towards
the new millennium' (90's)LEE Kian Seng 李健省 亚洲当代艺术家
In Chinese c/w English translation ( 华语 ·英语）
亦庄亦谐
1990's
towards
the new millennium' (90's)
1977
《
Of ' Image,Object,Illusion ' -Off Series Mechanism 》
1977
亦庄亦谐
Hammer and Nail (1977/1991)
1975
1974
Young Contemporaries Malaysia
1972
（under construction）
1972
《
From the windows of red.红色的视窗 1972》
1969～1970
世界博览会《
Unity 》（1969/1970）@ World Exposition 1970
印尼耶加达《Peace,
Harmony and One
》（1984）
"...the
'fluid strokes' is the motion processed from the root of my Chinese
calligraphy...the work is the embodiment of the strokes and form in our
shared physical and social world "
香港
Sand
sculpture Hong Kong (1988)
<Chen1988>
An
nstallation
at Cong
Hwa High
School Klang Malaysia on
March
13,
1988
(Chinese + English).
亚洲那时代也有： “文化大革命” 1966年5月至1976年10月
(note: below under construction)
(LEE Kian Seng 1973) 李健省
at the National Art Gallery (Jalan Ampang) Malaysia 1975 于马来西亚国家画廊
<Birthday
1980>
June 13, 1980 on
the inauguration night of the Malaysian Artists’ Association .
<
25 years >An installation at the Opening of
‘Twenty-five years of Malaysian Art’ of the National Art Gallery at
Jalan Ampang Malaysia on
Oct
8
,
1982
.于马来西亚国家画廊
<Blossom1984>
An installation at the Opening
of the new premises of the National Art Gallery Malaysia on May 21, 1984
.
An Installation
of
3 works on the ceiling at the Klang Hokkein Association Malaysia on August
17,
1988.
“One
World No War 1991”at
Bandar Raya Kuala Lumpur Malaysia. Bandar
Raya, Malaysia
“……..In
the 1971 National Cultural Congress
(Malaysia) met to reconstruct the terms of a ‘national culture’ for our
newly reconstituted nation. The Malays had asserted their hegemony and laid
claim to the economic fruits of the nation, which the earlier liberal approach
of the period immediately following independence had failed to deliver. The
National Economic Policy (NEP) had been put in place with the aim of
reconstructing wealth and opportunity for advancement in favour of the Malays.
The National Congress asserted the necessity for Malay prominence in the realm
of culture. The Dasar Kebudayaan or ‘Foundations of Culture’ were drawn up
stating the necessity for the predominance of the indigenous cultures of the
region, the possibility of incorporating other cultures where appropriate and
the importance of Islam. Though this document never gained the force of law its
tenets have permeated the official narrative of all Malaysian cultural
production, including the visual arts. Today, the urgent assertion for Malay
dominance of the 1970’s has given way to a more relaxed multiculturalism at
home. However, the forces of globalization have usurped the role of national
institutions in representing our cultural identity on the world stage.”
“In
spite of best intentions and the participation of national curators, the
narratives of major global art arenas……are underpinned by the preferences
and prejudices of the host nations. At their worst these exhibitions have used
their national co-curators as mediators in the extraction of information and
resources in a colonial fashion. Indeed, the administration of these expansive
and comprehensive exhibitions, curated on the basis of national sections has
produced what can be described as neo-colonial curatorial hierarchies,
with national curators feeding powerful central selection committees to whose
unperatives regional ‘co-curators’ are obliged to comply.”
"
Overtly and covertly, events of May 13 ( 1969 Malaysia) and the Cultural
Congress(1971 Malaysia ), and no doubt other related movements, began to shape
thinking and practice among artists; they were far too shattering and
fundamental to be ignored. Throughout the 1970's, artists began the difficult,
painful process of rethinking their positions, and recasting their perceptions
of culture, language, race, state/nation and identity. For some , the prospects
loomed as intolerable and inhospitatable and they chose to migrate; some
retreated into temporary or permanent silence; for everyone else, the stakes
were too important and consequential not to be involved."
“ The
passage from Merdeka ( Independent ) in 1957 through the cataclysmic events in
May 1969 and to the end of 70’s is a movement from optimism and innocence to
the realization that there are dark, violent, divisive and tragic profiles to
mankind.” (TK Sabapathy "Vision and Idea Relooking Modern Malaysian
Art", page71
& 74 -- Merdeka Makes Art, or Does it? published by the National Art
Gallery Malaysia in 1994)
(note: under construction)
