李健省 LEE Kian
Seng 亚洲当代艺术 Asia
Contemporary Art
Form is empty
Emptiness is form
Emptiness is not other
than form
Form is also not other
than emptiness
(excerpt from the
Heart Suttra)
·“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。
“The quest of
history does not lie in what it has chosen, but in what it has
overlooked.”--- American social historian Daniel J. Boorstin 。
·“不准确地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）垄断学术平台，社区公器、篡改史实，营造假舆论蒙蔽华社。
·品格是一个人的基本素质，它决定了一个人回应人生处境的模式,具有核心意义的个性心理特征，包含有许多社会道德含义。莎士比亚也曾说过：“非常的境遇方才显出非常的气节”。
*基于艺术家的创作权益和追求真相公义，李健省于2000年9月18日开始在马来西亚吉隆坡高等法庭上诉马来西亚国家石油（Petronas）和吉隆坡市中市公司(简称KLCC Berhad )。（In the High Court of Malaya at Kuala Lumpur. Civil Suit No.S4 (S1)-22-504-2000）。吉隆坡高等法庭于2008年11月3日下判李健省胜诉,KLCC赔偿。
·“……人类费最大力气、冒最大危险去追求的是什么？是爱情、自由、抑或财富？通通不是，是真相。警方要查出真相，记者要报道真相。科学家要发现有关宇宙和世界如何运作的客观、观察得到，甚至可以证明的真相(provable truth)，艺术家要呈现的，则是人类生存处境与生命本质的实相。”（‘被扭曲的新闻与真相’/林沛理 ）
o
艺术以德而立，以质而传。
o
不容易判断公正性，有偏差就解释不了公正，比如在职场人脉荫庇下的报道。
o
媒体有责引领社会及读者迈向更高层次。
o
君子诚之为贵...至诚如神（中庸）
·【“当代艺术是以人类共同守望的普世价值作为精神指向的，因此， “普世主义”就成为了当代艺术的代名词。在内涵上也主要指具有现代精神和具备现代语言的艺术。普世价值（英语：universal value）泛指那些不分领域，超越宗教、国家、民族，出于人类的良知与理性之价值观念。普世价值是人类文明共有成果，不应该把普世价值等同于西方价值观，进行自我封闭 ”。
·【“当代艺术是以人类共同守望的普世价值作为精神指向的，因此， “普世主义”就成为了当代艺术的代名词。在内涵上也主要指具有现代精神和具备现代语言的艺术。普世价值（英语：universal value）泛指那些不分领域，超越宗教、国家、民族，出于人类的良知与理性之价值观念。普世价值是人类文明共有成果，不应该把普世价值等同于西方价值观，进行自我封闭 ”。
为了私利和排挤当代纯艺术工作者，马来西亚华社艺文界的‘4人帮’常把普世价值解释为西方价值观去误导华社。】
·“...当代艺术创作的出发点强调开阔思想性、批判性与当下性，尤其是那些跨越多元文化差异、有意识地探索世界和生命的奥秘最为高贵...”
·“...商業，艺术與權力的勾結往往造成“画家/画匠”去重复生产千篇一律、没有灵魂的“作品” 。历史上所有大师都具备不随波逐流、不附庸政治、不与市场共舞的节操。”（节录自《真挚》2015年6月2日·南洋商报艺术平台）
·猴子扮戏 >>>
“...一小撮聪明的‘文艺人’为了粉饰太平献媚当权，努力模仿西方‘抽象表现派’的作品、东拉西扯拼凑、故弄玄虚混水摸鱼，在商场笼络人脉，愚弄艺术圈外人和对纯艺术不知的读者...”
New Creativity for Malaysian Artist LEE Kian Seng · On
the Defence of Diaoyu Islands· Chinese + English ) ( http://www.yzzk.com/cfm/content_archive.cfm?id=1364444298731&docissue=2011-06
)
New Creativity for Malaysian Artist LEE Kian Seng · On the Defence of Diaoyu Islands· Chinese + English ) ( http://www.yzzk.com/cfm/content_archive.cfm?id=1364444298731&docissue=2011-06 )
·“2015年1月27日与李健省第一次见面是在环境优美的巴生皇家俱乐部（Royal Klang Club，Malaysia) ；是一场愉快的相遇。与我随行的还有来自马来西亚柔佛州峇都峇辖（Batu Pahat, Johore，Malaysia）的汤铭玮(Thong Ming Woei ) 同学。他就读于北京清华大学美术学院，正为硕士论文《百年马来西亚华人社会与版画艺术发展关系研究》向李健省讨教大马版画资料与石版画艺术进行考究。李健省于1977年设立马来西亚第一间石版画工作室。2009年马来西亚槟城州艺术馆曾主办李健省石版画个展 (1977-1978). [A collection of Litho (1977-1978)] 。这创作于30年前系列石版画的处女发表震撼了马来西亚艺术界。”
·“…說得刻薄一點，華社很多時候也在掩飾甚至毀滅歷史。”，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。http://opinions.sinchew.com.my/node/14637
·马来西亚‘收藏家’兼作画廊拍卖行现象，借用龙应台的文字：“...岂不等于既是驰骋场上的球员，又要做吹哨子论成败的裁判 ？” 紧追着历史的脉搏是收藏品的首要条件，包括有公信力、有据可依的业绩作支撑，这是超越市场的。Principal of
collection>>> Should pursuit the pulse of history.
《 历史照亮明天
·马来西亚‘收藏家’兼作画廊拍卖行现象，借用龙应台的文字：“...岂不等于既是驰骋场上的球员，又要做吹哨子论成败的裁判 ？” 紧追着历史的脉搏是收藏品的首要条件，包括有公信力、有据可依的业绩作支撑，这是超越市场的。Principal of
collection>>> Should pursuit the pulse of history.
《人祸比天灾可怕·道德危机》
#以下 goodenei。com网站的主人，不惜抵触到马来西亚个人资料保护法令、自2007年12月开始，整整8年，以讹传讹污蔑了李健省和他的作品。
“乡愿，德之贼也。”
@@@@@@@@@@@@@@@@@
#以下 goodenei。com网站的主人，不惜抵触到马来西亚个人资料保护法令、自2007年12月开始，整整8年，以讹传讹污蔑了李健省和他的作品。
“乡愿，德之贼也。”
@@@@@@@@@@@@@@@@@@
“……To some, life may appear to be an illusion. To others, life is nothing but a scam. As the result, they do not hesitate to deceive themselves as well as others. But for LEE Kian Seng, life is an art, and art is also his life. Sixty years on in his life, he is still crying out whenever the truth has been twisted and turned upside down. He is still fighting the battle for truth to triumph over falsehood. When high-handed racism threatens to wax high and nothing seems to be able to stop it, he does not retreat into his comfort zone. If anything, he moved boldly forward without hesitation, straightening history out with the witness of his own life. History is often an account of the power to sustain and dispose a given system. It may be set against the truth to ally itself with error. The voice of the less powerful is often treated as cacophony, a nonsensical noise. Through it all, however, Lee refused to remain silent. In his own way, he was trying to put a stop to the systematic obscuring and wiping out of the truth.
I write this book not only for the sake of the artist, but more importantly, for the sake of our future generations. After all, Lee Kian Seng is no doubt a cultural asset to this country in his own right.”
O.Young @ New York
欧阳文风访问后语
“……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（李健省），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。
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。”
欧阳文风稿于纽约
·17 >其大无外·其小无内
·15 >文明
Video of the work 1988-01-17的视频
Chapter 15 Testimony of Modern Civilization, 1988 第十五章：《 现代文明的证言， 1988 》
Not only do true-blooded artists continue to break new ground in
the creation of art, they never cease to push their creative boundaries as
well. And LEE Kian Seng is just such a one as any true-blooded artist.
1988 was a significant year for the Lee’s art installation
creation in Malaysia.
This is because in that year, he did more than just create
pieces of art. He also brought installation art out into the community from its
high pedestal in the cold exhibition hall. After all, art should never have been
the passion of just a few people, but rather a shared enthusiasm among the
general public.
On 17 January that year, Lee showcased a collection of
installation art works entitled Testimony of Modern Civilization at an
education fair organized by the Hokkien Association of Klang. The three-day
exhibition attracted tens of thousands of art enthusiasts to its hall. For the
first time in the 1980s, Malaysians had the opportunity to encounter
installation art in close proximity to better understand and appreciate this
aspect of art.
This exhibition was initially slated for 1 November 1987, but on
27 October that year, scores of
Chinese educationalist activists, human rights activists, opposition
politicians, intellectuals and others were arrested in a major crackdown widely
known in the history of Malaysian politics and democratic movement as Ops
Lalang (Weeding Operation). The publishing licenses of several news dailies and
weeklies were also revoked. Fear and paranoia prevailed. As the result, the
Testimony of Modern Civilization exhibit could not go on as scheduled.
Civilization had been rendered speechless. What an ironic coincidence!
As it turned out, the education fair had to be postponed to
January of the following year. The event organizer had cited “the current state
of affairs” in its newspaper announcement as the reason for its postponement.
Though it did not detail the specificity of the problem, everyone knew what the
reason was.
When the Testimony of Modern Civilization exhibition finally opened
on 17 January 1988, there were only three items featured. The first was From
the Windows of Red (1972), the second was the Hammer and Nail series (1977),
and the third was Peace, Harmony and One (1984). The last item was not the
original piece, but a miniature version of it, with its size having been scaled
down by a million. Configuration of that Design obtained LEE an
international design patent registered in England in August 1987 (BRIT. REGD.
DES. NO.1044446, 28 March 1988). The artist had converted a mammoth sculpture
into miniature golden earrings and silver pendants that could be worn and
displayed on the human body. This achievement should not be left out in the
historiography of Malaysian art.
The Testimony of Modern Civilization exhibit of 1988 was not
only a landmark event in the history of Lee’s personal artistic creativity and
exhibition; it was clearly a milestone in the history of Malaysian art as well.
However, certain members of the community, either out of ignorance and negligence
or intentional with malicious exclusion, have omitted this significant event
when narrating the history of creative art in Klang. Even the artist’s name was
not so much as mentioned in passing.
National mainstream artists have often intentionally weakened
and watered down the influence and authority that Lee holds in the history of
Malaysian art because of their racial biasness. Even in the local art
community, there have been people who either intentionally or unwittingly
undermined the contributions of Lee to the Klang and Malaysian art scene. It is
thus clear that there is an agenda to have Lee suppressed. But the artist has
an honest and upright disposition. To people who do not know him, he might
appear to be eccentric or arrogant. Some even thought of him as bigoted. He for
one felt it beneath his dignity to compete with these people who would resort
to superficial and heartless strategies of poor taste for the attainment of
fame and wealth. Amidst the cacophonous clamor for riches and honor, he observes
it all with a detached point of view, his mind cleared to continue his focus on
creating art.
In fact, a great number of major accolades in the history of
Malaysian art have ended up in Lee’s studio in Klang. These award-winning
landmark masterpieces have also made Klang famous for its art that goes well
beyond international boundaries.
O.Young，New York
O.Young，New York
·13 >突破茫然
·12 >生生不息
Chapter 10 : 《 Of ‘Image, Object, Illusion’-Off Series Mechanism
》 (1977)
《Of ‘Image, Object, Illusion’-Off Series Mechanism》（1977）by Lee Kian Seng is an installation of mixed media comprising a painting on canvas, one genuine flag, one white podium (measuring 12”x20”x24” made of 6 mm plywood), one piece of 16’ x 8' plywood (6mm in thickness painted white) on the floor extended from the wall to the podium, lights set to cast shadows of the flag on
the floor and in the space. Permanent Collection of the National Art Gallery Malaysia. (Pictures taken at the main Hall, National Art Gallery Malaysia on the 20th December 1977)
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 Competition1977” 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 (installation) 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.)
·8 >激发创新意识
·3 >自天空
2008年2月18日朝圣后自印度回马来西亚，次日金马伦Strawberry Park酒店总经理来电话说有一对来自德国的数学教授夫妇要来巴生向我买画。还在半疑信中他们在2008年2月20日真的来了，从吉隆坡的Hotel Equatorial包租德士专程到巴生我家.....
....石版画起源自18世纪末的德国，是由石印术发展而来的。实际上我是从研究石版画开始体验德国的优秀文化......（待续）
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·一世並不長，既然來了，就要活得漂亮
·呐喊·Scream·2012-04-28
·人的一生，到底在追求甚麼？
·草原上的飞羊
Santana - black magic woman
El Condor
Pasa by Simon & Garfunkel (1970)
https://www.youtube.com/watch?v=pey29CLID3I
https://www.youtube.com/watch?v=0sB3Fjw3Uvc
Guantanamera
- The Sandpipers
Guantanamera
- The Sandpipers
----------------
创价学会池田大作SGI会长曾说，一切始于懂得尊重他人的尊严、欣赏他人的潜能和人类美好的存在。SGM透过出版具有人文价值的刊物和书籍，使大众醒觉自身的神圣尊严，以期建设一个充满人性及和平的世界。
那么，2003年4月6日至20日马来西亚创价学会（SGM)装置艺术展的目录导言扭曲马来西亚装置艺术史实又作何解？明显的是有艺术文化界投机份子渗入马来西亚创价学会平台、滥权攻击李健省（LEE Kian Seng）。
国际创价学会岂可不知？
那么，2003年4月6日至20日马来西亚创价学会（SGM)装置艺术展的目录导言扭曲马来西亚装置艺术史实又作何解？明显的是有艺术文化界投机份子渗入马来西亚创价学会平台、滥权攻击李健省（LEE Kian Seng）。
国际创价学会岂可不知？
