K : Jadi, Aku ni boleh kira art collector juga lah, kan? Tapi aku lukis sendiri lah.
ZB : Ya, boleh. Ha ha ha ha.
Jumaat, 28 Januari 2011
Orang Kaya
K : Jadi, Aku ni boleh kira art collector juga lah, kan? Tapi aku lukis sendiri lah.
ZB : Ya, boleh. Ha ha ha ha.
Ahad, 23 Januari 2011
Anuar Rashid
Tak sempat nak membebel, tapi ada sesuatu perihal painter Anuar Rashid... Selamat membaca. Artikel dikebas dari sumber atas talian kerana pada firasat saya, jika tidak "dikebas", tak ramai yang mahu meng-google-nya.
By JOHAN JAAFFAR
ONE of the most infamous paintings in Malaysian history is in the possession of publisher and writer Datuk Baharuddin Zainal. It is untitled. But back in 1978, it made history for reasons beyond artistic merits alone.
Artist Redza Piyadasa bought the painting, blacked out three- quarters of it, and wrote these words: "1. After buying this "oil painting" by Anuar Rashid for RM130, I decided to black out most of it. 2. This Piyadasa 'art proposition' is now offered for sale at RM500."
Back then, Piyadasa was one of the ideologues of the art movement of the 1970s. Some would argue he has little patience for "aberrations" in the local art scene. Interestingly, Piyadasa, too, was an experimenter and an uncompromising artist. So what he did to Anuar's work was, to say the least, baffling to most people, or to quote an art critic at the time, merely "another artistic expression" albeit a notorious one. Call it desecration of art.
Naturally the artist community was furious. Anuar was 20 then, struggling to make his mark as a painter. He wasn't sure what was happening and what it meant to him.
Piyadasa later became one of Malaysia's best known artists, critics and art historians. He had served as a member of the board of trustees of the National Art Gallery of Malaysia and a member of the Acquisition Board of the Asian Art Museum, Fukuoka City, Japan.
He will be remembered for his studies on modern Malaysian and Asian art. He has published numerous essays and books on the subject. Three of his best known books are Modern Artists of Malaysia, Rupa Malaysia: Meninjau Seni Lukis Moden Malaysia and Masterpieces From the National Art Gallery of Malaysia.
He, too, had his moment of infamy. When he held a joint exhibition with Sulaiman Isa, entitled "Mystical Reality", someone pointed at his works and asked, "Is this art?
What he did later at one corner of the Sudut Penulis (Writers' Corner) of the Dewan Bahasa dan Pustaka (DBP) will enter the history books as the most ludicrous act ever witnessed in any art exhibition: He urinated.
The world of paintings was at its most robust in the 70s.
Anuar was one of many young artists drawn to Kuala Lumpur. He was born in Langgar, Kedah. At 15, he almost died after being bitten by a cobra. He joined the School of Art and Design at the Institut Teknologi Mara (now UiTM) in 1975.
When he came to KL, art galleries were mushrooming. Artist communities were in abundance. DBP was providing the impetus for the development of literature, culture and the arts. The Ministry of Culture, Youth and Sports back then was the patron of various artist movements.
One of these was Anak Alam (Sons of Nature) which adopted the late Ismail Zain of Kompleks Budaya Negara and the late Usman Awang of DBP as their godfathers. Ismail allowed them to reside in an old bungalow outside the complex (opposite Padang Merbok).
It was an artists' colony unlike any other. Initially, it was started by painters and poets like Latiff Mohidin, Mustafa Ibrahim, A Ghafar Ibrahim and Siti Zainon Ismail. It was there that Latiff nurtured his "Pago-pago" painting series.
It was bustling with activities - exhibitions, workshops, poetry readings. Troubadours and seniman were attracted to Anak Alam, and Anuar was one of them.
Anak Alam became synonymous with freedom of expression, experimentation and the bohemian way of life. No, they were not hippies. The penghulu of Anak Alam, Mustafa (Bang Tapa) ensured they conformed to rules and regulations while in the compound (read: We're Anak Alam. No free sex please).
Anuar made his impression soon after. In 1976, one of his works was exhibited as part of the "Young Contemporaries" paintings at the National Art Gallery. At ITM, he had his fair share of problems with lecturers found him too "experimental" or introvert. His paintings, to quote him, "never passed the lecture theatres". Instead, he spent hours in his studio without attracting the attention of his supervisors. He graduated nonetheless in 1979.
To prove his worth, he won second place in the coveted Salon Malaysia Awards 1979, beating many of his lecturers who participated. He held solo exhibitions in Kuala Lumpur, Singapore, Johor Baru and Penang. In 1981, he was one of the youngest painters to decorate the walls of the National Art Gallery in the auspicious exhibition entitled "Twenty Five Years of Malaysian Art".
It was Datuk Seri Lim Chong Keat of Penang who actually discovered him back in the late 70s. It was through his initiative that Anuar was given the opportunity to exhibit his earlier works overseas.
Lim was instrumental in securing him Starr Foundation Fellowship Programme organised by the Asian Council of New York in 1986. His foray into the international art scene started in 1980 when one of his paintings was selected in the Contemporary Asian Art Show in Fukuoka.
Sometime in 1983, Anuar "disappeared". He surfaced in Romania, Italy, Russia, Yugoslavia and France. "I was searching for something," he said. "Perhaps my lost soul."
He came back in 1986, "trying hard to come to terms with myself". He did a mural for Pasar Seni entitled "Wind, Water and Fire" as a tribute to Kuala Lumpur. He then left for his home State and has resided there ever since.
Many years ago, he left about 20 of his best paintings ("almost my life history") to a friend. Due to carelessness, the paintings were destroyed. He was devastated. But the friend, who later became a corporate titan, did try to mend the rift.
"I have survived a cobra bite, endured the pain of my painting being blacked out and some of my finest paintings destroyed," he told me. "I have to start afresh. And to look for a new beginning."
ONE of the most infamous paintings in Malaysian history is in the possession of publisher and writer Datuk Baharuddin Zainal. It is untitled. But back in 1978, it made history for reasons beyond artistic merits alone.
Artist Redza Piyadasa bought the painting, blacked out three- quarters of it, and wrote these words: "1. After buying this "oil painting" by Anuar Rashid for RM130, I decided to black out most of it. 2. This Piyadasa 'art proposition' is now offered for sale at RM500."
Back then, Piyadasa was one of the ideologues of the art movement of the 1970s. Some would argue he has little patience for "aberrations" in the local art scene. Interestingly, Piyadasa, too, was an experimenter and an uncompromising artist. So what he did to Anuar's work was, to say the least, baffling to most people, or to quote an art critic at the time, merely "another artistic expression" albeit a notorious one. Call it desecration of art.
Naturally the artist community was furious. Anuar was 20 then, struggling to make his mark as a painter. He wasn't sure what was happening and what it meant to him.
Piyadasa later became one of Malaysia's best known artists, critics and art historians. He had served as a member of the board of trustees of the National Art Gallery of Malaysia and a member of the Acquisition Board of the Asian Art Museum, Fukuoka City, Japan.
He will be remembered for his studies on modern Malaysian and Asian art. He has published numerous essays and books on the subject. Three of his best known books are Modern Artists of Malaysia, Rupa Malaysia: Meninjau Seni Lukis Moden Malaysia and Masterpieces From the National Art Gallery of Malaysia.
He, too, had his moment of infamy. When he held a joint exhibition with Sulaiman Isa, entitled "Mystical Reality", someone pointed at his works and asked, "Is this art?
What he did later at one corner of the Sudut Penulis (Writers' Corner) of the Dewan Bahasa dan Pustaka (DBP) will enter the history books as the most ludicrous act ever witnessed in any art exhibition: He urinated.
The world of paintings was at its most robust in the 70s.
Anuar was one of many young artists drawn to Kuala Lumpur. He was born in Langgar, Kedah. At 15, he almost died after being bitten by a cobra. He joined the School of Art and Design at the Institut Teknologi Mara (now UiTM) in 1975.
When he came to KL, art galleries were mushrooming. Artist communities were in abundance. DBP was providing the impetus for the development of literature, culture and the arts. The Ministry of Culture, Youth and Sports back then was the patron of various artist movements.
One of these was Anak Alam (Sons of Nature) which adopted the late Ismail Zain of Kompleks Budaya Negara and the late Usman Awang of DBP as their godfathers. Ismail allowed them to reside in an old bungalow outside the complex (opposite Padang Merbok).
It was an artists' colony unlike any other. Initially, it was started by painters and poets like Latiff Mohidin, Mustafa Ibrahim, A Ghafar Ibrahim and Siti Zainon Ismail. It was there that Latiff nurtured his "Pago-pago" painting series.
It was bustling with activities - exhibitions, workshops, poetry readings. Troubadours and seniman were attracted to Anak Alam, and Anuar was one of them.
Anak Alam became synonymous with freedom of expression, experimentation and the bohemian way of life. No, they were not hippies. The penghulu of Anak Alam, Mustafa (Bang Tapa) ensured they conformed to rules and regulations while in the compound (read: We're Anak Alam. No free sex please).
Anuar made his impression soon after. In 1976, one of his works was exhibited as part of the "Young Contemporaries" paintings at the National Art Gallery. At ITM, he had his fair share of problems with lecturers found him too "experimental" or introvert. His paintings, to quote him, "never passed the lecture theatres". Instead, he spent hours in his studio without attracting the attention of his supervisors. He graduated nonetheless in 1979.
To prove his worth, he won second place in the coveted Salon Malaysia Awards 1979, beating many of his lecturers who participated. He held solo exhibitions in Kuala Lumpur, Singapore, Johor Baru and Penang. In 1981, he was one of the youngest painters to decorate the walls of the National Art Gallery in the auspicious exhibition entitled "Twenty Five Years of Malaysian Art".
It was Datuk Seri Lim Chong Keat of Penang who actually discovered him back in the late 70s. It was through his initiative that Anuar was given the opportunity to exhibit his earlier works overseas.
Lim was instrumental in securing him Starr Foundation Fellowship Programme organised by the Asian Council of New York in 1986. His foray into the international art scene started in 1980 when one of his paintings was selected in the Contemporary Asian Art Show in Fukuoka.
Sometime in 1983, Anuar "disappeared". He surfaced in Romania, Italy, Russia, Yugoslavia and France. "I was searching for something," he said. "Perhaps my lost soul."
He came back in 1986, "trying hard to come to terms with myself". He did a mural for Pasar Seni entitled "Wind, Water and Fire" as a tribute to Kuala Lumpur. He then left for his home State and has resided there ever since.
Many years ago, he left about 20 of his best paintings ("almost my life history") to a friend. Due to carelessness, the paintings were destroyed. He was devastated. But the friend, who later became a corporate titan, did try to mend the rift.
"I have survived a cobra bite, endured the pain of my painting being blacked out and some of my finest paintings destroyed," he told me. "I have to start afresh. And to look for a new beginning."
Isnin, 17 Januari 2011
Bahasa
 |
| Lukisan berdengung oleh Sigit Santoso |
yang ini dari satu laman sesawang:
Bandung - Bomber timnas Malaysia Mohammad Safee bin Mohammad Sali ternyata punya alasan khusus memilih merumput di Indonesia bersama Persib Bandung.
yang ini dari hasil seni Masnoor (Matahati):
Mbah Marjan
Ahli : mengobati......
penyakit sumpek, keuangan seret, bebas remedhii.
TIDAK MENERIMA - pesanan santet.
Jumaat, 14 Januari 2011
Martinis, Girls and Guns
Bayangkan,
Separa kacak
Pakai jam Rolex (Submariner)
Pakai "kereta sukan" (sport car)
Berparti itu adalah kerja
Cekap "mengurus" wanita-wanita yang hangat tetapi "leceh"
Pandai mengurat
Pandai bertumbuk
Diburu macam mana pun tetap tak mati-mati.
Jumpa orang salam tangan, terus cakap:
"Bond, James Bond"
Fuhh... bukan main sedap kalau menjadi James Bond...
Khamis, 13 Januari 2011
Zul
Semalam di Malaya....
Orangnya sederhana, namun jenakanya berbisa. Itulah Zul, insan berhati mulia namun sering tersalah timing. Berseluar dangree dan gemar bersepatu getah, kutuuuuuuuuuu...
Zul Baboon : Karim. Apa kau buat apa tu?
Karim : Menampi padi ni hah... nampak kan?
ZB : Oh... syok ke menampi tu?
K : He he. Buat kerja lah, kejar dateline.
ZB : Chait! Banyak lagi ke?
K : Ada lah juga.
ZB : Oh, bukan apa, terasa nak tanya kau soalan lah.
K : Apa dia? Ringkas dan padat...
ZB : Kau rasa-rasa lah kan, kat mana letaknya penghujung alam semesta ni?
K : *gulp*
ZB : ada teori?
K : Mmmmm.... macam mana eh nak terangkan. Mmmm.. kau nak kena tampar tak?
ZB : Nak tanya pun tak boleh, tak sporting...
Rabu, 12 Januari 2011
Teh Ais
 |
| Natalie Imbruglia (cadangan hiasan) |
Pagi tadi saya singgah ke gerai di bawah pohon hujan-hujan (samanea saman) untuk membeli teh ais bungkus. Gerai itu ada nilai nostalgiknya, tambah pula tukang bancuhnya mampu menghasilkan teh ais berkualiti premium, maka berjalan jauh sedikit pun tidak mengapa. Di gerai/ restoran lain juga ada teh ais, namun banyak yang mengecewakan dari segi kehebatan rasa, jadi tak perlu cerita lanjut.
Setiap dua atau tiga haris sekali saya akan ke situ untuk melampiaskan keinginan menikmati teh ais yang sempurna. Semenjak umur meningkat, saya mula mengawal darjah kemanisan yang ditelan seharian. Jika boleh, biarlah kekal sehat, ceria dan bergaya seperti Jeffry Din di usia tua nanti.
Tiba di pejabat, saya bingkas membaca surat khabar yang dari awal pagi sudah siap terselit di bawah pintu. Sambil menyelak dan membaca secara rambang, saya menikmati teh ais yang dibeli sebentar tadi.
Srruutt... Srrrruuuutttt.... Srrrrruuuuutttt..
"Aik? Apa fasal pulak ni?" Terkesima. Hairan.
"Apa kejadahnya air ini?" Gamat sendiri.
Apa natijah semua ini? Puas saya menyedut, angin saja, no ayer and no water...
Mistik dan sihir apa pula yang melanda ini, getus hati saya. Saya kuatkan sedutan,
Srrrrrrrrrrrrrrrrrrrrrrrrrrrrrruuuttttt!!!! Ahhhh...
Kuat sedutan itu, ibarat lohong hitam menelan isi cakerawala, namun, cuma sedikit air teh yang meluncur masuk ke tekak. Ini perkara yang menyakitkan hati. Rasa nikmat yang ditagih, potong stim pula yang mendatang. Saya campak surat khabar ke meja teman, hilang selera nak membaca.
Selepas melakukan sedikit pemeriksaan teknikal, di dapati penyedut minuman mengalami kerosakan di mana terdapat kebocoran di bahagian tengah. Kerana itu, payah nak menyedut secara normal. Patut lah....
Isnin, 10 Januari 2011
Berdesing
Semalam ada saya keluar berjumpa seorang teman yang kepala hotaknya (berjambul) macam encyclopedia dan mulutnya perlahan sedikit sahaja dari kak Sarimah. Bersua untuk bicara soal karya terbaru masing-masing. Enak bicara di bawah pohon sambil minum-minum. Dinihari pulang ke rumah. Hati ceria. Melakar dan menggores apa yang patut. Ahh.. bukan main nikmat. Sampai ke.....
Pagi ini seperti biasa, pergi menjalankan tugas, seperti biasa juga. Di pejabat bertemu rakan - ceria-ceria belaka. Tiba-tiba telinga berdesing, "zingggg..", lantas terbersin "hashuuumm!!". Terkesima . Mengapa ya? Adakah kerana kerap benar menghidu bau campuran linseed dan turp? Mustahil... Hmm... Baru teringat. Sebenarnya, saya masih belum tidur lagi sejak semalam, walau hanya untuk seminit, belum lagi. Rasanya. waktu rehat nanti nak tidur bawah meja sekejap.
Jumaat, 7 Januari 2011
Seni Mengulas
 |
| cadangan hiasan (lukisan Diego Gravinese) |
Anda kritikal, tapi barangkali, barangkali... barangkali... barangkali... (berapa banyak barangkali da...) aha, anda suka menonton Seinfield atau The Simpsons, dan bila di minta mengulas soal pelukis siapa-siapa saja, entah kerana apa, anda tiba-tiba penat - lelah - tapi bijak menggunakan perumpamaan mudah. Jadi ada kecenderungan buat anda membikin review gaya sebegini:
"His latest series is a showcase for how far he can take his abilities: he is, really, an Olympic-level athlete of painting. Denis is in a class by himself. He is the Michael Phelps of painting, the Usain Bolt of airbrush and paintbrush. He makes Vermeer look like Jackson Pollock."
Chris Rywalt - Urban Perspectives, NYC Art
Rabu, 5 Januari 2011
Enigma
Salam kembara.
Langgan:
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