Form is empty
"We must not cease from exploration and the end of all our exploring will be to arrive where we began and to know the place for the first time." - T. S. Elliot, American poet. “我们不可停止探索，而一切探索的尽头，就是重回起点，并首次对起点有真正的了解。” ---美国诗人哲学家艾略特 。
“The quest
of history does not lie in what it has chosen, but in what it has
overlooked.”--- American social historian Daniel J. Boorstin 。
“历史的探索不在于它选择了什么，而在于它忽略了什么”- 美国社会史学家 Daniel J.Boorstin。
“Every
time we turn our heads the other way when we see the law flouted, when we
tolerate what we know to be wrong, when we close our eyes and ears to the
corrupt because we are or too frightened, when we fail to speak up and speak
out, we strike a blow against freedom and decency and justice”- Robert F.
Kennedy
more stories at 欢迎游览 http://www.leekianseng.com/
自2019年10月起，马来西亚教育部将李健省（ Lee Kian Seng）的成就收录在国民型中学四年级美术教科书《PENGKHUSUSAN Sekolah Seni Malaysia Tingkatan 4 - Tokoh dan Pengkarya - Lee Kian Seng》页161。(Below/下图）
马来西亚通报 1983年10月30日
视频：林碧颜 https://www.youtube.com/watch?v=8WuDh5Chh1Q
https://www.iseas.edu.sg/wp-content/uploads/2021/10/Lim-Phaik-Gan-Biographical-Notes.pdf
http://lib.perdana.org.my/PLF/Digitisation/OCR%20Done/OCR%206/OCR6-Done/000019/1009605.pdf
马来西亚国家艺术馆1958年成立，当年第一任义务秘书Frank Sullivan先生和信托委员会成员林碧颜律师秉持职业操守、实事求是、大力提倡正确史观，可惜经常被人忽略。
The National Gallery of Art Malaysia was established in 1958. At that time, Mr. Frank Sullivan, the first Hon .Secretary, and P.G.Lim, a member of the Board of Trustee, upheld professional ethics, sought truth from facts, and vigorously advocated correct historical views. Unfortunately, they were often ignored nowadays.
1970年代的 “Soul and Form" 系列其中作品之一，35年后， 终于2015年首次在东南亚亮相（@新加坡美术馆的开幕展）
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欲善其事，必先通其史
2008: “…In my meeting with artists and others in the art scene thus far, I have become directed to artists whose works and contributions have been missed out in the existing mainstream narratives of Malaysian art history. Your name (Lee Kian Seng), in particular, has come out many times as one of the artists in the earlier generations whose work has been missed out and under-recognised. I am following this lead in my research and I hope to be able to meet up with you...”. --- In 2008, a regional scholar on South East Asia Study wrote to Lee Kian Seng）。
" .....His creative versatility has contributed to the enrichment of the Malaysian art scene. .. always responds whenever his services are needed for the cause of art and his fellow artists... In all his works Lee Kian Seng projects creativity, intellectual content and a high standard of professionalism.” - Director of the National art Gallery Malaysia1987, Datuk Syed Ahmad Jamal (National Art Laureate)
[ 译文] ：2008年的电邮: “……在我与艺术家及艺术界其他人的会面中，我已经被引导到马来西亚艺术史的现有主流叙述中那些作品和贡献已被遗漏的艺术家。在作品已被错过并且得不到承认的前辈艺术家当中，你的名字（Lee Kian Seng）出现特别多次。我的研究随这引线, 我希望能与你见面…” ，一位顶级大学的东南亚研究学者为了研究大马艺术史的来龙去脉，来电邮寻求访谈，2008年1月终于找到了李健省。
[ 译文] ：“李健省的创造性多功能性促进了马来西亚艺术界的丰富。...每当艺术事业或艺术同僚需要他的服务时，他总会响应...在他的所有作品中都展现了创造力，智力含量和高级专业水平” -- 马来西亚国家艺术馆总监-拿督赛阿末佳马尔1987（ Datuk Syed Ahmad Jamal （National Art Laureate））
[ 译文] [ “诸如李健省之类的开拓性作品具有历史重要性 ” ---林碧颜（Ms P.G. Lim (Tan Sri Dato’)，马来西亚艺术历史观察家，摘自马来西亚国家艺术馆45@45特刊]
[ "...We would like, finally,
to suggest that there are many intertwining, inter-connected and inter-locking
'faces' of modern art in Malaysia, and that these different faces (or
interfaces) may put forward contradictory pictures, which eventually have to be
acknowledged, and even celebrated and respected (or debated and contested in a
civilized way)."--- Excerpted from the book < Between
Generations---50 years across Modern Art in Malaysia > published in
conjunction with the exhibition curated by Beverly Yong and Hasnul
J.Saidon in August 2007. The exhibition was organised by
University Malaya, Unversity Sains Malaysia, Valentine Willie Fine Art
(Malaysia) and Penjana Bebas Malaysia。]
[ “……最后，
我们想指出，马来西亚现代艺术有许多相互交织、相互联系和相互关联的 ‘面孔’，而这些不同的面孔（或界面）可能会呈现出相互矛盾的图景，这些图景最终必须得到承认，甚至值得庆祝和尊重（或以文明的方式进行辩论和争论）。” --- 摘自《代际之间——马来西亚现代艺术 50 年》一书，该书与 Beverly Yong 和 Hasnul J.Saidon 于 2007 年 8 月策划的展览同时出版。该展览由马来亚大学、马来西亚理科大学、Valentine Willie Fine Art（马来西亚）和 Penjana Bebas Malaysia 主办。]
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《 Revised Version》 修订
https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
https://drive.google.com/drive/folders/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD
***《 Delayed
Justice 》***(迟来的正义) http://www.leekianseng.com/lee_LetterUndertaking.pdf
http://www.leekianseng.com/lee_LetterUndertaking.pdf
http://www.leekianseng.com/lee_LetterUndertaking.pdf
http://jiaernic.blogspot.com/2017/07/negaraku-art-exhibition-part-22_5.html?m=1
http://zainalabidinmusa.blogspot.com/2008/12/malaysia-young-contemporary-awards.html
https://faizalsidik.blogspot.com/2012/07/lee-kian-seng-permainan-daun-terup-dan.html?m=1
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缘起于1970年在世界博览会EXPO70马来西亚馆发表的 “UNITY” （团结）（1969-1970）李健省（Lee Kian Seng）1970年代的一系列3维作品是马来西亚装置艺术的最初催化剂。大部分在马来西亚国家美术馆发表。他的系列作品，表征了一个崛起的前沿思维，穿越了当年所谓“（马来西亚）国家文化”大会的喧嚣。
其作品呈现了（1）开创性贡献（2）对当代社会的思考（3）获得的认可和奖项(11项顶级国家奖和2项国际奖）（4）对未来艺术家的影响等。他的作品在塑造/启发马来西亚艺术的轨迹和扩大该国艺术表达的可能性方面发挥了重要作用。(AI )
http://www.leekianseng.com/3d_Unity.pdf，
http://www.leekianseng.com/3d_Installation.htm
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当你朝向艺术高峰的同时，你无法避免命运暗黑的侵击。它会利用你的盲点或无知捉住你，将你困在浅水滩上，再揑住你的脖子。
"I am afraid the most dreadful form of social control is not the aggressive in-your-face measures, raw force or torture against dissenting voices. It is rather a narrative strategy craftily designed to create a parameter and order of knowledge structure by drowning and distorting the facts of history. This would pave the way for all future speech and narrative to fall within the standard and disciplinary framework established by the authorities."-- O.Young（Chinese/English）
“……最可怕的社会压制恐怕不是赤裸裸的打压与对异议分子的虐待，而是一种將歷史淹没与变形的论述策略，製造一种知识系统的规范与秩序，使以后所有的言论敘说，都必须在其既定的准则和戒律框架中进行。” --- 欧阳文风（摘自南洋商报新视野2008-04-28《马来西亚装置艺术之父――李健省》）（Chinese/English）http://www.leekianseng.com/lee_YZZK.pdf
*“在种族政治凌驾于学术伦理的环境中，不免有沙文主义人物借助文化冲突作筹码，以虚幻史观，企图实现私人的议程，有时甚至会顺应政局捏造事实，沦为服务于政客议程或商业工具。在一个盛行贪腐共犯的时代里，一些 “历史叙事” 尚未被质询和交叉盘问，坊间一些所谓的 “史实记录” 、 “美术史” 、 “传略” ，也似是而非，自矜功伐地臆造了。”
【“李健省年轻时就在艺术领域表现特出，得奖无数，这包括十一项国家级奖及两项国际奖，然而这也使他受到不必要的排挤”】 （林友顺《亞洲週刊》2011-02-06）
【“实际上，李健省就因为新创意多次得奖而遭到小部份同道排挤，例如刻意地遗忘他和他作品的存在，篡改（剽窃和改头换面地移植）他的作品和创作史实等。” 】（“記錄我們的時代 —— 艺术家李健省 ”/吴小保
/ 普门2011年9月）
【“…华社小部分人士对他（李健省）的评价多有保留，偏见颇深，但愿不是出自“文人相轻”的心里。”】---星洲日报副刊1996-10-13“艺术道上双人行 ”--吴爱丽专访。有一“小部分人士”
，在同副刊 1997-05-11的报道里出现。
【“华社内虽有落井下石者乘机破坏李健省的名誉、但事实是不能掩抹、当[铁锤与铁钉]系列中的第三幅寻回时，李健省已无须多言。”】--- 萧瑞云报道《铁锤铁钉失踪》1987-10-18马来西亚新晚报。http://lee-kian-seng.blogspot.my/
【“我国的艺术和美术评论太一般，中文完全不行，英文也只有一两位，也不算太好，多只是报导，不太能进入欣赏和比较的程度，视野太平面的缘故。我偶而去国家美术馆看画或艺展，总觉得华人美术差距较大，其他民族的美术作品整体表现优于华人艺术家。您在国家艺术史开创的新局，国家某些人选择性遗忘，华社更无知，违乎史实，实当力争，我颇有戚戚之感。”】 ----近年华社里有著名学者与李健省分享对艺术界的观察。
“ 共识的形成是教育家承担的责任，不是艺术家 ”
· 《笔记巴生》https://leekianseng.com/lee_Klang_2.pdf
" The truth is not always beautiful, nor beautiful words the truth"
“真相并不总是美丽的，美丽的话语也并不总是真相”
《马来西亚美术史》偷梁换柱，厚此薄彼的人物介绍 +《 马来西亚华人人物志 》的勘误表
http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf
· （这人物志是一部华人世界的重要历史著作之一，它也曾被用来主催/主办相关的国际学术论坛与交流会。出版单位有道德上的义务向学术界的合作者/图书馆/研究所等等学术机构提供最新的修订。（根据主编/撰写人/出版单位的记录名单））。有朋友抱怨：“从何处得来的数据？错误多多，简直把读者当傻瓜。写这样的‘传略’，还不如没写。几乎是一种变形的论述，必须交叉质询锺瑜所用的数据库、可能有人在作怪” （注：马来西亚国家艺术馆的数据也曾出错，USM/011/MGTF/B1.84,2009-01-06）
· *前事不忘后事之师 http://www.leekianseng.com/lee_KlccPleading20080716.pdf
In the High Court of Malaya at Kuala Lumpur. Civil Suit No.S4 (S1)-22-504-2000 Full Trial on 16 July 2008 在马来西亚艺术领域里，鲜为人知的扑朔迷离开始浮现。吉隆坡高等法庭于2008年11月3日下判李健省胜诉,KLCC赔偿。( police report (9813/06) dated 1st April 2006)。
http://www.leekianseng.com/lee_LetterUndertaking.pdf
Note: Please notify Lee Kian Seng （ lee_kian_seng@hotmail.com）if you notice any discrepancies. 如果你发现任何错误/差异，请即刻通知李健省（ lee_kian_seng@hotmail.com）
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君子诚之为贵...至诚如神（中庸）
***马来西亚个人资料保护法令***
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by Ooi Kok Chuen New Straits Times January 25,2006
***《李健省的部分记录+简介》 （part-record-1+brief-bio）
http://www.leekianseng.com/lee_Bio_1966_FirstOneManShow.pdf
《New Creativity for Malaysian Artist LEE Kian Seng （大马艺术家李健省新创意》 http://www.leekianseng.com/lee_YZZK.pdf （Chinese + English
林友順·大馬艺术家李健省新创意·保钓新作品·亚洲周刊·
New Creativity for Malaysian Artist LEE Kian Seng · On the Defence of Diaoyu Islands·
林友順·大馬畫家李健省保釣新作品·亚洲周刊·2012-09-09
吴小宝·記錄我們的時代--艺术家李健省·Documenting Our Times （Chinese + English ) http://www.leekianseng.com/lee_PuMen110915.html
1994年，为马来西亚华文独中统考成绩优秀奖设计陈嘉庚奖杯视频：马来西亚独中统考的陈嘉庚杯是这样作出来的
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1.骑劫艺术 （有2条评论）
2.亚洲艺术界的无常 （有2条评论）
3. 對大馬藝術界現象的補充 (有3条评论）
4.大马艺术史：神话与真相 （有1条评论）
5.大马艺术进展落人后 （有4条评论）
6. 验证大马51年的改变？
8. 黄能世·艺术无惧於强权
法情：https://www.faqing.org/forum/viewtopic.php?t=7988
《铁钉与铁锤系列》（“Hammer and Nail” series） (1977) 的灵感来自 ：
El Condor Pasa by Simon and Garfunkel in 1970 https://www.youtube.com/watch?v=pey29CLID3I
El Condor Pasa 雄鹰在飞，自由战士的灵魂之诉原文網址： https://kknews.cc/zh-my/culture/p496xqz.html
Guantanamera - The Sandpipers 古巴最著名的歌曲─关达纳美拉https://www.youtube.com/watch?v=Jm1anurhbeg
“天鹅高飞于空，自由自在；而人被束縳在土地上，唱出最悲哀的歌声” 《盼望黎明》--（1）+ (2)（20221118完成）
11. 企业应尽抗疫责任，别糟蹋全民的牺牲 https://www.sinchew.com.my/news/20201229/yl/3052836
艺术工作者主要有工匠型与创造型两种 （There are two types of art workers: craftsmanship and creation）
美不等於藝術 藝術需要思考【知定講堂 曹興誠】EP03
- “伟大的作品是时代的呐喊” 艺术不仅包容欢乐，更包容苦难，愤怒和痛苦。
黄慧音的心经https://www.youtube.com/watch?v=2HcOWGKPxpQ
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*Test-tube Baby (Manusia Tabung Uji, 1979,(part detail ) by Lee Kian Seng
@
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***Values are more important
than valuable 价值观比价值更重要***
***Values are more important than valuable 价值观比价值更重要***
***君子诚之为贵...至诚如神（中庸）***
**今天研究艺术史的学者，专事艺术工作者和策展人比以往任何时候都更有责任挑战造成歧视和边缘化的结构、必须为代表性不足和边缘化的叙事腾出空间。
Today's scholars, art workers and curators are more responsible for challenging
the structure of discrimination and marginalization than ever before, and make
room for narratives that are insufficient and marginalized.***
Contemporary art is based on Universal Value that consists of
three basic elements: fairness, justice, freedom, is an important achievement
of human civilization, out of human conscience and rational values, regardless
of the field, beyond religion, country, nation, also not equal to Western
values.
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图：1966年为配合校庆回馈母校，李健省毅然将筹备中的吉隆坡个展作品（@1966年10月17～22日/马来西亚艺术理事会Arts Council Malaysia主办）提前移至滨华中学大礼堂展出（@1966年8月27～31 日 )，创造了开埠以来第一个于巴生市举行的个人画展。何友智校长和刘怀谷校长大力支持，该展吸引了许多公众包括多位南洋美专校友和外国人士的到访。
(在李健省个展开幕日 1966‐08‐27，现场与来宾庄金秀即兴掀起一项跨越族群
联谊群展的构思，即 1967 年的第一届 “雪州王城画展” )。
（注：1966年8月，Frank Sullivan 先生（马来西亚国家美术馆义务秘书）为李健省在巴生和吉隆坡共用的的个人画展纪念册写序言。）；1968年雪兰莪苏丹殿下在巴生Klang Club主持李健省在巴生的第二次个人画展开幕礼。https://leekianseng.com/lee_Klang_2.pdf
李健省自1969年4月游学国外多年。
1968年10月10日，雪兰莪州苏丹陛下在马来西亚巴生皇家俱乐部 (Royal
Klang Club) 主持李健省画展开幕。史无前列。从本质上为巴生艺术的发展铺平了道路，奠定了基础、也为艺术教育的觉醒树立了里程碑。
注：这令巴生华社两三位教图画的老师心里开始不能平衡,谗言由此开始、日后大家莫名变成陌生。
*****
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（note: under construction)
２００６年８月回国，忙得天昏地暗，通过电话和李健省聊了几次，好象都是谈有关出版这本书的事。他的声音越来越沙哑。
飞抵纽约，我再给他电话。他女儿接听，说他在新加坡医治 1咽喉癌 ！我的心一下沉了下来。他抽烟抽得那么凶，我不会太过意外，只是还是难过。
认识李健省，是２００１年的事。那时我刚到纽约，９１１还未发生。仲夏。
那年，他女儿李慧玲来纽约Sarah Lawrence 大学念书，李健省陪同她过来。他向〈星洲日报〉编辑拿了我的电邮，主动联络我。他说他一直在读我的"自由女神下系列" (1998--2001)文章，在我的生命看见自己的影子。我有自知之明，我是比不上他的，我看见的是他的谦和与对后进的提携。
我们在纽约逛了好几天，不断走画廊与博物院，总是他说话多。他说话没有什么秩序，或者应说只是遵循他自己思路的秩序，天马行空，同一句子的代名词可以是不统一的对象，有多次我不得不打断他问"谁是他？"、" 他们是指谁？"，诸如此类。
他的生命饱经忧患，却无枯竭迹象。那时我就想写他。后来为了撰写此书访问他，发现过去有许多私人的事，他不想多谈，我倒以为那是铸成他性格的主要缘由，他似乎有心逃避。艺术家的生命，有一种孤寂，不能呢喃传播，只能屏息沉思，或许一刹那间，可能窥见什么。
这本书在我思想成孕好久，许多思绪团团围箍，最后还是决定写他的装置艺术。艺术家的创作，是一种冒险，一种试验，一种探究灵魂的过程，一种生活。李健省不只是创作艺术，他的生命就是追求自由的艺术。
对一些人，生命是幻觉。对某些人，生命是骗局，可以自欺，可以欺人。对他，生命是艺术，艺术也是他的生命。活了六十年，他还是看不惯有人颠倒是非，他还是执意与人竞争创造现实。当种族主义居高临下，所向披靡，他没有因此退缩却步。他还是要用他的生命整理历史。历史，往往是体制支撑和配置的权力之一种论述，可以和真相对立，可能与谬误为伍。弱势者的声音被视为噪音，是没有意义的声音 。可是李健省始终拒绝沉默。他用他的方式阻止真相模糊与消灭2 。
写这本书，不只是为了他，也是为了我们的未来。李健省是我国的文化资产。
欧阳文风 完稿于２００７年１２月１９日
@1978
（摘自《南洋商报》2015.08.11 副刊 ）：【今年（2015）3月与副刊主编何雪琳（ Hoo Sue Ling）在《南洋商报》餐厅会面后，彼此话题相投让我们当机立断合作这项意义深远的作品回顾。《南洋商报》提供的平台与她的诚心，让我存心底。
欧阳文风（ O.Young）在很多年前经已写了《马来西亚装置艺术之父》，像注定要通过一段漫长披荆斩棘的路程才适宜发表，其中苦衷不为外人所知。这著作的内容涉及多本政府体制下相关单位(国家艺术馆 ) 著作里的错误和坊间的部份谬误，幸亏好友Wendy
Lam Mei Kuan律师在法律程序上大力帮我处理，天时人和助我顺利完成有关查证。这回有缘预先与大家分享著作其中的19篇，感恩。
欧阳文风是国际著名旅美社会学学者社评家作家，他跨领域探索当代艺术心灵、进入体制坊间发掘真相，我十分感激。
这回顾是人生途中的小息，是指向明天的准备。
尊敬的读者朋友们再会。健康平安。 ----李健省 （ LEE Kian
Seng）】
16.诚
李健省自1970年代以来先锋的装置艺术创作及多元化的创新，使他成为马来西亚当代艺术发展的关键人物；他开创性的作品与理念，为营造更具活力与互动性的艺术环境发挥了至关重要的作用，并启发和影响了后来的艺术家。
15.文明
1988年，李健省领头在马来西亚社区推介/策展装置艺术，为巴生带来两项发表会。
1988年1月17日～19日于巴生福建会馆实践《现代文明的证言》以及1988年3月13日 于巴生中华独中实践《诚》，激活了社区对当代装置艺术的认识。
@ Klang
1988-01-17 https://www.youtube.com/watch?v=DwFYQ-xVTg0
@ Klang
1988-03-13 https://www.youtube.com/watch?v=0ubnbQBTkAs
more detail @ https://leekianseng.com/lee_Klang_2.pdf
14.脱绑
12. 生生不息
Of all his installation works, Lee’s 1977 masterpiece Of ‘Image, Object, Illusion’-Off
Series Mechanism is by far the most imaginative and controversial. It too was added to the Permanent
Collection of
the National Art Gallery Malaysia. In conjunction with the 45th anniversary celebration
of
its establishment, the Gallery organized the 45@45 Exhibition in late 2003. For this event, 45
highly
respected
people in cultural circles were invited
to
select 45 major works from the
Permanent Collection of the Gallery and elaborate on their choices. Lee Kian Seng was also among
the 45 invited, so was Dato’ (Ms) P.G. Lim, who played a key role in the early development of the National Art Gallery having served
as the Deputy Chairperson of its Board of Trustees and the first Chairperson of the Exhibitions Committee.
Of ‘Image, Object, Illusion’-Off Series Mechanism was among the 45 selected works and the
only installation
work displayed. It was made up of several items including a painting on canvas
hung on the wall, and an 8 x16 square
feet 6mm playwood (painted white) on the floor extending
from the wall to a white podium, above which a Malaysian flag was juxtaposed at approximately
the same level(88’height) as the two dimensional painting on the wall that reflects the flag in
reverse. Lights were set to cast shadows of the national flag on the painting and on the white
plywood floor. The resulting spatial interaction between image and object creates a delicate
interplay of positive and negative Yin and Yang elements.
Another point worth mentioning is the presence of the ubiquitous cockroach at the top right of
the image
of
the flag on the wall in the painting. Between painting and shadow, the viewer gets a
sense of illusion that provokes the imagination. Through a combination of visual, intuitive and cognitive stimuli, viewers are led to explore new frontiers in their thinking on the basis of their personal aesthetics and experiences.
While the National Art Gallery Malaysia had added this work to their Permanent Collection, they have regrettably failed to fulfill the responsibility of treasuring and safeguarding such a highly
symbolic and creative work of art. In their 1994 publication Vision and Idea—Relooking Modern Malaysian Art, they went so far as to make a number of serious mistakes that included showing an
inaccurate title, as well as tampering with the art pieces such as replacing the white podium with one of black-carpeted wooden steps, and wiping out the image of the cockroach on the painting.
The 16’ x 8’ square white plywood on floor also missing. As the result, the work is made to assume
a changed appearance. It is a wonder how they can make such mistakes in the handling of an artwork in their collection. Consequently, Lee lodged a written complaint time and again, seeking a specific and favorable response, but all to no avail.
The publications of
the National Art Gallery are considered official works with definite historical value and significance. Yet surprisingly, they have repeatedly taken the liberty of revising historical facts. How could a simple “regret” suffice to describe such a blunder? The issue actually goes
beyond the mere infringement of the artist’s personal respect to one of national interest. At stake is
an integral part of the nation’s historiography. In the face of such blatant disregard to the nation’s accurate historical documentation, how can anyone remain silent?
The National Art Gallery Malaysia organized the National “Open Art and Graphic Print Competition
1977” from 20 Dec 1977 to 26 Feb 1978. With this work, Lee won the Major Award for the Art
category. The other Minor Award winners included academician CHONG Kam Kow, Sulaiman Esa, and Ruzaika Omar Basree of UITM
and USM art lecturer Lim Eng Hooi. LEE Kian Seng also bagged the Major Award for the print-making category.
Art critic Cecil Rajendra gave this work a very high opinion. He wrote, “Here is a painting that makes a settlement on a number of levels. It speaks of our past, our present and our future. It is loaded with symbolism that teases and invites the viewer to interpretations. Why is the flag reversed? What does the cockroach on the top right of the painting mean? Does it augur ill for our future? It is also a beautifully composed picture that achieves an almost perfect balance between subject matter and media. It is brilliantly executed and well merits the top award." (An excerpt from the Exhibition Catalogue of the Open Art and Graphic Competition 1977, National Art
Gallery Malaysia.)
第十章：《 形像，物体，假象 》 (Of ‘Image, Object, Illusion’ - Off Series Mechanism, 1977 )
另一值得一提的是画面上国旗的投影里有只蟑螂，在画面与投影之间，予人一种幻觉的感受，激发观众想像，藉著视觉、直觉与知觉的刺激，让观众本着个人的美学与经验，开拓思想空间。
国家艺术馆出版的刊物，可说是官方文献，具有一定的历史价值与意义，可却一而再，再而三的擅自改写史实，岂又是遗憾二字可以形容 ？这已不再只是涉及不尊重艺术家的个人的问题了，而是关乎一个国家、民族的历史问题。我们岂可能继续保持缄默？
欧阳文风2006年12月于纽约
<李健省更正：欧阳文风稿于2006年12月>
Lee’s work Unity/团结 (1969/70) was completed during the cataclysmic racial conflicts that culminated in bloodshed on May 13, 1969. In the year that followed,
the piece was published
at the Malaysia Pavilion World Exposition 1970
hosted by Japan
A true work of art is, of necessity, born of the times. It is an intensely passionate stare at life in
the face. Not only does it convey the artist’s philosophical ideals, it embodies the harsh reality of life as well. It may have its foundation
deeply rooted in reality, or it may break away from
conventional fetters
and
point the way forward to sha （ping the future. It may showcase the artist’s
real
self and his subjective aspirations, but more so, it transcends the depth of human nature in an
individual artist. It may be an imitation of nature, yet it may also be a resistance and challenge against imitation. This is because the artist’s work is more than crude imitation, as its creator’s imagination goes far beyond the disguise of nature. The artist’s exaggerated expressions mirror the
emotional struggle in his inner soul. His works therefore possess the power to stimulate the visual senses and provoke the intellect.
Unity is a symbol of the oneness of the three major ethnic groups in Malaysia.
The work
expresses the hope, unity and peaceful co-existence of humankind. There are two enclosed forms to
this piece of installation that are fused into a unifying singularity. The first comprises a gigantic human form made of reinforced concrete, created prior to the May 13 incident. The second, developed after May 13, consists of several entities set beneath the structure, including metal rods, key holders, and three mirrors—the mirrors of Science, of the Arts, and of the Humanities
respectively. They represent the essential elements for the advancement of human civilization, each
reflecting the other’s spirit of the times. The chaos and errors of the world are also mirrored therein.
The statue is lit from within at night to create a stunning visual effect. At the time of the May 13 incident, Lee happened to be abroad. But the tragedy left him absolutely devastated—so much so that he splattered red paint all over the figurative structure. The act in itself was a symbol of dashed hopes and dreams. So it was after the production of Unity that the concept and technique of Lee’s installation art became more and more evolved.
(note:<Unity> comprising two enclosed forms, 400x120x120 cm and 45cm x 45cm x 65 cm.
Mixed media of reinforced concrete, , glass, steel, mirror, key holder, lit from within。(left) red paint was poured all over the structure, allowing it to flow down as if it was bleeding .
(right) after the May 13,1969
incident, the formation of 2nd enclosed forms was evolved, consisting of three mirrors, mirror of Science, mirror of Arts and mirrors of Humanism. Photo taken at World
Exposition 1970. )
Author’s Profile
Rev. Dr Ngeo, Boon Lin ( O.Young /欧阳文风牧师 ） is Chinese Malaysian. He was an award-winning journalist before he came to the United States in 1997. He has published extensively in the Chinese language since 1999, and is the author of more than 30 books and numerous bestsellers in Malaysia. He holds a BA degree in sociology from university of Wisconsin, a MA degree in sociology from Minnesota State University, a Master of Theological Studies from Episcopal Divinity School, and a doctoral degree in theology from Boston University. He is also a doctoral candidate in sociology. Dr. Ngeo is a staff pastor of MCC New York, and the first openly gay minister in his native country Malaysia, and the first openly gay minister who hold
s a doctoral degree in theology in Asia. He is one of the most sought-after speakers in LGBTI Chinese communities in
Asia, such as China, Hong Kong, Taiwan, and Malaysia. His activisim in Asia has been reported by CNN and the New York Times. He also has been named as one of the most inspiring LGBT religious leaders in the world by Huffington Post.
(Note: The original Chinese text of the Preface of this book "LEE Kian Seng-The Progenitor of Malaysian InstallationArt" was published in Nanyang Siang Pao Malaysia on the 28 of Apri 2008.)
欧阳文风牧师， 马来西亚出生，祖籍福建南安，早年毕业于马来西亚中央艺术学院新闻系，曾在马来西亚任专题记者，获国内多项新闻奖与报导文学奖，1997年获马来西亚全国中文报最佳新闻从业员奖，后赴美深造，考获社会学学士与硕士学位，再到波士顿圣公会神学院考获神学研究硕士学位，之后在波士顿大学取得神学博士学位， 同时亦是纽约市立大学社会学博士候选人。他是亚洲第一位，亦是迄今为止唯一拥有神学博士学位的出柜同志牧师；他是大都会社区教会（MCC）牧师，目前在美国执教性别研究，并在圣彼得大学执教社会学。曾获美国《哈芬登邮报》（The Huffington Post）推举为「十五名最激励人心的LGBT宗教领袖」。目前已出版著作四十余种，包括《现在是以后了吗？》、《酷儿千秋，同志万岁》、《同志教育》、《身体社会学》、《思考思考》，以及《因为佛陀，我是更好的基督徒》等。
李健省更正：在小标题 “ ‘人类 ’ 无心之过的错误 ” 的第三段第4行是 ‘..艺术家的收藏 (Artist’s collection ) ’，不是 ‘..由国家艺术馆永久收藏’
Lee
Hui Lian / 李慧莲
https://www.omga.sg/
http://www.leekianseng.com/shoko.htm
https://leekianseng.com/lee_Klang_2.pdf
视频
https://www.youtube.com/watch?v=UHlAjJXnpcMShoko LEE 李正子-1997年电视访谈
https://www.youtube.com/watch?v=J8Jx_RxXSc0
Shoko LEE 李正子-我的日记 1 My Diary 1981-1983
by Shoko LEE 李正子https://www.youtube.com/watch?v=2nk9EbcImvo&ab_channel=LEEKianSeng
Shoko LEE 李正子-我的日记 2 My Diary 1983-1985
by Shoko LEE 李正子
https://www.youtube.com/watch?v=LgolCVMZBmE&ab_channel=LEEKianSeng
Shoko LEE 李正子-我的日记 3 My Diary 1985-1988 by Shoko LEE 李正子https://www.youtube.com/watch?v=UHlAjJXnpcM&ab_channel=LEEKianSeng
Shoko LEE 李正子-@ Penang 2012
https://www.youtube.com/watch?v=rNpcQxWSOWE&ab_channel=LEEKianSeng
Shoko LEE 李正子《龙马系列》
https://www.youtube.com/watch?v=cYmpecH9vpM&ab_channel=LEEKianSeng
Shoko LEE 李正子 @ Pilgrimage 2008 India Nepal
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个人简介
李健省 (Lee
Kian Seng)-亚洲独立艺术家
http://lee-kian-seng.blogspot.com/ http://www.leekianseng.com 20250118
1948 年出生于中国（福建金门），李健省(Lee Kian Seng)是马来西亚著名的亚洲独立艺术家，其作品涵盖绘画、雕塑、版画、染色和装置艺术等。
1964年以作品《三轮车夫与鸟》(The Beggar and the Bird)应邀参加马来西亚国家艺术馆的 “国家美展” （National Art Exhibition） 。
1966年，马来西亚艺术议会举办他的个人画展（Exhibition of Paintings by Lee Kian Seng, an Arts Council Presentation,17-22 October 1966），广受好评，此后在马来西亚、泰国和日本举办了二十一场个展。
他早期对艺术界的接触以及自幼的自主学习为他未来的艺术事业奠定了基础，极大地影响了他的艺术哲学和实践，促进了终身学习，并促使他在整个职业生涯中探索各种媒介和技巧。4
他坚信艺术并非存在于真空中，因此他奉行“以知识为基础”的艺术取向，进行开创性的实验和富有洞察力的创造性研究，1969-1972 年, 他在东京独立从事 “染色艺术” 的跨学科研究，其中包括对江户时代 浮世绘 *的研究等。期间兼职，于世界博览会（World EXPO 1970，Osaka Japan）马来西亚馆发表3次元作品《UNITY》(团结)和三幅大型画作《黎明 (Dawn)》、《正午 (Noon)》、《黄昏 (Dusk)》 1。
李健省标志性的作品，“团结”（Unity1969～1970）、“ 自天空“（From the Sky, 1972），“人类”（Mankind,1972） 、“红色的视窗”（From the Windows of
Red,1972）、“扑克牌游戏过程”（Process of Playing Poker,1974）、“复始与消耗” (Resumption and Consumption，1975）、“形像、物体、假象”（ Of
‘Image,Object,Illusion’ - Off Series Mechanism ,1977）、“铁锤与铁钉系列”( Hammer and Nail
series,1977) 、“试管婴孩 ”（Test tube Baby,1979），1970年代的 “Soul and Form” 等系列，确立了其在马来西亚当代艺术主流中的历史地位。
本质上，他 1970 年代的 3D 作品代表了一种前沿思维（东方文化）的崛起，穿越了当时的国家文化大会（NCC 1971，https://muse.jhu.edu/article/752969）的喧嚣。他将各种材料和技术融入到他的装置中，模糊了学科之间的界限。这是马来西亚装置艺术的最初催化剂，为这种艺术形式在马来西亚艺术界的出现铺平了道路。他经常被公认为马来西亚的“装置艺术之父”。2
（對大馬藝術界現象的補充 https://www.sinchew.com.my/?p=2199349）
1976年，受日本国际交流基金会邀请、获专业研究金 (Professional Fellowship) 在东京艺术大学及东京版画研究室进行研究。他的研究 “比较研究--染色艺术” 启发他拓展了这一领域的界限。
李健省的作品自1960年代开始被国家艺术馆选进国家展在英国、美国、德国、东盟（ASEAN）、日本等国家展出；其中包括世界三大顶级之一的 Sao Paulo
Biennale（ 1969） 、加拿大艺术节《人类与其世界》（ Man and His
World, Canada 1970）、《澳洲艺术节》 (Waratah Spring Art Festival, Australia 1965)、《世界博览会》（ Expo’ 1970,Osaka
Japan）、《东京国际版画展》(Tokyo Print
Biennale,1979)、第一届和第四届在印度举行的 《三年一度世界艺术展》（Triennale of Contemporary World Art， New Delhi 1967 and 1978）、日本福冈《现代亚洲艺术展》(1980)、《马来西亚当代绘画展》（"Contemporary paintings of Malaysia" in Pacific Asia Museum,
Los Angeles, U.S.A. ， 1988）、《马来西亚艺术》德国巡回展（"Exhibition of Malaysian Art" touring Germany (1990-1991)以及新加坡美术馆开幕展（2015）等。
1984年，李健省受委代表马来西亚国参加在印度尼西亚举行的《第三届东盟（ASEAN）雕塑家论集会》，其国家代表作品《和平、和谐、一体》永久陈列在印尼雅加达的Taman Suropati。
在近60年专事艺术创作的历程中，李健省的作品获得马来西亚国家艺术馆颁发的多项国家顶级奖项3，包括《艺术与版画公开赛，1977》（Open Art and Graphic
Print Competition 1977 ）艺术大奖和版画大奖、 “当代青年” （ The Young Contemporaries 1975 ）大奖， “马来西亚风景”展的两个大奖之一（ “Landscape Malaysia”， 1972 ），《人与他的世界》 (Man and His
World) 展小奖（1973 年）以及 《马来西亚沙龙”》(Salon Malaysia （ 1969）) 中的 3 个奖项。
其他荣誉包括马来西亚艺术议会（The Arts Council of Malaysia）1966年的 《第十届青年艺术家》 展最佳奖和油画类首奖以及1964年《生活的情趣》 ( The Joy of
living)展B组第三奖。
1988年他领导的国家队以作品《和谐》(Harmony) 获香港《国际沙雕赛》国际组第二奖。（队长：Lee Kian Seng，队员：Zakaria Awang、Zulkifli Yusof、Kung Yu Liew、Zainon Abdullah） 。
1993年，荣获《东京创作大赏》海外奖（Tokyo Creation Award
Overseas Prize），表彰其在 “染色防染技法” 领域的探索、创新和创造力，使 ‘染色/蜡染’艺术闻名于世。
1994年，为马来西亚华文独中统考成绩优秀奖制作陈嘉庚奖杯。
2000年，受Malaysian Structural
Steel Association（马来西亚钢结构协会）邀请，担任其国际《Open Ideas Competition（开放创意大赛）》（东盟建筑师和设计师）的评审团成员之一。
近年的《当今系列》和《无际系列》（油画混合技法）主要在探索生命奥秘，人性关怀，也经常批判地反映当代的社会问题和文化景观 。http://www.leekianseng.com/lee_YZZK.pdf
“诸如李健省之类的开拓性作品具有历史重要性 ” ---林碧颜 （（Ms P.G. Lim (Tan Sri Dato’)，马来西亚艺术历史观察家（45@45特刊2003））。
https://www.iseas.edu.sg/wp-content/uploads/2021/10/Lim-Phaik-Gan-Biographical-Notes.pdf).
“他的创造性多功能性促进了马来西亚艺术界的丰富...每当艺术事业或艺术同僚需要他的服务时，他总会响应...在他的所有作品中都展现了创造力，智力含量和高级专业水平 ” -- 马来西亚国家艺术馆总监1987-- Datuk Syed Ahmad Jamal。
李健省的开创性作品和哲学在塑造马来西亚艺术的发展轨迹、营造更具活力和互动性的艺术环境方面发挥了至关重要的作用。自2019年10月起，马来西亚教育部将李健省（ Lee Kian Seng）的成就收录在国民型中学四年级美术教科书《PENGKHUSUSAN Sekolah
Seni Malaysia Tingkatan 4 - Tokoh dan Pengkarya - Lee Kian Seng》页161。（1925）
（注：如果你发现任何错误/差异，请即刻电邮通知李健省 lee_kian_seng@hotmail.com）
*****
参考：
http://www.leekianseng.com/lee_LetterUndertaking.pdf
http://www.leekianseng.com/lee_YZZK.pdf《当今系列》
http://www.leekianseng.com/3d_Installation.htm
http://www.leekianseng.com/lee_Bio_1966_FirstOneManShow.pdf
http://www.leekianseng.com/lee_Klang_1.pdf 《为何起诉》
https://leekianseng.com/lee_Klang_2.pdf 《笔记巴生》
http://www.leekianseng.com/lee_TokyoCreationAward1993.pdf
http://www.leekianseng.com/lee_Litho.pdf
http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf
https://www.leekianseng.com/lee_ZanitaPgLimSyedSb.pdf
http://www.leekianseng.com/lee_KlccPleading20080716.pdf
https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
https://drive.google.com/drive/folders/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD
https://www.faqing.org/forum/viewtopic.php?t=7988&sid=ce753671c5e07965d005a6dacb4a0bca《法情》
http://zainalabidinmusa.blogspot.com/2008/12/malaysia-young-contemporary-awards.html
https://faizalsidik.blogspot.com/2012/07/lee-kian-seng-permainan-daun-terup-dan.html?m=1
https://www.iseas.edu.sg/wp-content/uploads/2021/10/Lim-Phaik-Gan-Biographical-Notes.pdf
https://www.nlb.gov.sg/main/music-article-detail?cmsuuid=c01182f7-48c0-4261-ba10-90094fa27947
“浮世绘” 的字面意思为 “虚浮的世界绘画 。 “浮世” 来自 佛教用语， 本意指人的生死轮回和人世的虚无缥缈。
威尼斯双年展、德国卡塞尔文献展、巴西圣保罗双年展 并称为世界三大艺术展。
注1 1970年，我（李健省/ Lee Kian Seng）在世界博览会（Expo 70）马来西亚馆的工作参与让我有机会观摩与解读来自世界各国的优秀创作与文化精华。世界艺术文化薰陶了我的世界观, 磨炼了我的成长。接着我开始挑战沉思意识，并深入三度空间的创作，之间〈美国科学〉研究期刊 (Scientific
American) 有关视觉心理与视觉艺术的研究论文是我热中的，我希望利用新知识领域里的新资源，重新建造艺术理论基础。同年代我对象形文字 (Pictograph) 的组合入迷，与新资源相辅相成，逐步把中华文化的元素, 包括剪纸艺术构思在我的创作里。1972年的三次元（3D）作品 “Mankind” 是其中一例。
“现代艺术是各种语言的组合，汉字本身就是平面化的装置艺术 (Installation)，他在七二年创《人类》（Mankind）艺术装置作品，也是融合这理念开展的。” (摘自亚洲周刊2011-02-06)
2在艰难而压抑的1970年代，李健省以东方文化的太极阴阳思维（三分法）反思当代社会，通过互动元素和场地特定装置，融合了多种材料和技术，模糊了学科之间的界限。
他在1970年代的开创性装置、艺术的多样性和对创新的承诺，使他成为马来西亚及其他地区当代艺术发展的关键人物，同时也启发和影响了后来的几代马来西亚艺术家。
可惜，从1990年代至2000年代，马来西亚国家艺术馆的官方出版物开始出现一些不正确的历史记录。其中包括李健省的作品《形像、物体、假象（ Of ‘Image,Object,Illusion’ - Off Series Mechanism (1977）》和《人类（MANKIND）(1972)》均被严重篡改。 （對大馬藝術界現象的補充 https://www.sinchew.com.my/?p=2199349）
[ 历史修正主义：马来西亚艺术界一小撮助纣为虐的沙文主义者企图篡改事实，削弱人们对李健省先锋角色的认可，以及他的作品在马来西亚艺术史上的重要性。这种历史修正主义对他的遗产和贡献的认可构成了威胁。]
[ “……最后，我们想指出，马来西亚现代艺术有许多相互交织、相互联系和相互关联的 ‘面孔’，而这些不同的面孔（或界面）可能会呈现出相互矛盾的图景，这些图景最终必须得到承认，甚至值得庆祝和尊重（或以文明的方式进行辩论和争论）。” --- 摘自《代际之间——马来西亚现代艺术 50 年》一书，该书与 Beverly Yong 和 Hasnul J.Saidon 于 2007 年 8 月策划的展览同时出版。该展览由马来亚大学、马来西亚理科大学、Valentine Willie Fine Art（马来西亚）和 Penjana Bebas Malaysia 主办。]
[ 2008
年，一位此区域顶级大学的东南亚研究学者来讯 ： “……在我与艺术家及艺术界其他人的会面中，我已经被引导到马来西亚艺术史的现有主流叙述中，那些作品和贡献已被遗漏的艺术家。在作品已被错过并且得不到承认的前辈艺术家当中，你的名字（Lee Kian Seng）出现特别多次。我的研究随这引线, 我希望能与你见面…”]
披荆斩棘、李健省花了 20 年时间寻求恢复其作品《形像、物体、假象（ Of ‘Image,Object,Illusion’
- Off Series Mechanism (1977）》和《人类（MANKIND）(1972)》 的历史真相，其中包括马来西亚艺术史观察家拿督林碧颜P.G. Lim被严重篡改的文献。最后 9 年得到了Messrs. V Chong W
Lam律师楼（. Ref: VW 21(140) ）的法律援助。这一漫长的过程凸显了他在确保其贡献得到准确表述和认可方面所面临的困难。
马来西亚国家艺术馆终于在2021年8月30日出版了以下4件纸本修订本版：
[ https://www.leekianseng.com/lee_LetterUndertaking.pdf
https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
https://drive.google.com/drive/folders/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD
https://www.sinchew.com.my/?p=2199349 ]
1. 1994年的 《Vision and Idea-Relooking Modern Malaysian Art 》页 162 的5项错误。（Edited by T.K.Sabapathy, with contributions by Krishen Jit, Redza Piyadasa, T.K.Sabapathy and Zainol Sharif） ；
2. 2002年的《Masterpieces from the National Art Gallery of Malaysia》（自马来西亚国家画廊的杰作 ）页186 ～187的6项错误。（其中，李健省1972年的作品《人类（Mankind，1972）》被Redza Piyadasa大量篡改，包括作品的构成（原貌）、语境以及《 Mankind》的创造年份（从1972年篡改去1992年）；
3.
2003年 的 《45@45》页 92～95的多项项错误。
（其中马来西亚艺术史观察家拿督林碧颜P.G. Lim的论文及李健省的作品《 “Of ‘Image, Object, Illusion’ - Off Series Mechanism (1977)” 》（形像、物体、假象）已被严重篡改。）；
4.
2008 年的 《Timelines》页232的3项错误。（注：客座策展人有回信说明、该文件来自马来西亚国家美术馆的现有数据库，他实际上不知道摄影文档中存在的错误）。
（ 特注： 2007年 5月李健省/LEE Kian Seng大病在新加坡治疗。《Masterpieces from the National Art Gallery of Malaysia (2002) 作者Redza Piyadasa 2007年6月去世。
自2010年起，以吴亚鸿（Goh Ah Ang）为首的Goodenei.com网站未经授权，肆意滥用刊登《Masterpieces from the National Art
Gallery of Malaysia (2002) 》第186至187页的错误数据和叙述，严重损害了李健省（Lee Kian Seng）的专业地位、名誉和国际公众形象。（参照: Messrs. V Chong W Lam. Ref: VW 21(140) . goodenei.com和百度网截图、马来西亚国家艺术馆于1973年出版的《Man and his World》（人与他的世界）展览图录等。））
更多详情：More details at the following links:
http://jiaernic.blogspot.com/2017/07/negaraku-art-exhibition-part-22_5.html
….it questioned the past and future of the nation
https://artklitique.blogspot.com/2017/07/316-musings-about-negaraku-nag.html?m=13/16 Musings about
Negaraku @ NAG- July 30, 2017…It is loaded with symbolism that teases and invites the viewer to
interpretations. …
http://artklitique.blogspot.com/2016/09/mapping-v-peralihan-nvag.html Lee
Kian Seng, who protested ….
Brief -bio
Lee Kian Seng （李健省）-- Asian independent artist http://lee-kian-seng.blogspot.com/
http://www.leekianseng.com
Born in China in 1948, Lee Kian
Seng is a prominent Asian independent artist from Malaysia, whose repertoire includes painting, sculpture,
printmaking (lithography), resist-dyeing and installation art.
He was first invited to the National Art Exhibition by the National Art Gallery of Malaysia in 1964, where he showed the work, "The Beggar and the Bird"（三轮车夫与鸟）.
In 1966 , the Arts Council of Malaysia
presented his first solo art exhibition (17-22 October 1966) which was critically acclaimed. Since then, he has had 21 other solo art exhibitions not only
in Malaysia, but also in Thailand and Japan.
His early exposure to the art community and
self-directed learning since childhood laid the foundation for his future
artistic endeavors, significantly influenced his artistic philosophy and
practice, fostering lifelong learning and prompted him to explore a variety of
mediums and techniques throughout his career. 4
Believing
that Art does not exist in a vacuum, he pursued a K-based (Knowledge-based) art
orientation, with ground-breaking experiments and insightful creative research,
spending three years (1969–1972) in
Tokyo doing interdisciplinary studies in “dyeing art” which incorporated research
on” Ukiyo-e” of the Edo period,
among others. During the same period, he published a
three-dimensional work "UNITY"
and three large paintings "Dawn", "Noon" and
"Dusk" at the Malaysian Pavilion at the World EXPO 1970 in Osaka Japan1.
His
iconic works, such as Unity (1969-1970), From the Sky (1972), Mankind (1972), From
the Windows of Red (1972), Process of Playing Poker (1974), Resumption and
Consumption (1975), Of ‘Image, Object, Illusion’ - Off Series Mechanism (1977),
Hammer and Nail series (1977), Test tube Baby (1979), and the Soul and Form
series in the 1970s, have established his historical position in the mainstream
of Malaysian contemporary art.
Essentially, his 3-D works from the 1970s
represented the rise of a cutting-edge thinking (Eastern culture) that passed
through the hustle and bustle of the then National Cultural Congress (NCC 1971 , https://muse.jhu.edu/article/752969 ). He incorporated
diverse materials and techniques into his installations, blurring boundaries
between disciplines. It was the initial catalyst for installation art in
Malaysia, paving way for this art form in the Malaysian art scene. and is
often
recognized as the "father of Installation art" in Malaysia.2
In 1976, he was invited by the Japan
Foundation to research at the Tokyo National University of Fine Arts and Music
and Tokyo Hanga Kenkyusho (Tokyo Printmaking Atelier) with a Professional
Fellowship. His research, "Comparative Study - Dyeing Art", has
inspired him to expand the parameters of the genre.
Lee Kian Seng has been part of
many international exhibitions since the 1960s, including the Sao Paulo X
Biennale in 1969,the Waratah Spring Festival, Australia in 1965; the "Man
And His World" exhibition in Montreal, Canada in 1970; the 1st and 4th
Triennale of Contemporary World Art in New Delhi in 1967 and 1978 respectively;
the Tokyo Print Biennale in 1979; the Contemporary Asian Art, Fukuoka, Japan in
1980, the Malaysian Art touring Australia and New Zealand in 1969; the
Malaysian Art at ‘Expo 70’ Osaka, Japan; ‘Malaysian Art 1965-1978’
Commonwealth Institute, London in 1978; the ASEAN Exhibition of Painting and
Photography in 1982, 1983, 1984; the ‘Contemporary Paintings of Malaysia’ in
Pacific Asia Museum, Los Angeles, United States in 1988; ‘Malaysian Art’ touring
Germany (1990-1991); and ‘Experience South-east Asian Art’ at the National
Gallery Singapore in 2015.
As Malaysia's national representative at the ASEAN Square Sculpture
Symposium in Jakarta in 1984, he built the monumental sculpture, "Peace,
Harmony and One,” which is permanently displayed at Taman Suropati, Jakarta,
Indonesia.
About 60 years of dedicated artistic creation, Lee Kian Seng
has won several top-notch national awards 3 from the National
Art Gallery of Malaysia including the Major Art Award and Major Graphic Award
in the ‘Open Art and Graphic Print Competition 1977’; the Major Award in the
‘Young Artists Contemporaries’ (Bakat Muda Sezaman) in 1975: one of the
two Major Awards in the ‘Landscape Malaysia’ competition 1972; the Minor Award
in the ‘Man and his World’ exhibition in 1973; and three prizes in the first
‘Salon Malaysia’ in 1969.
His other accolades include the 3rd Prize (Category B) in the ‘Joy of
Living’ competition in 1964; and the Best Exhibit Prize and 1st Prize (Oil
Painting category) in the ‘10th Young Artists’ in 1966, both from the Arts
Council of Malaysia.
Lee Kian Seng led the Malaysian national team to the 2nd Prize placing
in the International Sand Sculpture competition in Hong Kong in 1988 with their
work entitled 《HARMONY》. (Team: Lee Kian Seng (leader), Zakaria Awang, Zulkifli Yusoff, Kung
Yu Liew, and Zainon Abdullah).
In 1993, he won the highly acclaimed Tokyo Creation Award Overseas
Prize, in recognition of his excellent exploration, innovation and creativity
in 'Dye and resist technique', and for making known batik/dyes painting
worldwide.
In 2000, he was invited by the Malaysian Structural Steel
Association to serve as one of the jury members of its international "Open
Ideas Competition" (ASEAN architects and designers).
In recent years, his " Dang Jin Series (当今系列) " and " Wuji Series (无际系列) " (mixed oil painting techniques) mainly explore the mysteries of life
and human care, and often critically reflect contemporary social issues and
cultural landscapes. ( https://www.leekianseng.com/lee_YZZK.pdf《当今系列》)
” Pioneering works such as those of Lee Kian Seng are of historical importance”, commented Ms P.G. Lim (Tan Sri Dato’, a Malaysian art history observer and the recipient of the Merdeka Award 2009. (45@45，2003)).
" His creative versatility has contributed
to the enrichment of the Malaysian art scene. . .. always
responds whenever his services are needed for the cause of art and his fellow
artists....In all his works Lee Kian Seng projects creativity, intellectual
content and a high standard of professionalism.” -- Datuk Syed Ahmad Jamal
(Director of the National art Gallery Malaysia 1987, National Art Laureate)
Lee Kian
Seng’s groundbreaking work and philosophy have played a crucial role in shaping
the trajectory of Malaysian art, fostering a more dynamic and interactive art environment. Since October 2019, the Ministry of
Education of Malaysia included Lee Kian Seng's achievements in the National
High School Grade 4 Art Textbook PENGKHUSUSAN Sekolah Seni Malaysia Tingkatan 4
< Tokoh dan Pengkarya - Lee Kian Seng >》on page 161. （1091）
Awards:
1964: Third prize category B @ “Joy of Living
“National Art Competition，The Arts Council of Malaysia, for the work” Joy of Living”.
1966: Best exhibit prize & first prize in oil painting section @ “10th
Young Artists” The Arts Council of Malaysia, for the work “Kuala
Trengganu”.
1969: Third prize in sculpture for "The Pair", third prize in mixed
media for "My Poem" & Honorable Mention in Batik for
"Villager” @"Salon Malaysia" National Art Gallery Malaysia.
1972: Won one of the two Major awards (jointly with Redza Piyadasa )@"
Landscape Malaysia " National Art Gallery Malaysia, for the work “From the
Windows of Red”.
1973: Minor award @ “Man and His World" National Art Gallery Malaysia, for the work " Mankind".
1975: Major award for the works “Process of playing Poker " and "Resumption and Consumption” @ "Young Contemporaries" National Art Gallery Malaysia.
1976: Japan Foundation Professional Fellowship.
1977: Major Art Award for the work “Of ' Image, Object, Illusion'-Off Series Mechanism" and Major Award for the work "Of ' Image, Object, Illusion'-Off Series Mechanism 1 “in Graphic section @ national “Open Art and Graphic Print Competition 1977" National Art Gallery Malaysia.
1984: Malaysia National Representative at the 3rd ASEAN Sculpture Symposium in Indonesia, created” Peace,Harmony and One” at Taman Suropati Jakarta, Indonesia. (BSLN/0042/84)
1988: Leader of the Malaysia National Team to the International Sand Sculpture Competition in Hong Kong, team work < Harmony > won the 2nd prize. Team members: Lee Kian Seng, Zulkifli Yusof, Kung Yu Liew, Zakaria Awang and Zainon Abdullah (BSLN /002/88).
1993: Awarded the Tokyo Creation Award Overseas Prize, for “…exploration, innovation and creativity of dye & resist technique in painting and for his role in having 'developed batik into a modern art' and having ' made known worldwide batik/dyes painting.
reference:
http://www.leekianseng.com/lee_LetterUndertaking.pdf
http://www.leekianseng.com/lee_YZZK.pdf《当今系列》
http://www.leekianseng.com/3d_Installation.htm
http://www.leekianseng.com/lee_Bio_1966_FirstOneManShow.pdf
http://www.leekianseng.com/lee_Klang_1.pdf 《为何起诉》
https://leekianseng.com/lee_Klang_2.pdf 《笔记巴生》
http://www.leekianseng.com/lee_TokyoCreationAward1993.pdf
http://www.leekianseng.com/lee_Litho.pdf
http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf
https://www.leekianseng.com/lee_ZanitaPgLimSyedSb.pdf
http://www.leekianseng.com/lee_KlccPleading20080716.pdf
https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
https://drive.google.com/drive/folders/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD
https://www.faqing.org/forum/viewtopic.php?t=7988&sid=ce753671c5e07965d005a6dacb4a0bca《法情》
http://zainalabidinmusa.blogspot.com/2008/12/malaysia-young-contemporary-awards.html
https://faizalsidik.blogspot.com/2012/07/lee-kian-seng-permainan-daun-terup-dan.html?m=1
https://www.iseas.edu.sg/wp-content/uploads/2021/10/Lim-Phaik-Gan-Biographical-Notes.pdf
https://www.nlb.gov.sg/main/music-article-detail?cmsuuid=c01182f7-48c0-4261-ba10-90094fa27947
1 My（Lee Kian Seng） participation at
the Malaysia Pavilion” World Expo 1970”
had given me a chance to view and interpret the best of contemporary world art
and culture. World art and culture have since shaped my worldview and refined
my professional growth. Next, I began to stretch the limits of philosophical
ideology to explore the new frontiers of 3-D art, during which time I buried
myself in the journals of Scientific
American, particularly in studies in respect of visual psychology and
perception that shape visual art. I hope to fully exploit the latest resources
in order to reconstruct my own art theories surrounding these new-found
frontiers. In that same period, I became fascinated with Chinese pictographic
characters, and working hand in hand with the latest resources, I gradually
incorporated elements of the Chinese culture, including paper cutting into my
works. One example is my 3-D installation Mankind
in 1972. ）
Each part of a Chinese script character has its own
original meaning; the combination or the juxtaposition of interchangeable
elements and combination gives birth to new meaning, such as the combination of
the pictograph Sun (日ri) and Moon (月yue) creates the
word “明 ming” which literally means “bright.”
From the 1990s to 2000s, some incorrect historical records have begun to appear in the official publications of the National Art Gallery of Malaysia. These include Lee Kian Seng’s works “Of ‘Image, Object, Illusion’ - Off Series Mechanism (1977)” and “MANKIND (1972)”, which were severely tampered with.
Lee Kian Seng faced several challenges in his artistic career, including Historical Revisionism. Hs work have been tampered with and he has since begun the long process of Restoring Historical Truth.
From 2000, Lee Kian Seng dedicated 20 years to seeking to restore the historical truth regarding his works《Mankind》 (1972) ,《 “Of ‘Image, Object, Illusion’- Off Series Mechanism” 》 (1977) and the essay by a Malaysian art history observer Dato P.G.Lim, which has been heavily tampered with. With the last nine years supported by legal assistance from lawyers Wendy Lam Mei Kuan and Tan Zhao Ying of Messrs. V Chong W Lam. Ref: VW 21(140). This lengthy process highlighted the difficulties he faced in ensuring that his contributions were accurately represented and recognized.
National Art Gallery of Malaysia finally published a revised version ( CTP hard copy ) on August 30, 2021 and corrected
some errors in the following four books published between 1994 and 2008，which can be obtained from the National Art Gallery reception
counter upon request.
1.
1. 1994：《Vision and Idea-Relooking Modern Malaysian Art 》 page 162. （Edited by T.K. Sabapathy, with
contributions
by Krishen Jit, Redza Piyadasa, T.K. Sabapathy and Zainol Sharif）;
2. 2002: 《Masterpieces from the National Art Gallery of Malaysia》by Redza Piyadasa, page 186~187 ( In which, Lee
Kian Seng’s 1972
work 《 Mankind（人类）,1972》was extensively tampered
with
by Redza Piyadasa, including the composition
of the work (original appearance), context, and the
year of creation of
“Mankind” (changed from 1972 to 1992);
3.
2003: 《45@45》page 92～95 (in which Malaysian art
history observer Dato P.G.Lim’s essay and Lee Kian
Seng’s “Of ‘Image, Object, Illusion’ - Off Series
Mechanism (1977)” has been
heavily tampered with.);
4.
2008: 《Timelines》page 232. （ Note: The guest curator clarified
that he actually has no idea of the errors
existed in the photography
document which is sourced from the existing database of the National
Art Gallery of Malaysia’s
collection. ）
[ https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
https://drive.google.com/drive/folders/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD
http://www.leekianseng.com/lee_LetterUndertaking.pdf https://www.sinchew.com.my/?p=2199349 ]
1.
p/s
[ Historical Revisionism: The actions of
certain individuals in the art community undermined the recognition of Lee Kian
Seng’s pioneering role and the significance of his works in the context of
Malaysian art history. This historical revisionism posed a threat to his legacy
and the acknowledgment of his contributions.]
[ “…In my meeting with artists and others in the art scene thus far, I have become directed to artists whose works and contributions have been missed out in the existing mainstream narratives of Malaysian art history. Your name (Lee Kian Seng), in particular, has come out many times as one of the artists in the earlier generations whose work has been missed out and under-recognised. I am following this lead in my research and I hope to be able to meet up with you...”. ] -- -in 2008, a regional scholar noted that Lee Kian Seng 's work had been overlooked in mainstream narratives of Malaysian art history, highlighting the ongoing struggle for recognition and the need to restore historical truth regarding his contributions.
Since 2010, Goodenei.com, led by one Goh Ah
Ang吴亚鸿, has published (unauthorized and wantonly
abused) erroneous data and narratives from “Masterpieces from the National Art
Gallery of Malaysia (2002)” pages 186-187, causing serious damage to Lee Kian
Seng’s professional status, reputation and public image internationally.
(Ref:
Messrs.
V Chong W Lam. Ref: VW 21(140). Screen shots of goodenei.com and Baidu.com, Exhibition catalogue of” Man and his World “published by
the National Art Gallery of Malaysia in 1973
）
More stories at the following links:
http://jiaernic.blogspot.com/2017/07/negaraku-art-exhibition-part-22_5.html ….it questioned the past and future of the
nation
https://artklitique.blogspot.com/2017/07/316-musings-about-negaraku-nag.html?m=13/16 Musings about Negaraku @ NAG- July 30, 2017…It is loaded with symbolism that
teases and invites the viewer to interpretations. …
http://artklitique.blogspot.com/2016/09/mapping-v-peralihan-nvag.html Lee
Kian Seng, who protested ….
* "Ukiyo-e"(浮世绘) literally means
"floating world painting." "Ukiyo" comes from Buddhist
terminology, originally referring to the cycle of life and death and the
illusory nature of the world. (“浮世绘” 的字面意思为 “虚浮的世界绘画 。 “浮世” 来自 佛教用语， 本意指人的生死轮回和人世的虚无缥缈) 。
*****
Notes 杂记
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“……. 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.” ( Niranjan Rajah
) Curatorial Hierarchies “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.” by Niranjan Rajah ( Extracted
from the "Regionalism in An Era of Global Art" from the Symposium
“Constructing Cultural Identities in the Context of Globalisation” held in Malaysia
in March 2000.) *** " 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 inhospitable 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."
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(note: under construction)
2000:
2.
2000: 在马来西亚新国家艺术馆开幕展《 Rupa Malaysia-meninjau seni lukis modern Malaysia》（2000-09-15 -2001-09-30），李健省的作品《Mankind》（人类）(1972) 的构成和艺术意蕴，被客座策展人Redza Piyadasa（马来西亚艺术观察家/画家）严重篡改。随该展出版的目录也遗漏了《Mankind》的记录。（注：马来西亚艺术历史观察家人权律师林碧颜（Dato P.G.Lim）有出席当天的开幕礼，一切看在眼里。）
Lee Kian Seng’s 《Mankind》 was heavily tampered by guest curator Redza Piyadasa at
the 《 Rupa Malaysia-meninjau seni lukis modern
Malaysia》, 2000-09-15 -2001-09-30, National Art Gallery
Malaysia.
3.
2000: 2000-11-5 李健省与Dato P.G.Lim（林碧颜）一同到国家艺术馆再检查被人篡改的“Mankind”。之后，在Dato P.G.Lim的协助下，李健省以2000-11-06信件向马来西亚国家艺术馆投诉《 Rupa
Malaysia-meninjau seni lukis modern Malaysia》展的策展人不公，寻求改正错误。注：国家艺术馆和客座策展人Redza
Piyadasa皆没回应。 http://www.leekianseng.com/lee_LetterNag20081231.pdf
4.
2000: In November 2000,
Veronica Shunmugam from the Sunday Star Malaysia visited《 Rupa Malaysia-meninjau seni lukis modern Malaysia》at the National Art Gallery Malaysia, thereafter she interviewed
Lee Kian Seng and published the article “On the edge of innovation “on the
3rd December 2000.
http://www.leekianseng.com/lee_LetterUndertaking.pdf
5.
2002: 《 Masterpieces from the National Art Gallery of Malaysia》（自马来西亚国家画廊的杰作），页186-187，李健省的作品《Mankind》（人类）被撰写人Redza Piyadasa严重篡改，包括作品的构成，语境和创造年。
图：2019年8月27日《 马来西亚华人人物志 》主编何启良教授和钟瑜在李健省的工作室谈艺术。
于20190927去探望他，希望他早日康复。
1972
年11月17日，我领 “马来西亚风景画” 其中之一大奖时，我们在国家艺术馆的颁奖礼上见面。锺正山有参展。（图片）
简报 Briefing 《Malaysian Chinese Historical Personalities》（马来西亚华人人物志）, published by the Centre for Chinese Studies, Universiti Tunku Abdul Rahman, Malaysia in November 2014。 One of the above-mentioned works, the biography of Lee Kian Seng(李健省) written by Chung Yi (钟瑜) on pages 626~629 of the second volume----" A Maverick and Deviant in the World of Art " (离经叛道的画坛异数 ) has at least 16 errors, including misleading descriptions of Lee Kian Seng’s（李健省） personality and public image as well as the distortion of the composition and artistic implication of the original work " Of ‘Image, Object, Illusion'- Off Series Mechanism". In August 2019, Lee Kian Seng began seeking corrections from editor-in-chief Professor Ho Khai Leong（何启良） and Chung Yi（钟瑜） (see Lee Kian Seng's 20190812 NOTE) 。 On August 19, 2020 and August 21, 2020 TEE TAI TZIAN & SIM (郑大前律师楼), the solicitors for Lee Kian Seng began to request the Errata from Chung Yi and Professor Ho Khai Leong respectively. The entire process of obtaining the amendments for the above biography took 3 years. 《 马来西亚华人人物志 》（共四卷）, （马来西亚拉曼大学中华研究中心2014年出版）。（https://www.sinchew.com.my/content/2015-01/07/content_1425882.html） 上述著作的其中的一篇作文，第二卷页626～629由锺瑜(ChungYi)撰写的李健省 (Lee Kian Seng)传略--《离经叛道的画坛异数》，发生至少16项 错误。 2019年8月李健省开始向主编何启良教授和锺瑜寻求勘误。 2020年8月19日 和 2020年8月21日，李健省的代表郑大前律师楼（MESSRS. TEE TAI TZIAN & SIM （ TS.L.20.LKS-HKL&CY.396(T)））开始向锺瑜和何启良教授寻求勘误。 2022年3月：李健省成功协助锺瑜修订《 马来西亚华人人物志 》第二卷页626～629由锺瑜撰写的李健省 (Lee Kian Seng) 传略--《离经叛道的画坛异数》里的十多项错误，包括人格/公众形象的误导性描述，以及《形象、物体、 假象》 (“Of ‘Image, Object, Illusion’- Off Series Mechanism”) （1977） 作品的构成和艺术语境。耗时3年。
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http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf
《 马来西亚华人人物志 》--拉曼大学中华研究中心于2021年12月出版勘误表（ERRATA）
https://cchs.research.utar.edu.my/%E5%8B%98%E8%AF%AF%E8%A1%A8%EF%BC%88Errata%EF%BC%89.php
@@@@@@@@@
- 李健省以三分法思维创造艺术 http://www.leekianseng.com/3d_Mankind.pdf
https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
https://drive.google.com/drive/folders/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD
http://www.leekianseng.com/3d_Mankind.pdf
（上图）在马来西亚新国家艺术馆开幕展《 Rupa Malaysia-meninjau seni lukis modern Malaysia》（2000-09-15 -2001-09-30），李健省的作品《Mankind》（人类）(1972) 的构成和艺术意蕴，被客座策展人Redza Piyadasa严重篡改。随该展出版的目录也遗漏了《Mankind》的记录。（为何该策展人这么作？）
（注：马来西亚艺术历史观察家人权律师林碧颜（Dato P.G.Lim）有出席当天的开幕礼。）
(above)At
the Rupa Malaysia—The Face of Malaysia: A Survey of Malaysia’s Modern Art (Meninjau
Seni Lukis Malaysia) exhibition in conjunction with the Opening of its new
building, Lee’s work Mankind (1972) had been unethically modified by guest curator
Redza Piyadasa. The List of Exhibits in
the book that was compiled and written by Mohamed Redza Piyadasa and published
by the National Art Gallery Malaysia in 2000 had left out the record for this work. Why？
( Photos courtesy of Sharifa Fatima at the Opening)
靠炒作死人来抬高私人的身份
“…画家多如天上繁星，不是每颗星星能发光，亮晶晶。这种情况下，一个有江湖地位的艺评人不应该为了某种个人利益关系去奉承谄媚（chanmei）权贵，睁着眼睛说傻话、乱人耳目，把鱼目说成是珍珠，误导群众，变成艺术筷子手 “-摘自” 马后炮 “牛忠，星洲副刊20250427大牌档。
- 身为一位关心马来西亚当代艺术发展的吴亚鸿（Goh Ah Ang）为何会无视马来西亚国家艺术馆1973年出版的《人与他的世界》（Man
and his World）原始展览图录等历史资料呢？
Why would Goh Ah Ang/吴亚鸿, who is concerned about the development of contemporary art in Malaysia, ignore historical materials such as the original exhibition catalogue of” Man and his World “published by the National Gallery of Art of Malaysia in 1973?
- （吴亚鸿 （Goh Ah Ang））再次无视马来西亚国家艺术馆馆长拿督赛阿末佳马尔（Dato’ Syed Ahmad Jamal）1987年出版的文献“Notes on the artist - 3D works by LEE Kian Seng”（艺术家的注记）
Again, ignored the document 《Notes on the artist - 3D works by LEE Kian Seng》 written by Dato’ Syed Ahmad Jamal, Director of the National
Gallery of Malaysia published in 1987.
- （吴亚鸿 （Goh Ah Ang））一次又一次无视《Between Generation: 50 years across Modern Art in Malaysia (Aug 2007) 》[ 代际之间 ：马来西亚现代艺术50年 ] 第108页作品《Mankind》 的正确数据和叙述。
Time and again, the correct data and narrative of the work “Mankind” on page 108 of 《Between Generation: 50 years across Modern Art in Malaysia (Aug 2007) 》 is ignored.
笔记/ Notes
“乡愿这个词含义丰富，孔子所谓乡愿大概是指伪君子，指那些看似忠厚实际没有一点道德原则，只知道媚俗趋时的人。孟子所言大约是说言行不一，当面背后各一套的四方讨好，八面玲珑的人就是乡愿。这种人随波逐流，趋炎媚俗，更多的是指道德败坏的小人。” （百度百科http://zhidao.baidu.com/question/33952713.html
“好人 ？ ”。 “……社会里有坏人並不可怕，因为人有好坏善恶的標准，有了坏人，反而更能让人相信善良的价值。但一个坏人假装是君子好人，他们假装做好事，事实上却是在做坏事，因此“偽君子”乃是最坏的坏人，他们混乱了是非善恶…近代最伟大的女哲学家汉娜说：“邪恶及罪行，只会让我们对罪恶问题感到徬徨难解，而偽善由於已造成善恶不分，它乃是烂到了骨头里的邪恶……中国在极古的年代就已察觉有一种人，居心自私但却貌似恭谨，专讲漂亮话，因此称这种人是“愿”，它的意思是“经过精打细算討人喜欢的虚偽態度”，一个社会里的这种人就叫“乡愿”。”--( 摘自南方朔/星洲日报言路2013-08-21）
南方朔（王杏庆）文凤睿智，神情潇洒笑看人间。识字有限的我最近从他在星洲言路（2013-08-21）的文章里学了两个生字：“乡愿”，恰好也很合适用来形容马来西亚皇城巴生艺术领域里那一小撮专门躲在华团利用组织沽名钓誉同时排挤他人的“画家”。
*****
【“当你朝向艺术高峰的同时，你无法避免命运暗黑的侵击。它会利用你的盲点或无知捉住你，将你困在浅水滩上，再揑住你的脖子。”
1984 年马来西亚有史以来第一次委任华裔艺术家代表国家出席国际艺术盛会 (国家艺术馆档件：BSLN/0042/84 http://www.leekianseng.com/3d_Peace.pdf ) ，为国争光。
“你这次代表马来西亚到印尼去，华社里会有人开始排挤你” ，1984年李健省参加耶加达 《第三届亚西安雕塑家论集会》（3rd Asean Symposium in Jarkata ）出发前，曾有一位马华前辈作家慎重提醒我，直到30年后的今天，证实这位前辈没讲错。
华社文化艺术界从此有小部分“世袭会长/主席/院长” 领导人耿耿于怀蓄意挑衅，大肆滥用人治“协会 ”发文告笼络人脉，企图影响媒体去围堵李健省在艺术领域里的话语权。这小撮欲灭异己而尊独大的华社“大师” 们认为“李健省的出头”冲撞到他们的“权威”、“声望”和“商业”等等私人利益。此外也有官僚滥权处处扭曲史实。
时任马来西亚国家艺术馆馆长Tuan Syed Ahmad Jamal（Dato）当头棒喝，“...根据国家艺术馆的记录筛选。你们也曾与李健省同展参赛，根据他的业绩作决定，李健省不代表任何“团体”或“族群”，他代表马来西亚！”，当年作为馆长 Tuan Syed 的专业足以化解任何族群政治和文化人物的干扰与抗拒。】
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道德危机 -2 非法的行为构成了诽谤和恶意 • illegal action constitutes slander and
malicious 2002: 《 Masterpieces
from the National Art Gallery of Malaysia（2002）》页186和187里共有6处严重错误。i. e该书著者 Redza Piyadasa篡改李健省的 作品《Mankind》 （人类）的构成（composition），语境和创作年份（ 从1972年篡改去1992年、混淆事实和历史流程。 2003：李健省（Lee Kian Seng）于2003-10-13致函马来西亚国家艺术馆寻求更正《马来西亚国家艺术馆的杰作/（Masterpieces from the National Art Gallery of Malaysia （2002）》页186、187的错误。国家艺术馆和著者Redza Piyadasa 皆没回应。 [ref: BSVN/P/209-03/18(10) and VW21(140)] 详见：马来西亚国家艺术馆档案BSVN/209-03/18 http://www.leekianseng.com/lee_LetterNag20081231.pdf 2007年： 5月李健省/LEE
Kian Seng大病在新加坡治疗。
2007年： 6月《Masterpieces
from the National Art Gallery of Malaysia（2002）》作者Redza
Piyadasa去世。
2010：自 2010年起，巴生一位吴亚鸿（Goh Ah Ang）所主导的 Goodenei.com擅取和肆意滥用《Masterpieces from
the National Art Gallery of Malaysia (2002) 》的错误数据和叙述（i.e.页186-187里已被该书作者 Redza Piyadasa篡改的文本），包括 作品《MANKIND》 的构成（composition）、语境、创造年（ 从1972年篡改去1992年）以及李健省（ Lee Kian
Seng ）的个人资料) ，在国际上对李健省/Lee Kian Seng的专业地位，声誉和公众形象造成了严重的伤害。 2015：国家艺术馆于2015年3月11日签署的《承诺书》(Letter of Undertaking) 第5项（e）（b）阐明，该书自当日开始停止在馆内外或公共场所或书局出售或展示，直到该书的修订本出版，并插入上述著作和国家艺术馆官网。(“That we publish an “Errata” to rectify the inaccuracies in the Works and the “Errata” be inserted in the Books in our library and bookstores including our official website; and”) http://www.leekianseng.com/lee_LetterUndertaking.pdf
2021: 于2021年8月30日出版的修订本里，马来西亚国家艺术馆官方确认：《 Masterpieces
from the National Art Gallery of Malaysia》（自马来西亚国家画廊的杰作 ）作者 Redza Piyadasa于2002 年页186 里所写的文章被李健省的文章替代。同时在《星报》（ The Star Malaysia 20 December
2021, p.15），32nd Edition of KINISENI和 国家艺术馆官网刊登“NOTICE” （ 通告）。
参照：：BSVN/P/209-03/18(10)
and VW21(140 ;https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/ ; https://drive.google.com/drive/folders/1aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD?usp=sharing ***** 2002: 《 Masterpieces from the National Art Gallery of Malaysia (2002) 》 pages 186-187 that had been tampered by Redza Piyadasa, including the composition, context, year of creation of the work MANKIND (from 1972 to 1992) and brief bio, causing serious damage to Lee Kian Seng’s professional status, reputation and public image internationally. 2003：Lee Kian Seng wrote to the National Art Gallery of
Malaysia on 13 October 2003 seeking correction of the errors on pages 186 and
187 of Masterpieces from the National Art Gallery of Malaysia (2002). Neither
the National Art Gallery nor the author Redza Piyadasa responded.
2007: In May 2007, Lee Kian Seng was treated in
Singapore.
The
error information in Baidu.com
(as picture attached below came from the goodnei.com in Malaysia. Ref：BSVN/P/209-03/18(10)
and VW21(140 ; https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/ ; http://www.leekianseng.com/lee_LetterUndertaking.pdf】
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 上图：百度百科里的错误信息来自马来西亚的 goodnei.com ***** 2007年 8月, Yap Sau Bin 对 “Mankind (1972)” 贡献了一份精心研究的报告 ( @ “Threading Three Figures At NAG” 《 Between Generations—50 years across Modern Art in Malaysia （ 马来西亚艺术50年） (2007) 》。 主编：Beverly Yong 和 Hasnul Jamal Saidon，马来西亚理科大学 （University Sains Malaysia) ，马来亚大学 (University Malaya) ，Valentine Willie Fine Art (Malaysia) 画廊和 Penjana Bebas (Malaysia) 于2007年联合出版。）  (Note: “Threading Three Figures At NAG” by Yap Sau Bin, August 2007/ excerpted from 《 Between Generations—50 years across Modern Art in Malaysia (2007) 》jointly published by University Malaya, Valentine Willie Fine Art, University Science Malaysia and Penjana Bebas Malaysia。 Editors：Beverly Yong 和 Hasnul Jamal Saidon，) |
*** |
（特注：2003年10月，一位来自马来西亚巴生皇城，助纣为虐，圆滑的 XX‘艺术家协会’会长（一向惯用抽离剔除真相，借刀除忧的话语策略 )，向一媒体副刊主任投诉道： “林碧颜不是
历史学家，她对马来西亚艺术界的评论不足为信” ）
."…說得刻薄一點，華社很多時候也在掩飾甚至毀滅歷史。” -星洲言路/林明华(注：社评作家林明华先生所见到的，与马来西亚雪州皇城巴生艺术界的病态大同小异。乡愿为了塑造’会长‘形象，不惜移花接木偷梁换柱。“妄言” 和 “绮语” 在巴生（Klang）皇城艺术界流行，历史真相被‘会长’ 囚禁。《骑劫艺术》： https://www.sinchew.com.my/?p=2136559
@@@@@@@@@
提醒巴生皇城艺术界的乡愿：“诚信必须建立在实事求是的基础上，不能一味老谋深算，篡改史实自我吹嘘。”
Integrity must be based on seeking truth from facts, and one cannot be blindly cunning, tamper with historical facts, or brag about oneself.
乡愿为了塑造’会长‘形象，不惜移花接木偷梁换柱蒙蔽华社，“妄言” 和 “绮语” 在巴生（Klang）皇城艺术界流行，历史真相被‘会长’ 囚禁。《骑劫艺术》： https://www.sinchew.com.my/?p=2136559
https://klanghistory.blogspot.com/2014/09/blog-post.html巴生的一些历史记录
- 世间有多少明智之士，断定不能瞒天过海。越过市越不过学术，越过学术越不过历史。
1988年，李健省领头在马来西亚社区推介/策展装置艺术，为皇城巴生带来两项发表会：
1988年1月17日～19日于巴生福建会馆实践《现代文明的证言》以及1988年3月13日 于巴生中华独中实践《诚》，激活了社区对当代装置艺术的认识。
@ Klang 1988-01-17 https://www.youtube.com/watch?v=DwFYQ-xVTg0
@ Klang 1988-03-13 https://www.youtube.com/watch?v=0ubnbQBTkAs
Truth always exists ; only lies are invented.
欺世盗名
虚张声势乱人耳目
· 1995年6月21日在巴生博雅画廊（博雅艺术中心）
一位吴亚鸿导演的装置艺术展怎会是 ‘巴生的破天荒第一次’ ？ 以下的声明偏离事实。
“该装置艺术发表会负责人吴亚鸿，同时也是8名参展画家之一的他表示，这项别出心载的展览会是首次在巴生举行，可算是巴生艺术界的一项突破。（见南洋商报1995.6.19陈美佩报道）
“巴生虽然已经拥有100年的历史，但在巴生这个皇城主办装置艺术还是破天荒第一次、 其余7名参展者为黄俊杰，周靖化，郭云珍，陈艾英，李选凤，叶振和与陈福财” 。” (见星洲大都会1995.6.18林宝源报道)
“真相并不总是美丽的，美丽的话语也并不总是真相”
巴生皇城号称 " XX艺术家协会“是否可以出示其所谓于1967年向社团注册局注册的原始委员会名单、相关文件和注册过程？
< 鲁迅
- 李健省（Lee Kian Seng)的名字于1960年代被人盗用去注册艺术家协会 ?
(注：社评作家林明华先生所见到的，与马来西亚雪州皇城巴生艺术界的病态大同小异。
乡愿为了塑造’会长‘形象，不惜移花接木偷梁换柱。“妄言” 和 “绮语” 在巴生（Klang）皇城艺术界流行，历史真相被‘会长’ 囚禁。《骑劫艺术》： https://www.sinchew.com.my/?p=2136559
"...传媒工作者，即为社会信息传媒守门人，攒写文稿就应有一定的专业操守，不能弄虚作假，不可草率马虎，所有的报道必须追求正确公正。”- 陈玉水/南洋商报 2016-01-16
* 媒体有责引领社会及读者迈向更高层次。
“不准确的理解和翻译就会歪曲原义，以讹传讹，害人不浅。” ，希望朱光潜的金玉良言（摘自‘美学拾穗集’）能唤醒马来西亚华社一部份画家与美术/文史研究者的良知，这小撮人（4人帮）企图垄断学术平台，社区公器、篡改史实，营造假舆论蒙蔽华社。
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"My Poem"1968 Permanent collection of the National Art Gallery Malaysia
( image from catalogue of Salon Malaysia 1969)
( image from catalogue of Salon Malaysia 1969)
