast Asia. It also offers free data on what Malaysian artists and foreign artists based here have achieved at local and regional auctions.

Once the local art scene has been explored, the names of established or popular artists and their works will soon become familiar. This may come in handy later when you enter the saleroom. It is also important to chat with gallerists to stay informed of developments.

The annual calendar of art events in the region usually begins with Art Stage Singapore, followed by auctions in Malaysia and Singapore, Art Basel Hong Kong and auctions held in conjunction with the fair. Art Jog in Yogyakarta, Indonesia, is typically held in the middle of the year whereas Art Expo in Malaysia and several auctions in Malaysia and Hong Kong are scheduled for the end of the year. Throughout the year, art galleries will regularly hold exhibitions.

Budget
After the stimulating reconnaissance at art events, one would have an idea of the types of artworks that meet one’s desire and budget. Indicative prices for works by young and emerging artists range from hundreds of ringgit to RM5,000; young contemporary artists, from RM6,000 to RM20,000; mid-career artists, from RM30,000 to RM100,000; and living senior artists and pioneer or deceased artists, from RM50,000 to RM700,000.

The prices, however, are a general guide and may not apply at every instance.

Factors that influence the prices of artworks include the medium, year, dimension, condition, provenance and whether they are signed.

For instance, an artwork by a venerable name may not necessarily be more expensive than a contemporary one. An undated watercolour on paper by Malaysian pioneer artist Abdullah Ariff (1904-1960), entitled The River Ferry, was sold at a local auction for RM46,200 in 2013. In the same auction, contemporary artist Chang Fee Ming’s watercolour on paper, entitled At Dusk … Nanyang, dated 2012, was sold for RM198,000.

Also, do keep in mind the additional charges at auctions. The hammer price is not the final price to pay. Other costs to consider are the buyer’s premium, Goods and Services Tax and artwork logistics.

The buyer’s premium is a commission on top of the hammer price (winning bid at auction) of the lot that must be paid by the winner. It is charged by the auctioneer to cover administrative expenses. The buyer’s premium goes directly to the auction house and not to the seller.

Once you have determined your budget, which includes all expenses, you are ready to go window shopping.

Preview
Auction houses usually organise exhibition previews before the auction day to encourage potential buyers to view and inspect the works, known as lots, up close. It is during these previews that the lots sourced from private collections are displayed to the public, mostly for the first time.

The general public can admire and enquire further during this limited time before the lots find a new home. Potential bidders are encouraged to enquire about an artwork’s provenance, request condition reports and find out if it comes with a certificate of authenticity. Though such certificates are not provided most of the time, it should not be a deterrent to acquire good works.

In our next article, readers will find out the different ways to bid, what happens on auction day, when a bid is won and the ramifications of being an under-bidder.

This article was originally published by The Edge Communications Sdn Bhd in November, 2016.

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How are the pieces selected, and what do the auction houses look for?

The secondary art market has gained popularity since the establishment of the first auction house focusing on Malaysian art in 2010. Three years later, three more art auction houses were set up, encouraging some competition within the ecosystem. Also, since then, smaller art auctions have been held in conjunction with philanthropic endeavours.

In 2015, the advent of a fifth auction house sent shockwaves through the Malaysian art fraternity. Asian Ace Art Auction not only featured Malaysian art, but also purported original works by Vincent van Gogh, Claude Monet and Pablo Picasso priced from RM10,000 to an astounding RM10 million.

Unfortunately, the auction house, which is supported by a certain “New York Modern Art Gallery”, was short-lived after the demise of its founder the day after the auction weekend. According to the statistics gathered by Rogue Art for the third volume of Narratives in Malaysian Art published this year, sales of artworks at auction in Malaysia have increased from 63 lots in 2010 to nearly 1,200 lots in 2014.

The Edge Auction has offered 402 Malaysian and Southeast Asian artworks since 2013. How are the artworks selected, and what do the auction houses look for? This is a basic guideline to give readers an idea of what to expect at an auction and the list is by no means exhaustive.

Brand
Like any luxury commodity, an artist’s commercial success is measured by popularity. Think Damien Hirst, Ai Wei, Yayoi Kusama, Andy Warhol, Pablo Picasso, and so on.

Locally, there are a number of artists whose artworks are sought by collectors. These artists are categorised by seniority — pioneer, modern, established, mid-career, young and emerging.

Within these segments, price brackets are identified through sales in the primary market as well as by desirability. The secondary market aims to offer works that are rarely found in the primary market, thus works by modern masters such as Datuk Chuah Thean Teng, Lee Cheng Yong, Datuk Syed Ahmad Jamal and Datuk Ibrahim Hussein may gain serious attention.

Rarity
Seasoned collectors like the fact that they will own an artwork that no one else has. Some artworks that are derived from a specific period of the artist’s career can also influence the price tag. For instance, Latiff Mohidin’s series — Pre-Berlin (1951-1959), Berlin (1960–1964) and Pago-Pago (1960–1969) — particularly works on canvas, are highly sought-after. These works are considered “blue chips” by many collectors, including institutions, because of their rarity and historical significance. Other factors that contribute to the demand and pricing of an artwork are its subject matter, colour palette and condition.

An artist may also produce a series of oil paintings, sculptures, sketches, digital prints, lithographs and prints but a mono print or an artist’s print may fetch a higher price than a print in an edition of 500.

Provenance
An artwork that has been exhibited either in a solo or group show or at reputable international art fair may fetch a higher price at auction. So may artworks illustrated in a catalogue, preferably on the front cover, or that have been accorded an award. An artwork from the collection of a prominent individual or institution is also popular.

Among others
In this section, “filler” artworks comprise works that have been sold in aftermarkets in countries such as Hong Kong, Singapore or Jakarta. These artworks by regional artists are usually contemporary and colourful, and priced low to attract a younger audience. The artists in this segment are mostly new, upcoming or making a debut at a Malaysian auction. Their appearance at auctions serves as an introduction to new collectors or young investors.

This article was originally published by The Edge Communications Sdn Bhd in November, 2016.

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With a provocative exhibition title like Era Mahathir, given the present political climate, the curators at Ilham Gallery have a tall order to fill. The verdict is open as to whether they have succeeded.

“All the exhibitions at Ilham are decided by the curatorial team, and while the owners are consulted on our overall programmes, they have never interfered in curatorial decisions,” says Ilham gallery creative director Valentine Willie.

He dismissed the notion that Ilham Gallery owners, Tun Daim Zainuddin and his wife Naimah Khalid, had influenced the way the current exhibition, Era Mahathir, was put together. The finance minister in Tun Dr Mahathir Mohamad’s Cabinet, Daim, 78, was perceived by certain quarters as having had a hand in how Dr Mahathir was to be portrayed or even “glorified” in the exhibition.

Housed in Ilham Baru Tower in Jalan Binjai, Kuala Lumpur, the exhibition brings together 48 artworks by 28 Malaysian artists, including an art centre, to illustrate the political and social climate during the administration of Malaysia’s fourth prime minister between 1981 and 2003, who is now 91 years of age. The artworks on display are mostly loaned by institutions, private collectors and artists.

The works are by such artists as Datuk Syed Ahmad Jamal (1929-2011); Ismail Zain (1930-1991); Kok Yew Puah (1947-1999); Nirmala Dutt, 75; Datuk Mohd Nor Khalid (Lat), 65; Juhari Said, 55; Zulkifli Yusoff, 54; Anurendra Jegadeva, 52; Tan Chin Kuan, 50; Bayu Utomo Radjikin, 47; Ahmad Fuad Osman, 47; Nur Hanim Khairuddin, 47; Kow Leong Kiang, 46; Noor Azizan Rahman Paiman, 46; Yee I-Lann, 45; Chuah Chong Yong, 44; Roslisham Ismail (Ise), 44; Chang Yoong Chia, 41; Mohd Azlan Mohd Latib, 42; Phuan Thai Meng, 42; Abdul Multhalib Musa, 40; Vincent Leong, 37; Rahman Roslan, 31. Other artists are Jo Kukathas, Hamidah Abdul Rahman, Kenneth Chan, Liew Kung Yu and Five Arts Centre.

Since Ilham Gallery’s inception last year, Era Mahathir is the third exhibition and, according to the gallery’s website, it relates to “a transformative period for the visual arts in Malaysia, a period that saw the re-emergence of the figurative in producing socially relevant art”.

Visitors are greeted with a biographical documentary on the former prime minister, produced by A&E Networks and aired on History Channel in 2009. A series of caricatures, first published from the 1980s to the 2000s by cartoonist Datuk Mohd Nor Khalid, popularly known as Lat, is displayed opposite the television screen.

“The show, which was planned about two years ago, is intended to showcase the artistic responses to the policies and politics of Era Mahathir, primarily contemporaneous artworks, and some in hindsight,” Willie says.

“Because the premise of the show is artistic responses to the policies and politics of Dr Mahathir, we felt that this title would be an accurate reflection of what the show is trying to showcase.”

Superstructures
An indelible mark left by Dr Mahathir are the soaring twin skyscrapers — the Petronas Twin Towers — completed in 1996. The building is named after Petroliam Nasional Bhd, which was established in 1974. The towers symbolise Malaysia’s economic transformation.

An obvious choice for subject matter, among the artists who have reflected on the architectural landmark in the exhibition are Liew Kung Yu, Yee I-Lann, Chang Yoong Chia and Vincent Leong.

“As an internationally recognised landmark, the Petronas Twin Towers symbolise the courage, ingenuity, initiative, determination, energy, confidence, optimism, advancement and zest of a nation,” says the towers’ website, with the statement attributed to Dr Mahathir.

In Era Mahathir, various interpretations of the theme are represented, from Liew’s kitsch interactive installation titled Pasti Boleh (Sure Can One), created in 1997, to Chang’s elaborate collage made entirely of postage and revenue stamps, titled The Dollar Sign (2014), measuring 211cm by 134cm.

It is also worth noting that the artworks showcased “extend” the period of Dr Mahathir’s “supremacy” even until 2016.

“For better or worse, the policies and politics of Dr Mahathir continue to have an impact on Malaysia today. The man himself remains in the news and continues to loom large. We have always tried to use our small galleries on level three to commission new works as we did in our inaugural show, Picturing the Nation. The three new works on level three of Ilham, commissioned for Era Mahathir, show how the man and his policies continue to seize our collective imagination,” Willie says.

The works comprise Mohd Azlan Mohd Latib’s series of 55 photo-collages and installation titled Wayang: Proparism (2010-2016), Kenneth Chan’s 91 postcard-sized digital prints titled #DrMLovesU (2014-2016) and a commissioned piece of video art by Rahman Roslan titled Testimonial (2016).

Fashioning corsages
In the main gallery on level five, a section displaying video works by the Five Arts Centre, titled Skin Trilogy (1995), and Jo Kukathas’ — co-founder and artistic director of The Instant Café Theatre Company — work titled Ybeeee (2013) are screened side by side.

Kukathas’ work, a satirical play about a Malaysian politician dressed in a bush jacket with a name tag that reads “YB”, acronym for Yang Berhormat (The Honourable) and an elaborate corsage — the standard get-up for politicians during Dr Mahathir’s time — presents a sardonic take on what usually appears on the national news, like a ribbon-cutting ceremony or a public speech.

Hung on the wall opposite is a woodcut on paper by Juhari Said, titled Bertuankan Beruk (Portrait with Corsage) created in 1999. Measuring 120cm by 84cm, the monochromatic work depicts the profile of a gorilla that dominates the picture, leaving little white space. The printmaker marks the portrait with a splash of colour, which accentuates the corsage attached to the primate’s left chest.

Another artist came to mind when I saw the significance of the corsage. Yee I-Lann has also produced a series of photographic images depicting the corsage in a variety of arrangements, titled The Orang Besar Series: YB#1–10 (2010). These corsages were worn by Malaysian politicians and dignitaries when they attended official functions held in their honour.

Last year, Prime Minister Najib Razak and his Singapore counterpart Lee Hsien Loong were seen viewing this work during the launch of Titian Budaya exhibition, where it was displayed in celebration of 50 years of friendship between Singapore and Malaysia at White Box @ Publika in Kuala Lumpur.

Social and political landscape
The Reformasi movement and its demonstrations marked the start of Dr Mahathir’s eventual decision to give up power. Among the artworks that reflect this divided period are Hamidah Abdul Rahman’s Self-Portrait and one of four larger-than-life portraits by Ahmad Fuad Osman.

Created in 1999 by Fuad, the painting titled Syhhh..! Dok Diam-Diam, Jangan Bantah. Mulut Hang Hanya Boleh Guna Untuk Cakap Yaaa Saja. Baghu Hang Boleh Join Depa… Senang La Jadi Kaya, conveys his feelings about the sociopolitical climate. That period was marked by increasing polarisation among the people — those who agreed with the views of the government regarding Datuk Seri Anwar Ibrahim’s arrest and those who opposed it.

“Hamidah’s work is the only one that deals directly with Anwar’s black eye. If you look closely, the work seems to suggest that it wasn’t just Anwar who suffered the black eye but, as Malaysians, we all did. Rather than just a single blow, the work also suggests that the black eye was a culmination of a series of soft blows. That a long series of Mahathir policies led to that infamous injury,” Willie explains.

Incidentally, Syed Ahmad Jamal’s 1999 painting — 2.9.98 — of a single eye actually documents the date of the incident.

Also featured are documentation and newspaper clippings of the installation, performance and sculptures, titled Warbox, Lalang and Killing Tools (1994), by Bayu Utomo Radjikin, Wong Hoy Cheong and Raja Shahriman as well as music performances by punk rock band Carburetor Dung at the Creative Centre, National Art Gallery, which is now the Majestic Hotel.

“Primarily, we were looking for artworks made during the Mahathir years, which addressed some of the policies and politics of the time. Frankly, there was no shortage although a number of key artworks we originally selected were not included as the artists did not wish for them to be included. And we respect their decision,” Willie says.

Lalang was presented by Wong over the course of nine days — Spraying of Weed Killer, Cutting and Burning of Lalang and Re-turfing of Lawn — in conjunction with the seventh anniversary of Operation Lalang, which occurred in 1987 as a result of internal political and institutional instability.

The performance was documented by Ray Langenbach, 68, who also conducted interviews with the audience regarding the art and sociopolitical situation in Malaysia during the exhibition opening. Langenbach declined to feature this important recording at the exhibition. He published on social media his response to the gallery upon receiving an invitation to showcase the Killing Fields-Lalang video stating that “the exhibition seems to tacitly support the notion that the Reformasi artists have now all decided to realign themselves with the Mahathir-Daim camp, despite the fact that much of their art was explicitly (or obliquely) birthed in opposition to Dr Mahathir’s corruption and draconian policies. And this supposed U-turn implies that the artists now support the continuity of non-democratic, race-based ideology that BN [Barisan Nasional] and Umno have consistently deployed in order to remain in power…”

Langenbach has lived and worked in Malaysia and has been a keen observer and participant of social realism in Southeast Asia since 1988. He is now a professor of Performance Art and Theory specialising in Live Art and Performance Studies at the Theatre Academy, University of the Arts Helsinki, Finland.

Themes of resistance
Due to the connotations associated with a title like Era Mahathir, it is understandable that some artists who felt strongly about the policies of Dr Mahathir may not want to participate for fear of being made use of and deifying his governance.

For instance, in 1999, Wong Hoy Cheong created an installation of objects found in demonstrations, titled Vitrine of Contemporary Events. It includes judges’ wigs and police batons made of cow dung, videos showing women singing a patriotic song and a copy of the Malaysian Constitution printed on paper made from vacuum-cleaner refuse. The work was created in response to the arrest of Anwar.

So, is Era Mahathir a celebration of the golden years of Malaysia and the glorification of a former prime minister, or a gathering of certain artists who at the time rebelled for a cause and have now changed their principles as they mature?

This article was originally published by The Edge Communications Sdn Bhd in November, 2016.

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Galeri Petronas’ exhibition, Crossings: Pushing Boundaries, offers an ambitious theme but glaring omissions are hard to explain away or be summarily dismissed.

“It was by design that we produced the title visual of Crossings: Pushing Boundaries … to provide visual emotions to visitors when they first see the uneven typography, different dimensions and the elevation of the planes, to give a sense of edginess before they enter the gallery space,” says Galeri Petronas art collection manager Ratna Siti Akbari.

“It is a kind of ‘tactile visual’ that challenges dimension itself to create visual curiosity, to arouse the viewers’ senses and to encourage them to explore.”

The exterior of Galeri Petronas is covered with a two-dimensional sign with the title of the exhibition placed diagonally and geometric planes sculpted at various heights.

Curated by Shireen Naziree, Crossings: Pushing Boundaries, which runs until Oct 30, presents a selection of over 50 artworks by 15 Malaysian artists from three generations who have either lived abroad for a long time or are still residing outside Malaysia. The artworks were assembled from the collection of Galeri Petronas and borrowed from various private collectors, galleries and artists.

The artists, who “have embraced the changing pace of contemporary art practice within the global arena and articulated Malaysia’s diversity through their scholastic and sophisticated art practices” include; Khoo Sui Hoe, who is 77 years old; Dolly Unithan, 76; Latiff Mohidin, 75; Eng Tay, 69; Ali ‘Mabuha’ Rahamad, 64; Anuar Rashid, 58; Chang Fee Ming, 57; Nadiah Bamadhaj, 48; Bayu Utomo Radjikin, 47; Chong Siew Ying, 47; Ahmad Fuad Osman, 47; Sabri Idrus, 45; Roslisham ‘Ise’ Ismail, 44; Wong Perng Fey, 42; and Hayati Mokhtar, 47, in collaboration with filmmaker Dain Iskandar Said.

“Their works were selected for their opinions on either world or local events that have impacted our society,” says Shireen, who is a regular guest curator at the gallery.

Peace and Unity
Upon entering the space, viewers are greeted with an installation by Unithan suspended from the ceiling, titled Doves and dated 1995. The cut-outs of white doves made with acid-free paper are assembled using bamboo, fibreglass netting and nylon cord. The installation measures 45cm by 9m by 1.5m.

In her artist statement about the work, Unithan writes: “The installation comprises doves suspended from streams of netting. They are used metaphorically as symbols of universal peace. The repeated formations of the doves and dimensions of the work intensify and reinforce the projected message of peace.

“In this art display … my individual aspirations for peace, expressed metaphorically, are subsumed by a shared collective experience reflecting humanity’s yearning for universal peace and in turn engendering spiritual communion.”

Regarded as the first Malaysian woman artist to have embraced conceptual art practice as early as 1972, Unithan was educated at Hornsey College of Art, London, which was considered “avant-garde” in the 1960s within the conservative art environment of the UK.

“Her move to New York in 1976 was the start of a long international career that saw her art exhibited alongside that of Andy Warhol in a group exhibition in New York City in the late 1970s,” Shireen says.

“Her work was also selected for the Venice Biennale and she has exhibited in a number of prestigious museums in Europe and America. Her work is also in the permanent collection of the Metropolitan Museum of Art, New York. This is the first time her art has been shown in Malaysia.”

Human Displacement
“When we design an exhibition, we always look at the space as a theatre. The artworks are living characters that speak in dialogue. Visual dialogue has to be enacted here,” Ratna says. A section of the gallery is dedicated to artworks that convey the human plight, comprising a series of paintings by Ali ‘Mabuha’ Rahamad alongside an emotional work by Chong Siew Ying titled The Woman in Red Scarf, dated 2003.

For the past 40 years, Ali has travelled the globe and lived in far-flung places. In 1973, at the age of 21, he left for Europe. His wanderlust included stints in Southeast Asia, Asia-Pacific as well as the Americas. He visited Thailand, Indonesia, the Philippines, Hong Kong, India, Nepal, Pakistan, Afghanistan, Iran, Turkey, Greece, Colombia, Denmark, Sweden, Switzerland, Germany, Holland, England, Yugoslavia, France, Italy, Austria, Egypt, Luxembourg, Canada, Japan, Mexico and the US. From 1973 to 1975, he lived in Amsterdam, followed by Wasserburg in Germany from 1975 to 1984. His last base was Los Angeles, where he lived from 1986 until his return to Malaysia in 2013.

“Ali’s works, titled Nightfall and My Babies and dated 2002, have a very strong visual intensity. They provoke the audience to see the colours and the tactility of the canvases, which are almost Jackson Pollock-like,” Ratna says.

“In terms of subject matter, he draws our attention to how [people] are suffering. A subject of cruelty screaming in agony, it reminds me of Edvard Munch’s Scream with its contorted figures. [The colour scheme is] repulsive and revolting, yet they exude some form of aesthetic to me. When I look at the eyes, they are bulbous, but they are pleading. It is a visual experience, the agony of war. The artwork manifests this expression as Ali’s comment on the Gulf War.”

The message that Crossings: Pushing Boundaries intends to convey is of humanity — and the global social, cultural, political and economic conditions that affect people. Modern human history between 1960 and the millennium is chronicled by the artists and fragmented by world events.

Khoo Sui Hoe’s The Red Landscape, dated 1965, depicts a socio-political situation — the disengagement of Singapore from Malaysia. The piece also shares aesthetic similarity with Latiff’s Daun Agave dan Pago-Pago, dated 1964, with its abstract-constructivist genre. The artworks are from the collection of Galeri Petronas.

Both artists have also employed symbolism — Khoo’s depiction of a lunar eclipse and Latiff’s rendition of a solar eclipse — besides the treatment of tropical colour, shape and form that represent Southeast Asia.

“The language of art is softly spoken, in the form of semiotics. Based on Eastern philosophy, the eclipsed moon or sun spells catastrophe,” Ratna explains.

Global Warming
An impressive appearance in this exhibition is a 45-minute video by Hayati Mokhtar, in collaboration with Dain Iskandar. Titled Near Intervisible Lines and dated 2006, the work was screened at Zones of Contact, during the 15th Biennale of Sydney at the city’s Museum of Contemporary Art. It is being viewed in Malaysia for the first time.

Set in Setiu, Terengganu, Hayati highlights the rapidly changing coastline and its erosion due to global warming. It captures a panoramic view of the sandy coast that integrates almost seamlessly with the cloudy, blue sky.

Hayati studied fine art at Chelsea College of Art and Design (BA Hons) from 1995 to 1997 and obtained a master of fine arts degree from Goldsmiths College, University of London (1998/99). She utilises the moving image to examine landscapes, buildings and semi-abandoned towns. Aside from creating awareness through her art, Hayati is also the founder of Lang Tengah Turtle Watch, an organisation that focuses on the conservation of sea turtles.

Spirituality
Anuar Rashid’s epic oil painting, Jin, from his Mihraj series and dated 2011, measures 2.8m by 3.9m. At first glance, it depicts a dramatic seascape of turbulent waves in thunderous weather. But upon closer inspection, Arabic script reveals itself within the tempestuous surge of sea water.

His artistic career was spent mostly in Europe — in Yugoslavia, Montenegro, Slovakia, Italy and Southern France. During this period of “hiatus” in the 1980s, he
immersed himself in the compositions and techniques of the Old Masters.

“Each wave represents Arabic script. This painting narrates the artist’s interpretation of Surah al-Jinn, the 72nd chapter of the Holy Quran, which contains 28 verses. There is a duality within our dimension,” Ratna says.

“Anuar produced great visionary epics in Mihraj — a series of paintings that took the artist seven years to complete — engrossed in reviewing his experiences … and translating them into art. Defying explanation and meaning, his new discovery as revealed in Mihraj can be grasped, according to the artist, by means of ‘Iqraa’ or ‘reading’. He demonstrated his new understanding of myths, science fiction and sciences, which could lead to an appreciation of divinity.

“Jin is a painting on an epic scale, non-figurative and non-representational. First and foremost, it emphasises the notion of parallel dimensional reality. Anuar applied the dynamics of religious histories intertwined with popular beliefs and myths. This painting contains both literal and imaginative ideas, as the artist stresses the importance of incorporating the hidden, and vaguely inscribing on his painting certain Quranic verses. With it are many assumptions — expectations or conventions — that can and may be regulated to the understanding and meanings of contemporary life.

“His extraordinary flair for painting, the rendering of light in such a dramatic way, was particularly interesting and remarkable. This painting — executed in oil pigment and using the technique of glaze painting — is a composition of high drama, magnanimous in scale and altruistic in its aesthetic sense. It is distinctive, with the operatic and opus style of the European classical art traditions. Proof of Anuar’s virtuosity in conquering the grandeur of the European Old Masters’ painting styles, the visual emphasis with … grand narratives such as good against evil, light against dark,” Ratna explains.

Positivity and the missing link
Overall, the exhibition’s attempt to emotionally stimulate its audience by assembling a selection of visual expressions to emulate real events has proved positive. However, Crossings: Pushing Boundaries would be more impactful if the subject of migration, colonisation and identity was reflected.

To best exemplify this, Wong Hoy Cheong, whose works have been featured the world over — at the Asia-Pacific Triennial, Brisbane (1996); Fukuoka Asian Art Triennial, Japan (1999 and 2009); Venice Biennale (2003); Liverpool Biennial (2004); Guangzhou Triennial, China (2005); Asian Contemporary Art in Print, Asia Society, New York (2006); Istanbul Biennial (2007); Taipei Biennial (2008); Lyon Biennial, France (2009) — was perplexingly unrepresented.

An entire floor of the Deutsche Bank Towers in Frankfurt is devoted to Wong’s works, so the artist has certainly crossed many borders and pushed all boundaries in terms of creative output and global presence. Other artists who have practiced art abroad include Choong Kam Kow, 82, Khalil Ibrahim,82, Jolly Koh, 75, Ahmad Zakii Anwar, 61, to name a few.

In response to this observation, Shireen remarks, “The criteria for the selection of the artists were very clear. While there are numerous artists working across a variety of genres who may have exhibited abroad, we chose artists whose practices and works in the exhibition originated from their stay abroad.

“And while some of them have returned to Malaysia, others have practices that cross geographic boundaries, and others continue to have their homes elsewhere.

“Another important point in the curation was to exhibit works from the early post-Merdeka years that run parallel to Malaysia’s economic development and subsequent recognition on a global economic platform. As such, works were selected to represent three generations of post-Merdeka artists, who show a broad view of issues that have impacted not only our social thinking but also our cultural and economic and political environment.”

This article was originally published by The Edge Communications Sdn Bhd in October, 2016.

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Tucked away in the Piyadasa Gallery at Universiti Malaya is an exhibition that reflects the ‘internal struggles’ of artists Amron Omar and Raja Shahriman.

“It all started when Dr Emelia Ong WhatsApped me a few months ago with a proposal to do a small show with selected artworks from our collection, to be held at the Piyadasa Gallery,” says prominent art collector Pakhruddin Sulaiman.

Ong is the programme coordinator of Universiti Malaya’s (UM) visual art department. The result is 19 pieces currently on show at the gallery at UM in Kuala Lumpur. They are from the private collection of art enthusiasts Pakhruddin and his wife, Datuk Fatimah Sulaiman.*

Entitled Combative Form, the exhibition encompasses sculptures, paintings, drawings and sketches by figurative artist Amron Omar, 59, and sculptor Raja Shahriman Raja Aziddin, 49. The works were assembled to showcase thematic parallels, and to allow the public to view the couple’s collection.

“I look at it as an opportunity to share with the public, albeit on a small scale, our collection of works by both artists. We also hope this show will serve as a stepping stone and catalyst for deeper appreciation and further exploration of their work, specifically in Malaysian art,” says Pakha, as he is known within the local fraternity.

“It has always been my dream to do a joint show of these two artists. Fatimah and I have collected quite a sizeable number of their works in the last 20 years.”

Pakha, a lawyer by profession, and Fatimah, a lawyer by training, have been collecting art since the early 1990s and possess over a hundred of Amron’s works and about 30 of Shahriman’s from various series.

Selecting the artworks
“For this show, I chose works that best represent their artistic development and contributions to Malaysian art over the years,” says Pakha. He selected two pieces from Amron’s Pertarungan series, which portrays the theme of inner struggle, manifested in two male figures locked in the act of silat. The paintings are 1.5m by 1.7m each.

“The first piece, produced in the early 1980s, depicts the figures in a graceful and dance-like posture, while the second depicts a more aggressive and combative posture denoting the intensity of an inner struggle,” Pakha says.

Amron’s preoccupation with this theme also alludes to the struggle “between the forces of good and evil”. For the show, there are also several oil pastels and gouache drawings on paper, as well as studies for the two main pieces.

Shahriman’s metal sculptures from his early Gerak Tempur series capture the dynamic movements of silat interpreted in anthropomorphic forms. A trained blacksmith, he constructed the robust sculptures using metallic found objects.

His works selected for the display comprise five sculptures, two oil paintings on board and three sketches on paper. “I chose sculptures from Gerak Tempur and the subsequent Semangat Besi, Nafas and Rentak Abad Ke 21 series, and these are augmented by several of the artist’s study drawings. These series best represent and manifest his struggle with the idea of the ‘forbidden’ in Islam, specifically depicting the human figure in 3D form,” Pakha points out.

Combative Form is an acknowledgement of “bodily impulses” that “acquire a kind of metaphysical charge” in Amron’s works, and shows understanding of the “mystical process that accompanies the transformation of metal through blacksmithing” in Shahriman’s artistic practice.

Academia and art
On how the exhibition came about, Ong, a senior lecturer in Malaysian art studies at UM, says, “The idea to present Pakhruddin’s and Fatimah’s collection at Piyadasa Gallery occurred when I took my master’s degree students on an educational visit to the couple’s home in 2015.”

Ong, together with Combative Form curator Dr Simon Soon, who teaches Southeast Asian modern art at UM, have been organising exhibitions at the 65 sq m gallery as part of the academic syllabus.

Set up in 2014, this third art space at the university also facilitates research work by students.

“Dr Ong said I was free to conceive the show and propose the artworks to be displayed. At that time, I had not heard of the gallery and had no idea of its size and what it looked like,” recalls Pakha.

“It is named after the late Redza Piyadasa, founder of the post-graduate art course at UM.

“When the offer came, it was like the Malay proverb, ‘orang mengantuk disorong bantal’ (slipping a pillow under a sleepy person). I am looking at this as a sort of a pilot project, in order to expand it later to an exhibition at a larger space with proper documentation, to do justice to both artists’ extensive works in our collection,” says Pakha.

When asked if there will be more collaborations to showcase their collection at UM, he adds, “I am certainly open to that.”

The Pakhruddin and Datuk Fatimah Sulaiman collection, regarded by serious art collectors, curators and scholars as one of the most important in the country, is unrivalled for its depth and relevance to the study of Malaysian contemporary art.

It has some 3,000 books, monographs and catalogues on art and photography housed in their private art space, Ruang Pemula (RuPé), located below Pakha’s law firm in Ampang.

*Datuk Fatimah Sulaiman passed away on Sept 27 after an illness. Our condolences to the family

Combative Form runs until Oct 7 at Piyadasa Gallery, Visual Art Department, Cultural Centre (next to Dewan Tunku Canselor), Universiti Malaya.

This article was originally published by The Edge Communications Sdn Bhd in October, 2016.

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“It is as though every work contains an ‘exclamation mark’, so to speak,” says Mark Neo, Deputy High Commissioner of Singapore, at the recent preview of Jalaini Abu Hassan’s solo exhibition in Kuala Lumpur.

“There are the beautiful exotic landscapes, which I really appreciate. Overall, it is an excellent collection,” says Neo, an avid art collector.

The diplomat was among 200 guests who attended the exhibition, Siang & Malam: The Landscape in Mind, which is being held at The Edge Galerie in Mont’Kiara.

One of Malaysia’s leading contemporary artists, Jalaini, popularly known as Jai, is known for his sharp social commentator on national and international issues. He is showing a dozen new works that reflect his current thoughts.

Among the other prominent art lovers who attended the event were legal adviser Naimah Abdul Khalid, distinguished photographer Tara Sosrowardoyo, art consultant Valentine Willie, film director Saw Teong Hin, architect Dr Tan Loke Mun, lawyer Yoong Sin Min, company director Billy Too Hing Yeap, Minconsult executive director Datuk Rosaline Ganendra, engineer and Crescent Capital chairman and CEO Mirzan Mahathir and Crimson Petroleum CEO Datuk Meor Azman Mohamed and his actress wife Datin Sofia Jane Hisham.

“Jai’s Siang section of lush greenery reminds me of home as I live abroad now. I have always admired Jai’s creative oeuvre. Every work in this show is a personal favourite,” says Sofia Jane.

Arranged within the gallery in two sections — Siang is characterised by bright, vibrant hues and Malam with dark, monochromatic compositions — Jai’s works are said to relate to “fragmented narratives” derived from travel notes, postcards and snapshots.

“The ‘day and night’ theme is carried out very well because of the gallery layout,” says Asian Banking School Sdn Bhd corporate communications senior manager Rafizah Abdul Rahman, who is a former art consultant.

“The artworks are also thoughtfully hung. This is a good progression from Jai’s past works.”

MyCreative Ventures CEO Johan Ishak says, “I admire Jai’s version of the dark genre. The night section is minimalist in approach. Jai’s technical ability with his use of colours and rendering, like the drip effect are impeccable. The narrative in works like Diego Garcia is also powerful.”

IJM Land managing director Edward Chong comments: “Jai has done a fantastic job in creating attractive works that are very contemporary. Based on my observations tonight, the show is a great success.”

“It is remarkable to see the response by art lovers tonight,” says Au Foong Yee, managing director and editor-in-chief of TheEdgeProperty.com and managing director of The Edge Galerie.

Jai concludes: “Tonight is not merely a preview but a social gathering. It’s great to see art lovers as well as new collectors come together to show support.”

Supported by IJM Land, the show is open to the public from Sept 22 to Oct 7.

This article was originally published by The Edge Communications Sdn Bhd in September, 2016.

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In Malaysian art, few artists handle sociopolitical subjects as deftly as Jalaini Abu Hassan, who has established himself with works that continuously prick our collective conscience.

Constantly pushing the envelope in search of new processes, leading contemporary artist Jalaini Abu Hassan has created a new body of works that is pregnant with meaning associated with Malaysia today.

Popularly known as Jai, the 53-year-old artist is showcasing a dozen acrylic paintings at his 27th solo show at The Edge Galerie in Kuala Lumpur from Sept 22 to Oct 7. Entitled Siang & Malam: The Landscape in Mind, the latest works are grouped under two categories — one section characterised by bright, vibrant hues and the other, dark, monochromatic compositions.

In an attempt to recollect, rearrange or retell stories and meanings, the works are said to comprise “fragmented narratives” derived from travel notes, postcards and snapshots. For instance, his largest work, Exotica Malaya (184cm by 245cm), is full of irony. It illustrates the lush landscape of green trees, blue sky and the silhouette of mountainous terrain in the background. And amid the beauty of nature lies three camouflaged tanks visible through the expulsion of white smoke.

In this work, Jai references Caspar David Friedrich’s 1807 painting Cross in the Mountains.

“As a subject matter, the picturesque landscape was a convenient adaptation [of scenes] from periodic trips back to my village up north. The transient journey from day to night, from bright light to twilight, ultimately transpired in the theme of day and night,” says Jai in an interview at his studio in Ulu Klang, on the outskirts of Kuala Lumpur.

“I began to find interest in the way these two linear and cyclical tracks intertwined with each other in a defusing manner, where the contrast between light and shadow and the subtle darkness hidden between the night clouds became full of meaning.”

Such a contradiction is also evident in The Burning Love, in which Jai illustrates the captivating view of the blossoming sakura (Prunus serrulata) with its branches in flames. The artwork bears an arresting caption, painted across the canvas, in another attempt to liberate it from the serial notion. Another work, Bahang Pisang, contains an element of surprise with the use of fabric collage amid the burning landscape. Inspired by his wife, Jaslena Amir, a fashion consultant, Jai collects fabric with titillating prints and patterns from around the world. Besides stretched canvas and linen, he also works with printed fabrics in silk, chiffon and georgette as part of his collage work.

“Look at these prints. It’s amazing how beautiful imagery, such as birds and flowers, is found on simple cloth motifs! This is a piece of art itself. It’s irresistible not to include them in my work,” says Jai.

Nature being set ablaze seems to be a recurring theme in Jai’s rendition of the light of day. In works like Aku Terbakar, Bahang Pisang and Bumi Membara, he expresses his admiration for picturesque scenes in the backyard of his family home in Batu Kurau, Taiping.

“The landscape is, without doubt, a symbolic place where one moves back and forth between internal and external realities. Embedded are the mysteries and personal stories of joy, despair, hope and struggle,” explains Jai.

In Hakone’s Three Samurais, Jai selects an intriguing vantage point of a cable car tower and a scenic mountain in the background. Depicted at close range, the towering steel dominates the entire left plane against the split perspective of the mountain and blue sky. Three miniature samurais are seen ascending the steep hill.

“Japan is one of my family’s favourite destinations because of its rich culture and history,” says Jai.

Noted for its onsen or hot-spring resorts, Hakone is a popular tourist attraction due to its proximity to the greater Tokyo metropolis and Mount Fuji. Places of interest include the Owakudani geysers and Hakone Shrine on the shore of the lake as well as the Hakone Botanical Garden of Wetlands. Cherry blossoms in April and the Miscanthus sinensis (susuki) in autumn are the main highlights.

Nocturnal Mystery
The Malam group of works features a more mysterious approach to the unknown and an almost surreal landscape. According to Jai, “the night becomes the time for stories told in the brightness of the moon”. In Injured Mountain (Bukit Putus), Jai depicts a mysterious hill at nightfall. The trunk road that connects Seremban to Kuala Pilah is notorious for its narrow and sharp bends. Jai emphasises the split in the hill by creating a void in between and accentuates the cloudy and gloomy atmosphere with hints of stars in the darkened sky.

Diego Garcia alludes to the disappearance of Malaysia Airlines Flight MH370 in 2014. The painting features an aerial view of the atoll located south of the equator in the central Indian Ocean. A single commercial plane is seen ascending above the controversial island.

Conspiracy theorists suggest that MH370 was either captured by a foreign power and then flown to the military base of Diego Garcia or made to land at the base directly.

In the same vein, The Island of Shame contains elements of metaphor. The atoll of Diego Garcia is illustrated from an aerial perspective. Jai accentuates the vastness of the sea and sky that depicts seamless assimilation. The Polaroid format has also been appropriated in its presentation.

“I was inspired by David Vine’s book about human political behaviour and displacement, the abuse of human rights and people’s struggle to survive. The work in monochrome reflects the element of mystery and secrecy in addition to a journalistic, photo-narrative element,” explains Jai.

“For most of us, the infamous location (Diego Garcia) only surfaced after the tragic MH730 episode. It aptly conspired with many unfounded theories of conspiracy to suit our agendas. This is my most intriguing painting executed as the last work for Siang & Malam.”

As a “process painter”, Jai is interested in exploring the act of creation that goes into forming a work, the exploration of material and media and the marks that form a drawing. His works are inspired by current affairs, and expressed using local and familiar imagery seen through his personal lens of nostalgia and history.

“Siang & Malam can be read in multiple ways, either by thinking about real landscape, imaginary landscape, conceptual landscape or landscape as process,” says Jai.

Mainly devoid of human figures and portraiture, one of Jai’s strong points in art-making, his latest works celebrate the splendour of nature and the art of landscape representation.

Educationist
Jai obtained his bachelor’s degree from Mara Institute of Technology in 1985 and did his master’s degree at the Slade School of Fine Art in London, where he obtained his master’s degree. In 1994, he earned a master’s degree in fine art at the Pratt Institute in New York.

Since 1988, the painter has also been an academician at his alma mater. He has been an associate professor in the faculty of art and design at Mara University of Technology from 1999. And since 2005, Jai has been mentoring master’s degree students in fine art. Over nearly three decades, Jai has mentored hundreds of fine art students and young artists.

“Artists like Najib Bamadhaj, Fadilah Karim, Shafiq Nordin, Faizal Suhif, Khairudin Zainudin, Anisa Abdullah, Arikwibowo Amril, Yusri Sulaiman, Fawwaz Sukri and Khairul Izham, to name a few, have shown incredible talent and growth,” says Jai.

“Art education evolves just as we do. Art production also changes as knowledge expands. What was once important will become obsolete and vice versa,” says Jai, in response to a question about the level of improvement or differences in art education for every generation since the 1980s and today.

“In the 80s, I was taught to look for the Malaysian identity or Islamic values. The word ‘peribumi’ was imposed in the education system, which was a much more secular concept before.

“In the 90s, when I was teaching, this sensibility was suitably reversed to focus on universal concerns. Art in the Nineties embraced globalism and addressed the social, political and economic forces that triggered global art. And local narratives were about colonialism, political war, social dysfunction and the degradation of nature, among other concerns.

“In the new millennium, issues have become more individualistic where experimentation and cross-disciplinary approach are encouraged. Technology-based art-making is the new phenomenon.”

As an educationist, Jai encourages the younger generation to understand the economics of art besides producing artworks.

“In today’s global economic system, I think it is crucial for young Malaysian artists to be exposed to the elements of commerce in art. Besides formal knowledge, art schools should also educate students on business ethics, counsel them on the challenges of early fame and teach them to deal professionally with galleries and art dealers, and address collectors skilfully and so on. These skills will put Malaysian art on a higher level.”

This article was originally published by The Edge Communications Sdn Bhd in September, 2016.

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Private sales appear to be spearheading the niche demand for artworks with historical significance. Three art advisers talk about the current market for vintage Malaysian art of the modern era.

At RM150,000 to RM500,00 each, the prices of the four paintings by pioneer Malaysian artist Abdullah Ariff raised eyebrows at the recent show, Convergence of Souls, organised by Fergana Art.

Held at Publika Shopping Gallery in Kuala Lumpur from Aug 6 to 11, the “private selling show” featured 58 rare works by 17 Malaysian artists. The event was aimed at targeted buyers, allowing them to view the works in a gallery-like setting.

Two of the oil paintings by Abdullah (1904-1962) were from the 1930s and are among only five that survived World War II. “Sidang Roh (Conference or Conversation of Souls) is the title of both the 1970 painting by Datuk Syed Ahmad Jamal, which was the metaphorical focal point of the exhibition, and the 1960 poem by Kassim Ahmad, that together inspired the title of the exhibition, Convergence of Souls, alluding to a meeting of ‘soul-searching’ art, some of which is by ‘souls’ who have passed on,” says curator Zainol Abidin Ahmad Shariff, 64, who is also known as Zabas.

Even though the focus of the exhibition was the painting Sidang Roh by the late national laureate Datuk Syed Ahmad Jamal, which has now been withdrawn from sale, the asking prices of Abdullah’s works were astonishing.

“What drives the direction in terms of selection of artwork is that they are significant works of institutional quality, key works by artists who are under- appreciated and, perhaps, exist under the radar, and unearthing artworks or digging out quality and rarely seen works from an artist’s own archive or private collection,” says Fergana Art adviser Jaafar Ismail, 60.

“Most importantly, we thought it just would be interesting to show this type of works to the public. The history of modernism and post-modernism is an obvious reference to the selection process,” he adds.

The “gold standard” selection of artworks that are scarcely available on the mainstream market all come with a high premium. What was surprising was that the prices were chalked by artists whose works are normally sold at quite conservative levels.

For instance, 72-year-old Ismail Mustam’s triptych titled Three Horizons, dated 1965, which was created by the artist when he was 21, was priced at RM200,000.

“A classic ‘unearthing’ outcome. He was part of Malaysia’s participation at the 10th São Paulo Biennale in 1969. How many people are aware that Malaysia was represented at the second oldest art biennale in the world in 1969?” says Jaafar.

Other highlights of the exhibition were two paintings from the Pago Pago series, dated 1967, by Latiff Mohidin, 75, priced at RM650,000 and RM800,000, respectively.

Regarding the successful sale of Latiff’s Pago Pago for RM650,000 at Convergence of Souls, Joshua Lim, 48, founder of A + Works of Art gallery, remarks, “This particular sale is what I term as ‘never a right time to sell’ artwork, as the next time it or a similar quality Pago Pago becomes available on the secondary market, the price will be much higher!”

Value versus price and public versus private
In Convergence of Souls, the most striking artworks that bore hefty price tags (though not the most expensive) were oil paintings by Abdullah. Caunter Hall, dated 1932, was priced at half a million ringgit and so was Batu Ferringhi, dated 1933, while Chinese Junk, dated 1956, was offered at RM350,000.

According to Jaafar, the three oil paintings are part of the artist’s family treasure and the prices were decided by Fergana’s management and the consignor.

“The pricing of Abdullah Ariff’s oils is anyone’s guess — after all, only five of his oil paintings survived World War II. The two oils from the early Thirties are of historical importance and are museum-quality pieces. They are almost family heirlooms, hence, one cannot work out a per square foot valuation — as for conventional real estate. It is historical real estate, in a manner of speaking,” says Jaafar.

In private sales, there is a mutual understanding of “willing buyer, willing seller” that determines the “fair market value” of an artwork. To a handful of collectors, RM500,000 for a unique 1932 oil painting by Abdullah, with good provenance and in good condition, may be the right price to pay.

But to some, the same amount can be allocated to build a comprehensive collection of contemporary art by young and emerging artists, and even expanding one’s portfolio to acquire Southeast Asian, Asian and even global art.

Adds Lim, who turned professional art dealer last year and has been collecting Southeast Asian art since 2000, “I think it is important to understand the psyche of the collector. Collecting art is an emotional and a very personal endeavour. The more important the collection, the more of these emotional attachments.

“Serious collectors are well informed and know the value of their art collection, thus, they are unlikely to bargain for ‘unreasonable’ prices. The extremes are more likely to happen with ill-informed corporate sellers, the heirs who inherited the art collection or artists who propose either below market or over-the-top prices!”

On the prices of the works in the Convergence of Souls exhibition, Jaafar says: “The key works are priced to market or what we think the works should fetch in a market that is reasonably knowledgeable about art history and the modernist movement.”

The record price for an undated Abdullah Ariff watercolour sold at a local public auction was RM46,200 (including the buyer’s premium), for The River Ferry (estimates RM40,000 to RM50,000), in 2013. The unique watercolour titled Hut on the Rock by Abdullah and dated 1955, offered by Fergana Art in the exhibition, was priced at RM150,000.

“Pricing is at best a guesstimate about significance. No rocket science involved: rarity, significance and ultimately aesthetic quality, albeit subjective,” says Jaafar.

Art dealer Chris Tay, of Chris Tay Art Advisory, held a thematic private selling exhibition focusing on Nanyang Art in June this year. His consultancy was established in 2014 after he spent four years with a local auction house.

Tay offered 46 Malaysian artworks to the Singapore market in June, in his first art exhibition, and sold half the collection. His transactions also benefited from the exchange rate.

“The Singapore government has done a great deal to promote the pioneer Singapore Nanyang artists and we have received feedback from art enthusiasts in Singapore that they would like to learn more about Malaysian pioneer art of the Nanyang era,” says Tay, 28.

Ranging in price from RM6,000 to RM400,000 (S$2,000 to S$130,000) the highest valued work was an oil painting by Yong Mun Sen titled Paddy Planting, dated 1946.

“The prices are decided after discussion and agreement with the consignors,” says Tay.

Agreeing with Fergana Art, Tay too believes that historical works of art fetch high prices regardless of economic conditions.

“Art is an asset class unlike other collectibles or investment channels due to its uniqueness, rarity, cultural and historical values, as well as an ability to offer an emotional return,” he says.

“Hence, the art market may not run parallel to the economic climate. Some would even say that the best time to buy art is during an economic slowdown.

“Modern works usually appreciate in value over time because the artists are no longer around to produce more works and the museum-quality pieces available for private acquisition are few and far between.

“Sometimes, it is not how much money you have that can secure you these important works of art, simply because they are so rare.”

But are “guesstimate” prices healthy for the future of artworks and the art market?

This article was originally published by The Edge Communications Sdn Bhd in August, 2016.

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