Wednesday, February 10, 2016

LEE Kian Seng sharings 李健省


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)




more stories at 欢迎游览http://www.leekianseng.com/









·“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)垄断学术平台,社区公器、篡改史实,营造假舆论蒙蔽华社。

😀Values are more important than valuable
价值观比价值更重要






·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”。




  刘崇汉 (Liew Kam Ba) 公开道歉



( 马来西亚 Shah Alam高等法庭民事诉讼案编号:BA-22IP-04-11 / 2017于2018年12月12日的同意判决第一项阐明,:The First and Second Defendants in their official capacity as the Chief Editor and the Chairman of the Editorial Board respectively, shall publish an “Erratum” with the contents of the Plaintiff’s article to be proofread by the Plaintiff in the following manner, with the contents of the other artists( except the removal of the plaintiff’s name in the article stated at page 234)remaining as they are :-) (第234页不适合包括李健省的名字)

依据上述判决以及主编刘崇汉(Liew Kam Ba)先生于马来西亚星洲日报2019年1月5日的《公开道歉》的内容,2012年3月31日出版的《滨华中小学88周年纪念特刊1923-2011》的“校友画家”特辑(第234页~242页)作废。


该编委会于2019年出版的勘误版(修订本)李健省简介(第139~140页)如下:-

注:可向巴生滨华 中学接待处(李光前大楼子瑚堂)领取2019年出版的校友画家勘误版(修订本)。Pin Hwa  High School, 13,Jalan Goh Hock Huat, Kawasan 18,41400 Klang, Selangor Darul  Ehsan,Malaysia. 03-33426388 



-------------------------------------------------------------------------------------------


* 2019年,马来西亚国家教育部将李健省(Lee Kian Seng)的成就编入从2020年起的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》







法情:李健省



          




 ·……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  

* 调查报告

 

图: 1966年配合校庆回馈母校在滨华中学大礼堂开个人画展,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。


历史真相     姚拓先生的拔萃画廊(Galaxy Gallery)活动之一

当年在李健省(Lee Kian Seng) 的 穿针引线下,马来西亚国家美术馆义务秘书(马来西亚首相的新闻秘书)苏里文先生 (Mr. Frank Sullivan) 1966126日为拔萃画廊为的首个联展活动(7 青年画展)主持开幕。(见1966127日马来西亚南洋商报与中国报的报道。)

  1. 1966126Frank Sullivan先生曾亲临业主姚拓先生 (1922~2009) 拔萃画廊的一个联展活动,为李健省与画友们的“7 青年画展主持开幕。1968年,Frank Sullivan 受李健省邀请出任第二届《雪州皇城画展》的顾问之一,期间也把滨华中学的校名带进国家美术馆,从此协助提升巴生的艺术风气与士气。1970代初,李健省推荐滨华中学多位校友们的作品给Frank Sullivan,并为他们在Samat Art Gallery(1966年成立)举办个展。

  2. 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。(注: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 日),创造了开埠以来第一个于巴生市举行的个人画展;接着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。)

  3. 以下4个标志性的个展与联谊群展合力激活了巴生艺术生态:                                 I.            1966-08-2731开埠以来第一个于巴生市举行的《李健省个展》(巴生滨华中学大礼堂),领头激活了巴生的艺术活动。在开幕日现场与来宾庄金秀即兴掀起一项跨族群联谊群展的构思,即“雪州王城画展”。      

                                II.            1967-03-0408:临时召集《第一届雪州王城画展》跨族群联谊群展(@ Dewan Melayu Klang马来人大会堂),由一个临时画展筹委会运作,李健省是召集和负责人之一。

                              III.            1968-05-1416:由一个临时画展筹委会运作《第二届雪州皇城画展》跨族群联谊群展( 巴生福建会馆)。李健省主编纪念特刊。Frank Sullivan先生被邀请出任该活动的顾问之一,Frank Sullivan对巴生艺坛的贡献重大,姚拓先生也功不可没。李健省自1969年4月游学国外多年。
(特注:日后,民间也有沿用了几十年,但来歷不明的 “ XX 艺术家协会",被利慾熏心的会长转型"到自己的屋簷下作公关"工具,千方百计为个人商业利益站台护航!假借发扬艺术活动,利用艺术家协会"名头站台,製造阵容来混淆视线掩护私图,为个人私营的艺术中心/画室"招生佔地盘。合法不合法,在华社里没人追究的",很多年前有一位会长"这样告诉我,令人难过。有些社团像私人產业,何时註册也没人知道,在腐败卑鄙政治文化熏陶下,这种不透明的人治传统发展到今天的世袭会长"。详见   骑劫艺术   )

                              IV.            1968-10-10 :雪州苏丹殿下于巴生俱乐部(Royal Klang Club)开幕《李健省画展》 奠定了向外“打开巴生艺术之门”的基础。
(缘起: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,曾是马来西亚戏剧活动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(Young artist to hold one-man exhibition 1966-10-18 The Straits Times Malaysia)发现李健省。那时李健省画室在偏僻的郊区(Lot 831,c-9,Bukit Raja,Klang)没电话,R.J. Colins 先生马不停蹄四处探听,最终给他找到。R.J.Colins先生热心邀李健省参与该俱乐部之戏剧活动负责舞台设计 (The Lesson by Eugene Ionesco translated from the French by Donald Watson @ Klang Club Directed by Reginald Collins 1968 )  ,李健省乐意免费帮他。R.J.Colins
生与雪州苏丹殿下是好友,之后,在他的诚意安排下,促成了1968年的《李健省画展》。)









马来西亚星洲日报 1991-04-26

李健省(右)赠(版)画给星洲日报“花踪”文学奖,由本报社长张晓卿上议员代领。





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。必需严格审查一些有关当代艺术报道的廉正性。
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 


 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...




 ·“.....商业化会在最短的时间吃掉所有的文化。”--曾仕强教授。


(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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上图:2019827《 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

 



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


20198月李健省开始向主编何启良教授和锺瑜寻求勘误。详见李健省20190812笔记。

 

2020819 2020821日,李健省的代表郑大前律师楼(MESSRS. TEE TAI TZIAN & SIM)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 第二卷第626629页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,包括人格和公众形象的误导性描述,以及对《形象、物体、 假象》 (“Of ‘Image, Object, Illusion’- Off Series Mechanism) 1977 作品的构成和艺术语境的歪曲。


2022
3 月锺瑜通过MESSRS. HALIM HONG & QUEK律师楼 提供由拉曼大学中华研究中心(Centre for Chinese Studies Universiti Tunku Abdul Rahman)出版的《离经叛道的画坛异数》传略的纸本(CTP)勘误表

 

20223月马来西亚拉曼大学中华研究中心在其官网发布锺瑜修订的勘误表(ERRATAhttps://cchs.research.utar.edu.my/%E5%8B%98%E8%AF%AF%E8%A1%A8%EF%BC%88Errata%EF%BC%89.php

·       《华人人物志》罕见巨著https://www.sinchew.com.my/20150107/4%E5%A4%A7%E5%86%8C%E5%85%B11%E5%8D%83838%E9%A1%B5100%E4%B8%87%E5%AD%97%EF%BC%8E%E3%80%8A%E5%8D%8E%E4%BA%BA%E4%BA%BA%E7%89%A9%E5%BF%97%E3%80%8B%E7%BD%95%E8%A7%81%E5%B7%A8%E8%91%97/

 

参照:

  1. MESSRS. TEE TAI TZIAN & SIM (郑大前律师楼): TS.L.20.LKS-HKL&CY.396(T)
  2. MESSRS. HALIM HONG & QUEK (翰林方与郭律师事务所): HHQ20LTGENCY&HKL(MCHP)
  3. 《李健省20190812笔记》
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201411月出版。
Malaysian Chinese Historical Personalitiespublished by the Centre for Chinese Studies, Universiti Tunku Abdul Rahman, Malaysia in November 2014)。









以下复印自《马来西亚华人人物誌》第二卷第626629页收录的李健省 (Lee Kian Seng)传略--《离经叛道的画坛异数》作者:钟瑜/马来西亚拉曼大学中华研究中心2014年出版,何启良教授主编). 李健省注:下划线表示错误
 














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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




·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...







7.蔡長璜:誰把大家搞得疑神又疑鬼了?《燧火评论》
(注:更多详情见欧阳文风著作《马来西亚装置艺术之父----李健省》附录(六)或《承诺书 2015-030-11:  http://www.leekianseng.com/lee_LetterUndertaking.pdf


13.             怎样才可以称作家” 




·“2015127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 ClubMalaysia) ;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, JohoreMalaysia)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。”






·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》







上图:百度百科的错误信息来自马来西亚巴生的  goodenei.com



2002: 类似虚幻史观的乱套较早曾出现在马来西亚国家艺术馆于2002年出版的 Masterpieces from the National Art Gallery of Malaysia》(自马来西亚国家画廊的杰作 )。在第186页和187页里共有6处严重错误;作者 Redza Piyadasa篡改李健省 Mankind (人类)的作品构成,语境和创作年份( i.e1972年篡改去1992年、混淆历史流程和真相)

 

国家艺术馆于2015311日签署的《承诺书》第5项(e)和(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:

 

2021: 2021830日出版的修订本中,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 年第 186 页里所写的文章被李健省的文章替代;并在《星报》( The Star Malaysia 20 December 2021, p.15),32nd Edition of KINISENI 国家艺术馆官网刊登通告(NOTICE)。

 

 

2007: 20075月李健省(LEE Kian Seng)大病在新加坡医治。

Masterpieces from the National Art Gallery of Malaysia》的作者Redza Piyadasa 20076月去世。

 


2007: 200712月,有人擅取国家艺术馆出版Masterpieces from the National Art Gallery of Malaysia (authorRedza Piyadasa )》的第186页~187页里的错误资料,肆无忌惮地在下列3私人网站刊登: (a) wuyahong.blogspot.com (吴亚鸿 / Goh Ah Ang); (b) topart.com.my(c) goodenei.com

 

2022422日,马来西亚国家艺术馆证实、全然不知有人擅取其出版的Masterpieces from the National Art Gallery of Malaysia 》文本,包括第186页~187页里的错误资料,在上述网站刊登。上述3个网站所刊登的 Mankind》图片、解说、创作年份以及李健省( Lee Kian Seng )的个人资料皆不正确,污蔑了李健省在国际上的公众形象。形象伤害已经造成。


参照:

国家艺术馆《承诺书》:   http://www.leekianseng.com/lee_LetterUndertaking.pdf  

国家艺术馆官网:https://www.artgallery.gov.my/notis-pemakluman-karya-karya-instalasi-lee-kian-seng/


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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


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





















·13 >突破茫然







·12 >生生不息


















   






·8 >激发创新意识































<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’> 









〈李健省更正:作品赏析的第9和第10行分别是 “495 “28个奖项






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’




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)




































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https://www.google.com/search?q=%E6%AE%87%E3%80%8B+Jacqueline+Du+Pre&rlz=1C1CHBF_enMY979MY979&oq=%E6%AE%87%E3%80%8B+Jacqueline+Du+Pre&aqs=chrome..69i57.22713j0j7&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:6d9ec021,vid:h63Nm2T-XpU


·人的一生,到底在追求甚麼




Santana - black magic woman      

El Condor Pasa  by Simon & Garfunkel (1970)  https://www.youtube.com/watch?v=pey29CLID3I


The House of the Rising Sun
     

https://www.youtube.com/watch?v=0sB3Fjw3Uvc

                                                      

Guantanamera - The Sandpipers 

















   '

  •   ' Lee Kian Seng is awarded the Tokyo Creation Award Overseas Prize (1993) for his role in having ‘developed batik into a modern art’ and having ‘made known worldwide batik/dyes painting'
    (Love me in my batik: Modern Batik From Malaysia and Beyong, ILHAM 28 FEBRUARY-15 JUNE 2016)

  • ‘For if batik doyen Datuk Chuah Thean Teng had transformed a batik craft tradition into the modern pictorial format, it is Kian Seng who push it in quantum leaps to the true painterly effects never thought before’
( Ooi Kok Chuan, New Strais times,January 25, 2006)

艺术专栏记者 Ooi Kok Chuan 观察到,如果蜡染大师拿督蔡天定将蜡染工艺传统转变为现代绘画形式,那么正是 李健省将其推向了前所未有的真正绘画效果(新海峡时报马来西亚,2006 1 25 日)。






















part detail of a genuine work by Lee Kian Seng
























Test-tube Baby (Manusia Tabung Uji, 1979,part detail ) by Lee Kian Seng














----------------

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"https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/

 

以及2017-10-31马来西亚理科大学艺术学部出版的学术论文:《Changing Approaches: Installations Produced in the Malaysian Art World--作者:Dr Sarena Abdullah 教授。https://www.researchgate.net/publication/320903312_Changing_Approaches_Installations_Produced_in_the_Malaysian_Art_World

 

希望马来西亚创价学会早日改正上述导言里的错误。

 

******************

“…很多人选择和相信特定的讯息来源,看到的只是片面的讯息,也倾向于看到他自己愿意看的部分,从而得到自己所要的结论。而如此过程,排挤掉了多元资讯和客观平衡的观点(摘自不要成为死忠和愚民”-郑丁贤,24.4.2022 星洲日报广场))

“……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》)

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。

 





Dato’(Ms) P.G.Lim delivered the following official speech at the presentation of awards of the Young Contemporary Exhibition 2000 at the National Art Gallery, Malaysia on the 30th January 2001 .

[ Since its inception in 1974, the Young Contemporaries Exhibitions (Malaysia) have become a platform for exhibiting and exposing the works of young artists below the age of 35 to the eyes of the general public. More than that they have over the years served to motivate them to develop meaningfully and effectively within the context of modern Malaysian art.  

This year there was a panel of six judges which included a guest judge – an art lecturer from the University of the Philippines. The panel was headed by Joseph Tan, himself an artist of note and a former part-time director of the Balai Seni (National Art Gallery Malaysia). A total of 83 works were received out of which 27 are on display and from which the winners have been selected.  

The Judges’ Report draws attention to the fact that the works displayed are dominated by installation and multimedia works; paintings are in a very small minority. This is very evident when one views the works. It is a development upon which globalisation even in art has had a profound impact. The predominance of installations present in this exhibition irrespective of which school of art you may come from is proof enough of that.  

Installation art is not new, but it is of recent origin. In the 1970’s it was a newborn term, and did not rate as a term of specialization until the 1980’s. The term used was mixed media; now such works are described as multimedia. For example, the Balai Seni (National Art Gallery, Malaysia) from the very beginning in 1975 has used the term media campuran (mixed media) to describe its prize-winning installation works of the seventies and eighties. In today’s catalogue however the term used is simply campuran (mixed) – no less and no more, but we may conclude that they are in fact installations.     

  We may, I think take a little pride to discover that our own young artists of the seventies and eighties were already involved in creating their own three-dimensional works which did not fall into the category of painting or sculpture. Specialisation in installations had not yet begun. But the creative process among our young artists was at work. If you will take a little time to browse through that excellent Review of the Young Contemporaries Malaysia – Imbasan Bakat Muda Sezaman – from its inception in 1974 to 1997 you will discover to your surprise that at the second Y.C. Exhibition in 1975 the major award was won by Lee Kian Seng for his installation Permainan Poker or Process in Poker Playing then described as Media Campuran (mixed media). But before that he had won an award in 1973 with another installation work called Mankind (created in 1972) now in the collection of the Balai Seni (National Art Gallery, Malaysia).

  This was in the seventies before installation art had acquired its name as such. Lee Kian Seng whom I would describe as the progenitor or father of installation art in Malaysia was already exploring the limits and dimensions of painting on canvas by his installations. He admits in a newspaper interview that at the time he created them he did not know what to categorise his pieces. “I only knew I wanted to create something new” said he. “Art is about discovering the unknown and an artist should be able to work with many types of media”.

  Lee Kian Seng was followed in 1981 – the year when the Y.C. Exhibitions were resumed after a hiatus of some four years by another major award winning installation by Ponirin Amin with his Alibi Catur Di Pulau Pinang. The following year 1982 it was Zacharia Awang who won the major award with his installation work Al Rahman. From 1988 onwards both major and minor awards have been given to multi media and installation works. It seems that the entries were dominated by such works. Little wonder then that these developments have culminated – with one exception – in all awards whether major “Jurors” or special mention being won by multi-media and installation works in today’s exhibition.

  You will find works which involve groupings of objects in three dimensional space which can be walked around or through or handled and felt. The installations are formed of many components and the materials diverse and complex. Sometimes they are presented elegantly, sometimes in ways  which are ugly or inelegant as in some exhibits in the Royal Academy's hyped up show last year entitled Apocalypse Beauty and Horror in Contemporary Art, but they are always challenging. There are in today’s exhibited works, a melding of the multicultural ethos in our society in which all the cultures are involved as shown by the diversity of expression and which give room for cultural optimism. Installations which in the early days were often regarded as impermanent are now regarded as collectible and worthy of permanent display.

  I congratulate the Young Artists for having participated in this competition and showing us the level of their achievements. By doing so they are making a positive contribution towards the development and promotion of the visual arts. ]   

 by  Dato’(Ms)  P.G. Lim / 2001/01/30  

The National Art Gallery Malaysia was established in 1958. Ms P.G. Lim (Tan Sri) a lawyer, was then the first deputy chairman of the Board of Trustees as well as the chairman of the Exhibitions Committee. Apart from being the convener of the first Salon Malaysia (1968) art exhibition, she had  been the first permanent representative of Malaysia to the United Nations, and a Malaysian Ambassador to Yugoslavia, Belgium and Austria respectively. She had also been a former chairperson of the UN General Assembly and the Economic and Social Council, a member of the National Advisory Council, the secretary of the Malaysian Bar Council, an attorney for the Malaysian Trade Union Congress, and the former director of the Kuala Lumpur Regional Arbitration Center, Malaysia. She was a member of the Institute of Strategic and International Studies (ISIS) P.G. Lim knew the origin and development of the Malaysian art scene like the back of her hand. She wrote about the development of Malaysian installation art as she witnessed it. She passed away in Perth, Australia on 2013-05-07.    http://www.youtube.com/watch?v=8WuDh5Chh1Q&list=UUGd70HWXBh2OpxhCXjLN8RA

-------------------------

For the 45 @ 45 exhibition (in 2003), in conjunction with the 45th year of its establishment of the National Art Gallery Malaysia, Dato’(Ms) P. G. Lim selected and interpreted the work <Of ' Image, Object, Illusion ' -Off Series Mechanism>  as follow:


Lee Kian Seng(李健省)http://www.leekianseng.com/lee_Bio.html




Lee Kian Seng  is one of the foremost multi-medium contemporary artist in Malaysia, with works including painting, sculpture, lithography, resist-dyeing, and installation art. Born in China in 1948, he moved with his mother and brother in 1953 to join his father in Singapore and subsequently settled down in Klang, Malaysia a year later.


He was first invited to the “Annual Invitation Exhibition" by the National Art Gallery of Malaysia in 1964 with the work "The Beggar and the Bird"(三轮车夫与鸟).


At the age of 18, the Arts Council of Malaysia presented his solo exhibition (in 1966) to critical acclaim, and he has since  had twenty-two in Malaysia, Thailand, and Japan .


Pursuing lifelong learning, his other principle research area since 1964 is “dyeing art” including 3 years of independent study based in Tokyo (1969 – 1972), covering Ukiyo-e of the Edo period among others; and created the work “Unity” at the Malaysian Pavilion, World EXPO 70 Osaka in1970. He has conducted interdisciplinary research "Comparative study---Dyeing Art” at the Tokyo National University of Fine Arts and Music and Tokyo Print-making Research Studio (1976-1977).


He was awarded the Japan Foundation Professional Fellowship in 1976 at the age of 28, the first and youngest artist to receive the honour, in recognition of his outstanding talent and contributions to art.  


His creative versatility has contributed to the enrichment of the Malaysian Art scene. He has been part of many international exhibitions since the 1960s including the Sao Paulo X Biennale in1969, Waratah Spring Festival, Australia in 1965, "Man and his World," Montreal, Canada in 1970, 1st and 4th Triennale of Contemporary World Art in New Delhi in 1967 and 1978, Tokyo Print Biennale in 1979, Contemporary Asian Art, Fukuoka, Japan in 1980, Malaysian Art touring Australia and New Zealand in 1969, Malaysian Art at ‘Expo 70’ Osaka, Japan, ‘Malaysian Art 1965-1978’ Commonwealth Institute, London in 1978, , ASEAN Exhibition of Painting and Photography 1982, 1983, 1984,  ‘Contemporary paintings of Malaysia’ in Pacific Asia Museum, Los Angeles, U.S.A. in 1988 , ‘Exhibition of Malaysian Art’ touring Germany (1990-1991) and ‘Experience Southeast Asian Art’ at the National Gallery Singapore in 2015 . 


He was selected to represent Malaysia at the 3rd ASEAN Sculpture Symposium in 1984 where his work” Peace, Harmony and One” is permanently displayed at Taman Suropati Jakarta, Indonesia. 


In a consistent art career of more than 50 years, Kian Seng has won a string of 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,’ Major Award in the ‘Young Contemporaries’ 1975, one of the two Major Awards in the ‘Landscape Malaysia’ competition 1972, Minor Award in the ‘Man and His World’ 1973 and three prizes in the first ‘Salon Malaysia’ in 1968.


His other accolades include the 3rd Prize Category B in the ‘Joy of Living’ in 1964, and Best Exhibit prize and 1st Prize (oil painting category) in the ‘10th Young Artists’ in 1966, both from the Arts Council of Malaysia. He was appointed to organise the Malaysian national team; the work “Harmony” won the 2nd Prize in the Sand Sculpture competition in Hong Kong in 1988 (Team leader: Lee Kian Seng, membersZakaria Awang, Zulkifli Yusof, Kung Yu Liew, and Zainon Abdullah).  15 pieces of his work are included in the permanent collection of the National Art Gallery of Malaysia.


In 1993, Lee Kian Seng was awarded the Tokyo Creation Award Overseas Prize ,in recognition of his renowned exploration, innovation and creativity in 'Dye and resist technique' , and having ‘made known worldwide batik/dyes painting.’


After 20 years of effort, in August 2021, Lee Kian Seng successfully assisted the National Gallery of Malaysia in revealing and revising some errors in four history books published between 1994 and 2008 as follows;


  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 Malaysiaby Redza Piyadasa, page 186~187; 
  3. 2003: 45@45page 9295;
  4. 2008 年《Timelinespage 232. https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/


He is known as the "Father of Malaysian installation art”


In 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 >
 (page 161)


Note:
The above essay is composed mainly from the excerpt of the ‘Forward’ written by Mr. Frank Sullivan, first director of the National Art Gallery of Malaysia in the  Lee Kian Seng one person exhibition souvenir program  published in 1966 and 1971; ‘Notes on the artist-Lee Kian Seng’ written by Datuk Syed Ahmad JamalSeniman Negara, Director of the National Art Gallery Malaysia, July 1987; official message by Tan Sri Dato’ (Ms) P.G.Lim delivered  at the presentation of awards at the ‘Young Contemporary Exhibition 2000’ on 30th  January 2001 at the National Art Gallery Malaysia and her essay published at the 45 @ 45 exhibition (in 2003) of the National Art Gallery Malaysia in conjunction with the 45th year of its establishment. http://www.youtube.com/watch?v=8WuDh5Chh1Q&list=UUGd70HWXBh2OpxhCXjLN8RA

 

李健省 (Lee Kian Seng)-亚洲当代独立艺术家    http://www.leekianseng.com/lee_Bio.html


李健省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),1953 年随母亲和哥哥移居新加坡与父亲团聚,次年定居马来西亚巴生。


1964年以作品《三轮车夫与鸟》(The Beggar and the Bird)首次应邀参加马来西亚国家艺术馆的 “常年邀请展


196618 岁,马来西亚艺术议会呈献他的个展 (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、泰国和日本举办了二十二场个展。


奉行终身学习,自1964年以来,他的另一个主要研究领域是染色艺术”;其中包括在东京的3年独立学习(1969-1972),涵盖江户时代的'浮世绘',能面等;并在大阪的世界搏览会(EXPO 70 Osaka)马来西亚馆发表作品团结”(Unity) 曾在东京国立艺术大学和私立东京版画研究所进行跨学科“比较研究——染色艺术”和“在热带气候下制作石版画的可行性”(1976-1977)。


197628岁,获得Japan Foundation Professional Fellowship, 为第一位也是最年轻的获此殊荣的艺术家,以表彰他杰出的才华和对艺术的贡献。


于艰难险阻的1970年代曾借鉴东方文化"三分法思维探索各种思维形式的存在;在中流砥柱穿越惊涛骇浪中,逐步开拓新表达。一系列作品表征一个崛起的前沿思维,穿越了当年的所谓国家文化大会的喧嚣。


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。


1984年,受委代表马来西亚国参加在印度尼西亚举行的第三届亚西安(东盟(ASEAN))雕塑家论集会》,其作品《和平、和谐、一体》在印尼雅加达 Taman Suropati 永久展出。


标志性的作品,团结Unity19691970)、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,在国内外艺术界享有盛誉。被誉为 马来西亚装置艺术之父


在超过 50 年一贯专事艺术的生涯中,曾获得马来西亚国家艺术馆颁发的一系列奖项,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) 小奖1973 年)以及 《马来西亚沙龙(Salon Malaysia) 中的 3 个奖项(1968 年)。

     

其他荣誉包括1966年获马来西亚艺术议会(The Arts Council of Malaysia 《第十届青年艺术家》 展最佳展览奖和油画类首奖以及1964年获《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》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,以表彰其在 “染色防染技法” 方面的探索、创新和创造力,使‘蜡染/染色’ 画闻名于世。


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。


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。


披荆斩棘20年。20218月,李健省(Lee Kian Seng)成功协助马来西亚国家美术馆揭示和修订以下1994年至2008年间出版的4本历史书籍中的部分错误;还原《 Mankind(人类)/1972)和《 “ Of Image, Object, Illusion ' - Off Series Mechanism ”》(形像、物体、假象”/1977)的作品构成,语境和创作年份;纠正官方客座策展人扭曲的历史叙述,包括还原林碧颜律师(Tan Sri Dato P.G.Lim)所撰写的史实,为未来开导正确史观 ;

https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/


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

                                

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(国家艺术馆的此项档案出错、馆长和主编有

回信歉)。


2019年,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 161页)。

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