Wednesday, February 10, 2016

LEE Kian Seng sharings 李健省

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)


 "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/








Since October 2019, the Ministry of Education of Malaysia compiled Lee Kian Seng's achievements into the National High School Grade 4 Art Textbook PENGKHUSUSAN Sekolah Seni Malaysia Tingkatan 4  < Tokoh dan Pengkarya - Lee Kian Seng > on page 161

*自2019年10月起,马来西亚国家教育部将李健省(Lee Kian Seng)的成就编写入国民型中学四年级美术教科书《PENGKHUSUSAN Sekolah Seni Malaysia Tingkatan 4》161:《Tokoh dan Pengkarya-Lee Kian Seng》(Below/下图)



















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Artists Lee Kian Seng and Syed Ahmad Jamal discuss their work,  New Sunday Times ,November 27,1977

马来西亚通报 1983年10月30日






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**Official speech at the presentation of awards of the Young Contemporary Exhibition 2000 by Dato P.G. Lim at the National Art Gallery, Malaysia, on 30 January 2001.


大馬人權鬥士林碧顏 -亚洲周刊·林友順 2013/7/22

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。林碧颜(P.G.Lim)是1969年马来西亚国家艺术馆第一届 “Salon Malaysia” (January 24-March 30,1969) 的召集人。(1969513日发生513种族事件)。

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.



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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)


[  ”Pioneering works such as those of Lee Kian Seng are of historical importance,” , ---- Ms P.G. Lim (Tan Sri Dato’, the recipient of the Merdeka Award 2009,a Malaysian art history observer and human rights lawyer ),(excerpted from the 45@45 special issue published by the National Art Gallery of Malaysia). 



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,20081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)



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   Revised Version》  修订   


 *** Revised Version published by the National Art Gallery of Malaysia on the 30 August 2021(包括人权律师马来西亚艺术观察家林碧颜律师(Dato P.G.Lim)于2003年在国家艺术馆策展45@45发表的文献

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

The entire process of seeking the Revised Version published by the National Art Gallery of Malaysia in August 2021 took 20 years, and the last 9 years with the assistance of lawyers Wendy Lam Mei Kuan and  Miss Tan Zhao Ying  (Messrs . V Chong W Lam ref: VW21(140)).      

http://www.leekianseng.com/lee_LetterUndertaking.pdf

披荆斩棘20年   李健省于2021830日成功协助马来西亚国家艺术馆修订4件(CTP)修订版。在1994年至2008年之间出版的四本历史书籍中,修正了一些重大错误,还原历史真相。整个过程历时20年,最近9年是在Wendy Lam Mei Kuan律师和助手 Miss Tan Zhao Ying(陈昭颖)律师 的协助下完成的 (Messrs . V Chong W Lam 律师楼ref: VW21(140)) 

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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Lee Kian Seng’s 3 -dimensional series of works in the 1970s (mainly published in the National Art Gallery of Malaysia) was the initial catalyst of Malaysia's installation art. 

His work is important to Malaysian art because of his pioneering contributions to installation art, his reflections on contemporary society, the recognition and awards ( 11 top-notch national art awards and 2 International awards) he received, and his influence on future artists. His work played a significant role in shaping the trajectory of Malaysian art and expanding the possibilities of artistic expression in the country.  (AI)


 


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 Seng1970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 tcreate a parameter and order of knowledge structure by drowning and distorting the facts ohistory. This would pave the way for all future speech and narrative to fall within the standard andisciplinary 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20119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。


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 《物以类聚




曾寄出4寻求查证’信。求助无门,只好坦然面对,通过法律程序去实现渇求真相的心愿。没程序公正,就不可能有实质公正。




【 孔子 曰: “学无先后,达者为师”】


“ 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



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2008113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)





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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)

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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?

 7.欧阳文风。《犬儒、懦弱与可怕的沉默!

8. 黄能世·艺术无惧於强权


9.蔡長璜:誰把大家搞得疑神又疑鬼了?《燧火评论》

10.“……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  


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

·刘若英為愛痴狂

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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***


 ***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.***


当代艺术( Contemporary Art)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,由 3 个基本要件组成:公平,正义,自由。也不等同于西方价值观。 

 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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·美国文化政策的源起(1960年之前)

http://collection.sina.com.cn/hwdt/20131028/1012131432.shtml








2012

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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(@1966101722/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(@196682731  ),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:19668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19694月游学国外多年。










马来西亚雪州苏丹殿下为李健省个展主持开幕 @1968‐10‐10 巴生皇家俱乐部 ( Royal Klang Club)  
“巴生皇家俱乐部(Kelab Di Raja Klang/Royal Klang Club)历史超过百年,60 年代艺术气息浓厚文化素质高, 曾是戏剧活动历史重镇之一,对马来西亚的戏剧发展有一定的贡献。

1967 年时任会长 R.J. Colins 先生热心艺 术,业余兴趣导演戏剧,在海峡时报的新闻(Straits Times Malaysia 1966‐10‐18)发现李健省。“那时我画室 在偏僻的郊区(Lot 831,C9, Bukit Kuda, Klang)没电话,他马不停蹄四处探听,最终给他找到。他热心邀我参与该会之戏剧活 动负责舞台设计 ,我乐意免费帮他也开始与表演艺术结缘。(The Lesson by Eugene Ionesco translated from the  French by Donald Watson @ Klang Club ,Directed by Reginald Collins 1968 ) 之后,在他的诚意安排下,促成了该 项画展。” 

 


19681010雪州苏丹殿下假巴生 (皇城) 俱乐部(Royal Klang Club, Malaysia) 为李健省个展开幕,史无前例,盛况空前。苏丹殿下领头在各层面提升市民的品位,是艺术教育醒觉的里程碑。

 这令巴生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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作品回顾 (Draft) 

 (note: under construction)


 

@1978



**20153月与副刊主编何雪琳在《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



Lee Kian Sengthe Progenitor of Malaysia Installation Art


  Original Chinese text by O.Young                  English translation by Felix Liew




19. 和平,和谐,一体


(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)】   



18. 唤醒人性良知


17. 其大无外·其小无内




16.诚




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
117日~19日于巴生福建会馆实践《现代文明的证言》以及1988313 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



13.突破茫然




12. 生生不息





11.亦庄亦谐






10.艺术史上的高峰

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(88height) 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 IdeaRelooking 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 nations historiography. In the face of such blatant disregard to the nations 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 )

    作于1977年的〈形象,物体,假象〉是李健省(LEE Kian Seng)众多装置艺术作品中极富想像与争论性之一件。这一作品亦被国家艺术馆永久收藏。在2003年国家艺术馆为庆祝建馆45周年,主办了一项4545艺术展,邀请我国45位,其中大部分在文化领域德高望重者从国家艺术馆永久收藏中,选出一件心仪作品以作评析,当时李健省亦被受邀评选。拿督林碧颜(Dato P.G.Lim)曾是国家艺术馆副主席兼画展委员会主席,可谓艺术馆早期发展功臣之一,亦是其中受邀者。

 李健省的〈形象,物体,假象〉当时被林碧颜选中,也是该画展上唯一的装置艺术品。这作品由多个物件组成,其中包括一幅挂在墙上的绘画,一个白色台阶(领奖台),一块面积8x16平方尺6mm厚白色三夹版,自墙壁下端地面伸延至台阶,台阶上方空间里悬垂着一面高88”国旗,与挂在墙上那幅绘画上的国旗一样高度,互相衬托反映对照。地面白色三夹板面和绘画上有国旗的投影;形象与物体交错相织,产生一种微妙的阴阳互动感觉。

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。

 这么一件极具内涵与创意的艺术作品,国家艺术馆虽说做为永久收藏,但却没有尽到真正珍惜与保护艺术作品的责任。1994年国家艺术馆在其出版的书籍“Vision and Idea-- Relooking Modern Malaysian Art”(远见和理念:再看马来西亚现代美术) 竟然可以一连犯下几个大错误,包括标题不对、有关作品多了一个黑色地毯的踏级、白色领奖台(台阶)不见了,地面上面积8x16平方尺的白色三夹版也不见了,连画面上的蟑螂也失去踪影!整件艺术品几乎改头换面。如此收藏艺术作品,简直是难以置信的失误。李健省再次上书投诉,一样不见回应。

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?  

 19771220日至1978226日马来西亚国家艺术馆主办全国艺术与版画公开赛Open Art and Graphic Print Competition 1977, Malaysia )。李健省(LEE Kian Seng)的作品《形象,物体,假象》得了艺术项目大奖。其他得小奖者包括在学术机构服务的理科大学(USM)艺术讲师林英辉(Lim Eng Hooi),玛拉工艺大学的钟金钩(Chong Kam Kow),苏来曼依沙(Sulaiman Esa),和儒斋卡(Ruzaika Omar Basree)。李健省的版画也获得版画项目的大奖。

 评论家 Cecil Rajendra 在“全国艺术与版画公开赛展览会画册1977”里对《 形像,物体,假象 》有高度的评价,他说:“这作品触及几个层面。它同时述说我们的过去,现在和将来。它富含象征性的手法勾起观众对其种种的诠释。国旗为何反向?画面右上角的蟑螂又代表什么?它是否指向未来的凶兆?作品的构造十分巧妙,取得在主题与媒介之间近乎完美的平衡。作品技艺高明,绝对应得最高荣誉。” 

欧阳文风200612月于纽约




9.真挚


8.激发新创意




7.展现阴阳哲学




6.雌雄结合是活水泉源




5.三分法思维装置绘画


4. 人类


<李健省更正:欧阳文风稿于200612>



3.自天空


<李健省更正:最后段第一句第二行是 “...起诉.”, 不是上诉’> 


2. 团结( Unity) 
 Original Chinese text by O.Young .English translation by Felix Liew

         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 artists 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 creators 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 others 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 Lees 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. )





1.一对

〈李健省更正:作品赏析的第9和第10行分别是 “495 “28个奖项




@@@@@

LeKian Sengthe Progenitor of Malaysia Installation Art


  Original Chinese text by O.Young                  English translation by Felix Liew


Authors Profile

 

Rev. Dr Ngeo, BooLin ( O.Young /欧阳文牧师  is ChinesMalaysian. 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 3books and numerous bestsellers in Malaysia. He holds a BA degree in sociology from university of Wisconsin, MA degree in sociology from Minnesota State University, 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 thfirst openly gay minister in his native country Malaysia, and the first openly gay minister who hold

doctoral degree in theology in Asia. He is one of the most sought-after speakers in LGBTI Chinescommunities in

 Asia, such as China, Hong Kong, Taiwan, and Malaysia. His activisim in Asia habeen reported by CNN and the New York Times. He also has been named as one of the mosinspiring 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  @ Singapore Art Museum 2005-06-28


  












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 简介

 

李健省 (Lee Kian Seng)- --亚洲独立艺术家                        20240919
http://lee-kian-seng.blogspot.com/                   http://www.leekianseng.com/lee_Bio.html

     

李健省 (Lee Kian Seng) 是马来西亚最重要的多媒介当代艺术家之一,其创作包括绘画、雕塑、石版画、染色艺术和装置艺术。1948 年出生于中国(福建金门)。

1964年以作品《三轮车夫与鸟》应邀参加马来西亚国家艺术馆的 “全国美展” National Art Exhibition 

196618 岁,马来西亚艺术议会呈献其个人画展 (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。奉行终身学习,他本人设计了1966年至1968年的学习计划。( to单独细节)

1969年至1972年,在东京独立进行开创性的跨学科 “染色艺术” 研究, 涵盖了江户时代的浮世绘研究、 ‘能面等艺术。同期,于世界博览会(World EXPO 1970Osaka Japan马来西亚馆 1发表了3次元作品UNITY(团结)和三幅大型画作《黎明》、《正午》、《黄昏》 ("Dawn", "Noon" and "Dusk”) 

1976年,荣获国际交流基金会Japan Foundation Professional Fellowship,表彰其杰出的才华和对艺术的贡献。

1976年至1977年,在东京国立艺术大学(Tokyo National University of Fine Arts and Music)进行跨学科 “比较研究——染色艺术” 研究;同时也在私立东京版画研究所(Tokyo Hanga Kenkyusho /Tokyo Printmaking Atelier) )探索 “在热带气候下制作石版画的可行性” 

 李健省标志性的作品,团结Unity19691970)、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 Consumption1975)、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。

其作品自1965年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。

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(国家艺术馆馆长1987 Datuk Syed Ahmad Jamal National Art Laureate)

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

 跨越50多年,一贯专事艺术创作的生涯中,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,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 Malaysia1966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)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 AwangZulkifli YusofKung Yu LiewZainon 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 ‘蜡染/染色艺术闻名于世。

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。

 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》(油画混合技法)主要在探索生命奥秘,人性关怀,反映人类的行为以及所面临的挑战;《无际系列》则重新思考艺术中永恒的精神价值。

 李健省(Lee Kian Seng)  1970年代在马来西亚国家艺术馆发表的一系列作品,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2對大馬藝術界現象的補充

披荆斩棘20年,李健省于2021830日成功协助马来西亚国家艺术馆修订4件(CTP)修订版,在1994年至2008年之间出版的四本历史书籍中,修正了一些重大历史错误,以及坊间一些机构特刊里的错误,包括:

I.  1994年的 Vision and Idea-Relooking Modern Malaysian Art  162 页的5项错误。(Edited by T.K.Sabapathy, with contributions by Krishen Jit, Redza Piyadasa, T.K.Sabapathy and Zainol Sharif  ;

II.  2002年的《Masterpieces from the National Art Gallery of Malaysia》(自马来西亚

国家画廊的杰作 )第186 187页的6项错误。(该书 作者 Redza Piyadasa篡改李健省的《人

类》(Mankind) 的作品构成,创作年份以及艺术语境( 1972年篡改去1992年)                             

III. 2003  45@45》第 9295页的4项错误。(篡改林碧颜律师(Dato P.G.Lim)的评论

和李健省的作品); 

IV. 2008 年的 Timelines》第 232页的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)。 

201910月起,马来西亚教育部将李健省( Lee Kian Seng)的成就编入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 

荣誉:
1964
:获B组第三奖(油画)@ The Joy of Living》马来西亚艺术议会主办(The Arts Council of Malaysia,作品《生活的情趣》。
 

1966:获全场最佳奖(Best exhibit prize)与油画首奖(First prize in oil @《第十届青年画展》马来西亚艺术议会主办(The Arts Council of Malaysia),作品《 Kuala Terengganu》。

1968:   作品《The Pair》获雕塑组第三奖,《My Poem》获混合媒介组第三奖,《Villager》获巴迪画荣誉奖@《马来西亚沙龙》马来西亚国家艺术馆主办。 

1972:获两个大奖(Major award)之一《马来西亚风景》马来西亚国家艺术馆主办,作品《From the Windows of Red》。 

1973:获小奖(Minor award《人类及其世界》 马来西亚国家艺术馆主办,作品《 Mankind》。 

1975:获大奖(Major award@《现代青年》展(The Young Contemporaries) ,马来西亚国家艺术馆主办, 作品《Process of playing Poker》和 Resumption and Consumption》。 

1976 Japan Foundation Professional Fellowship

1977:获艺术组大奖(Major award)(作品 “Of ‘Image, Object, Illusion'-Off Series Mechanism” )、版画组大奖 Major award)(作品“Of 'Image,  Object, Illusion'-Off Series Mechanism 1”@《全国公开艺术及版画赛1977》(“Open Art and Graphic Print Competition 1977")马来西亚国家艺术馆主办。 

1984:    受委代表国家出席于印尼 耶加达《第3届亚西安(东盟(ASEAN))雕塑家论集会 兼发表作品《和平,和谐,一体》。(BSLN/0042/84) 

1988 :李健省组织的国家代表队以作品《和谐》获《香港国际沙雕赛》国际组第二奖。队员包括Lee Kian Seng Zulkifli YusofKung Yu Liew Zakaria Awang  Zainon Abdullah(国家艺术馆档案 BSLN/002/88)。

1993:获东京创作大赏海外奖 (Tokyo Creation Award Overseas Prize)  表彰 “…其在绘画中对染色和防染技术的探索、创新和创造力,以及他将蜡染/染色发展成为现代艺术并闻名于世  

 *****

1 1970年我在世界博览会(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。

 

2 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)

 注:“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。


注: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。

法情    https://www.faqing.org/forum/viewtopic.php?t=7988&sid=ce753671c5e07965d005a6dacb4a0bca

https://www.faqing.org/forum/viewforum.php?f=45

 http://www.leekianseng.com/lee_TokyoCreationAward1993.pdf

http://www.leekianseng.com/lee_Litho.pdf

http://www.leekianseng.com/lee_Bio_1966_FirstOneManShow.pdf

http://www.leekianseng.com/lee_YZZK.pdf

https://www.iseas.edu.sg/wp-content/uploads/2021/10/Lim-Phaik-Gan-Biographical-Notes.pdf

 http://www.leekianseng.com/lee_LetterUndertaking.pdf       

为何起诉 http://www.leekianseng.com/lee_Klang_1.pdf

 《笔记巴生》https://leekianseng.com/lee_Klang_2.pdf

http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.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





Brief -bio

Lee Kian Seng(李健省)-- Asian independent artist    20240919

http://www.leekianseng.com/lee_YZZK.pdf          http://lee-kian-seng.blogspot.com/                   http://www.leekianseng.com/lee_Bio.html

 

 Lee Kian Seng is one of the leading Malaysian multi-media contemporary artists, whose repertoire includes painting, sculpture, printmaking (lithography), resist-dyeing and installation art. 

 Born in China in 1948, he moved to Singapore with his mother and brother to join his father in 1953, and settled down in Klang, Malaysia, a year later.

 He was first invited to the National Art Exhibition by the National Art Gallery of Malaysia in 1964, when he showed the work, "The Beggar and the Bird"(三轮车夫与鸟). 

At the age of 18 (1966), the Arts Council of Malaysia sponsored his solo exhibition ,to much critical acclaim. Since then, he has had 21 other solos not only in Malaysia, but also in Thailand and Japan. Pursuing lifelong learning, he himself designed the Learning Program for 1966 to 1968. ( to separate detail ).

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 study in “dyeing art” which incorporated ukiyo-e of the Edo period, among others.   At the same period, he also created the 3-D work Unity and three large canvases namely Dawn, Noon and Dusk at the Malaysian Pavilion in the prestigious World Expo in Osaka in Japan in 1970   

 In 1976, he was awarded the Japan Foundation Professional Fellowship, in recognition of his outstanding talent and contributions to art. 

His research, "Comparative study – Dyeing Art,” at the Tokyo National University of Fine Arts and Music and “lithography” at the Tokyo Hanga Kenkyusho (Tokyo Printmaking Atelier), from 1976-1977, has inspired him expand the parameters of the genre. 

 He 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. 

Lee Kian Seng's series of works in the 1970s represented a rising cutting-edge thinking, passing through the hustle and bustle of the so-called "national culture" conference at that time.  對大馬藝術界現象的補充

 Wrote the Director of the National art Gallery Malaysia Datuk Syed Ahmad Jamal (National Art Laureate): " 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.” 

 ”Pioneering works such as those of Lee Kian Seng are of historical importance,” , commented  Ms P.G. Lim (Tan Sri Dato’, the recipient of the Merdeka Award 2009),a Malaysian art history observer and human rights lawyer ,in the 45@45 special issue published by the National Art Gallery of Malaysia. 

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. 

In an illustrious creative output spanning more than 50 years, Kian Seng has won several top-notch national awards 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 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, Lee Kian Seng 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, Lee Kian Seng 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).

 After 20 years of efforts, Lee Kian Seng succeeded in correcting some errors in four books published by the National Art Gallery Malaysia between 1994 and 2008, as well as errors in special issues published by some institutions, included: 

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  ;

2002: Masterpieces from the National Art Gallery of Malaysiaby Redza Piyadasa, page 186~187; 

2003: 45@45page 9295;

2008 :Timelinespage 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.

 On August 30, 2021, the Gallery published four revised versions.

 Since October 2019, the Ministry of Education of Malaysia compiled Lee Kian Seng's achievements into the National High School Grade 4 Art Textbook PENGKHUSUSAN Sekolah Seni Malaysia Tingkatan 4 < Tokoh dan Pengkarya - Lee Kian Seng >on page 161.   (905)

  Awards:

1964: Third prize category B @ “Joy of Living “National Art CompetitionThe 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/3d_Unity.pdf

http://www.leekianseng.com/3d_Installation.htm 

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.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 

 http://www.leekianseng.com/lee_Klang_1.pdf

 http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf

 http://www.leekianseng.com/lee_YZZK.pdf

 https://www.iseas.edu.sg/wp-content/uploads/2021/10/Lim-Phaik-Gan-Biographical-Notes.pdf


 http://www.leekianseng.com/lee_Bio_1966_FirstOneManShow.pdf

https://www.nlb.gov.sg/main/music-article-detail?cmsuuid=c01182f7-48c0-4261-ba10-90094fa27947

 https://www.nas.gov.sg/archivesonline/private_records/record-details/492d8e24-6000-11e5-ac2a-0050568939ad



Notes 杂


1972-0927@Klang

1972-0927@ Klang


1976@Goto Museum Waseta University Japan

1977@Tokyo

1977@Tokyo


1977@Klang




1975@National Art Gallery Malaysia

LEE Kian Seng @ 1976









“……. 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." 


“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)




2008218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2008220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)




2000:

(南洋商报图片:1972-11-17于马来西亚国家艺术馆。李健省向马来西亚首相Y.A.B Tun Haji Abdul Razak Bin Hussein解释作品红色的视窗From the Windows of Red)。左起:Tan Sri Zain Azrai、首相、钟正山、外国嘉宾、李健省。)

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1.      2000-2003期间:有人篡改林碧颜的文献和李健省的两件主要作品,1972年的 “MANKIND” 1977年的《 Of ‘Image,Object, Illusion’ Off  Series Mechanism 》(国家艺术馆于2021830日修订)。http://www.leekianseng.com/lee_LetterNag20081231.pdf

 

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 Malaysiaat 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。

 





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 Note  简报 




图:2019827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。交流间,锺瑜告诉我他父亲锺正山在轮椅上坐了一小段时间,家人都希望他能早日康复。 一时心沉,我15年前大病曾体验与死神大战,能理解锺正山的心情。 

20190927去探望他,希望他早日康复。


 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626629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 错误。

 20198月李健省开始向主编何启良教授和锺瑜寻求勘误。

 2020819  2020821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。

 20223:李健省成功协助瑜修订 马来西亚华人人物志 第二卷页626629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。 

 

 


 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202112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


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2007 8, Yap Sau Bin  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 (2007) 》。 主编:Beverly Yong  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) 2007年联合出版。)

  August 2007, Yap Sau Bin contributed a good researched report on “Mankind (1972)” in “Threading Three Figures At NAG” @ Between Generations—50 years across Modern Art in Malaysia 马来西亚艺术50 (2007) , jointly published by University Malaya, Valentine Willie Fine Art, University Science Malaysia and Penjana Bebas Malaysia EditorsBeverly Yong Hasnul Jamal Saidon.


(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 EditorsBeverly Yong Hasnul Jamal Saidon)





(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。(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. ( Photos courtesy of Sharifa Fatima at the Opening)


********

 非法的行为构成了诽谤和恶意 • illegal action constitutes slander and malicious 


 

The unauthorized use of content from the book "Masterpieces from the National Art Gallery of Malaysia” by Goh Ah Ang/吴亚鸿 on his websites has caused harm to the professional standing, reputation and public image of Lee Kian Seng (李健省) internationally 

In May 2007, Lee Kian Seng was treated in Singapore.                    

 In June2007, author Redza Piyadasa pass away.

  1. Since December 2007, A Mr. Goh Ah Ang/吴亚鸿 has been using unauthorized materials continually in his websites (topart.com, goodenei.com, wuyahong(吴亚鸿). blogspot.com)  from the book "Masterpieces from the National Art Gallery of Malaysia(2002)" without the National Art Gallery's permission (which is now known as National Visual Arts Development Board (NVADB)).

  2.  Partly included the errors pages 186-187 of the above-mentioned book written by Redza Piyadasa which has caused harm to Lee Kian Seng's professional standing, reputation and public image of Lee Kian Seng (李健省) internationally since December 2007.

 

  1. The NVADB is requested to take appropriate action to address this matter and ensure Mr. Goh Ah Ang/吴亚鸿 complies with his legal obligations, to update and publish the Revised Version (page186-187 published on 30.08.2021 is referred to) of the book with the Note to the Revised Version on his websites whenever the book “Masterpieces from the National Art Gallery of Malaysia (2002)” is introduced.

  2. Note (at page 186-187 of the Revised Version ): [The image, description and the text of the work “Mankind” on pages 186 and 187 of the “Masterpieces from the National Art Gallery of Malaysia” published in 2002 are now replaced by the amended version published by the National Art Gallery on 30 August 2021.The National Art Gallery Malaysia accepted and officially confirmed that the essay written on page 186 in 2002 by the author Redza Piyadasa is also replaced by the essay written by Lee Kian Seng. ]      

 The error information in Baidu (as picture attached below) came from the goodnei.com in Malaysia.    RefBSVN/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/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD?usp=sharing  

http://www.leekianseng.com/lee_LetterUndertaking.pdf


 *****道德危机、居心叵测的意图

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。                       

2007年:200712月,有位吴亚鸿 (Goh Ah Ang) 擅取国家艺术馆(现称为国家视觉艺术发展委员会(NVADB))出版物《Masterpieces from the National Art Gallery of Malaysia (2002》(自马来西亚国家画廊的杰作作者:Redza Piyadasa )的内容,包括页 186 187里的错误数据和叙述,肆意滥用在以下网站上发布:i.e  (a) wuyahong.blogspot.com (吴亚鸿 / Goh Ah Ang); (b) topart.com.my(c) goodenei.com etc. )。在上述网站里所刊登 的《Mankind》图片、解说、创造年以及李健省( Lee Kian Seng )的个人资料皆不正确,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。

 相关背景

2002:  Masterpieces from the National Art Gallery of Malaysia2002)》页186187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( 1972年篡改去1992年、混淆事实和历史流程)。

2015:国家艺术馆于2015311日签署的《承诺书》(Letter of Undertaking) 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: 2021830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 Piyadasa2002 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 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   
http://www.leekianseng.com/lee_LetterUndertaking.pdf
  

 




上图:百度百科里的错误信息来自马来西亚的 goodnei.com

***
 

 (特注:200310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” 




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 事实求是才是保证学术价值的前提


  • 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:

1988117日~19日于巴生福建会馆实践《现代文明的证言》以及1988313 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.

·    1995621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)




" The truth is not always beautiful, nor beautiful words the truth"

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?


能被称为“艺术家协会”,这个组织的会员必须具备一定的专业水平,道德和创作,而不是像鲁迅说的“牛羊才成群结队”
To be called an “Artists Association”, the members of this organization must possess a certain level of professionalism,morality and creativity, rather than being like what Lu Xun said: “Only cattle and sheep come in herds.”

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”  “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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***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。
遗憾的是,200346 20日马来西亚创价学会(Soka Gakkai Malaysia)于吉隆坡的策展 “Installation Art Exhibition”(〈思想><空间〉装置艺术展 ) 目录的导言” Introduction)的历史叙述有失偏颇 
正确的史实可参考马来西亚国家艺术馆于2021830日所出版的 "REVISED VERSION"

Changing Approaches: Installations Produced in the Malaysian Art World  by Sarena Abdullah,USM马来西亚理科大学艺术学部Dr Sarena Abdullah 教授2017年在国际论坛发表的学术论文:

https://ejournal.usm.my/wacanaseni/article/view/ws-vol16-2017-1/pdf

 https://www.researchgate.net/publication/320903312_Changing_Approaches_Installations_Produced_in_the_Malaysian_Art_World

https://issuu.com/senikini.bsln/docs/senikini18/28


 


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1968

"My Poem"1968 Permanent collection of the National Art Gallery Malaysia
( image from  catalogue of Salon Malaysia 1969)




"The Pair"1968 Permanent collection of the National Art Gallery Malaysia
( image from  catalogue of Salon Malaysia 1969)

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)