Form is empty
"We must not cease from exploration and the end of all our exploring will be to arrive where we began and to know the place for the first time." - T. S. Elliot, American poet. “我们不可停止探索，而一切探索的尽头，就是重回起点，并首次对起点有真正的了解。” ---美国诗人哲学家艾略特 。
“The quest
of history does not lie in what it has chosen, but in what it has
overlooked.”--- American social historian Daniel J. Boorstin 。
“历史的探索不在于它选择了什么，而在于它忽略了什么”- 美国社会史学家 Daniel J.Boorstin。
“Every
time we turn our heads the other way when we see the law flouted, when we
tolerate what we know to be wrong, when we close our eyes and ears to the
corrupt because we are or too frightened, when we fail to speak up and speak
out, we strike a blow against freedom and decency and justice”- Robert F.
Kennedy
more stories at 欢迎游览 http://www.leekianseng.com/
*自2019年10月起，马来西亚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》第161页：《Tokoh dan Pengkarya-Lee Kian Seng》(Below/下图）
马来西亚通报 1983年10月30日
视频：林碧颜 https://www.youtube.com/watch?v=8WuDh5Chh1Q
https://www.iseas.edu.sg/wp-content/uploads/2021/10/Lim-Phaik-Gan-Biographical-Notes.pdf
http://lib.perdana.org.my/PLF/Digitisation/OCR%20Done/OCR%206/OCR6-Done/000019/1009605.pdf
马来西亚国家艺术馆1958年成立，当年第一任义务秘书Frank Sullivan先生和信托委员会成员林碧颜律师秉持职业操守、实事求是、大力提倡正确史观，可惜经常被人忽略。
The National Gallery of Art Malaysia was established in 1958. At that time, Mr. Frank Sullivan, the first Hon .Secretary, and P.G.Lim, a member of the Board of Trustee, upheld professional ethics, sought truth from facts, and vigorously advocated correct historical views. Unfortunately, they were often ignored nowadays.
1970年代的 “Soul and Form" 系列其中作品之一，35年后， 终于2015年首次在东南亚亮相（@新加坡美术馆的开幕展）
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欲善其事，必先通其史
2008: “…In my meeting with artists and others in the art scene thus far, I have become directed to artists whose works and contributions have been missed out in the existing mainstream narratives of Malaysian art history. Your name (Lee Kian Seng), in particular, has come out many times as one of the artists in the earlier generations whose work has been missed out and under-recognised. I am following this lead in my research and I hope to be able to meet up with you...”. --- In 2008, a regional scholar on South East Asia Study wrote to Lee Kian Seng）。
" .....His creative versatility has contributed to the enrichment of the Malaysian art scene. .. always responds whenever his services are needed for the cause of art and his fellow artists... In all his works Lee Kian Seng projects creativity, intellectual content and a high standard of professionalism.” - Director of the National art Gallery Malaysia1987, Datuk Syed Ahmad Jamal (National Art Laureate)
[ 译文] ：2008年的电邮: “……在我与艺术家及艺术界其他人的会面中，我已经被引导到马来西亚艺术史的现有主流叙述中那些作品和贡献已被遗漏的艺术家。在作品已被错过并且得不到承认的前辈艺术家当中，你的名字（Lee Kian Seng）出现特别多次。我的研究随这引线, 我希望能与你见面…” ，一位顶级大学的东南亚研究学者为了研究大马艺术史的来龙去脉，来电邮寻求访谈，2008年1月终于找到了李健省。
[ 译文] ：“李健省的创造性多功能性促进了马来西亚艺术界的丰富。...每当艺术事业或艺术同僚需要他的服务时，他总会响应...在他的所有作品中都展现了创造力，智力含量和高级专业水平” -- 马来西亚国家艺术馆总监-拿督赛阿末佳马尔1987（ Datuk Syed Ahmad Jamal （National Art Laureate））
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《 Revised Version》 修订
https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
https://drive.google.com/drive/folders/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD
***《 Delayed
Justice 》***(迟来的正义) http://www.leekianseng.com/lee_LetterUndertaking.pdf
http://www.leekianseng.com/lee_LetterUndertaking.pdf
http://www.leekianseng.com/lee_LetterUndertaking.pdf
http://jiaernic.blogspot.com/2017/07/negaraku-art-exhibition-part-22_5.html?m=1
http://zainalabidinmusa.blogspot.com/2008/12/malaysia-young-contemporary-awards.html
https://faizalsidik.blogspot.com/2012/07/lee-kian-seng-permainan-daun-terup-dan.html?m=1
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缘起于1970年在世界博览会EXPO70马来西亚馆发表的 “UNITY” （团结）（1969-1970）李健省（Lee Kian Seng）1970年代的一系列3维作品是马来西亚装置艺术的最初催化剂。大部分在马来西亚国家美术馆发表。他的系列作品，表征了一个崛起的前沿思维，穿越了当年所谓“（马来西亚）国家文化”大会的喧嚣。
其作品呈现了（1）开创性贡献（2）对当代社会的思考（3）获得的认可和奖项(11项顶级国家奖和2项国际奖）（4）对未来艺术家的影响等。他的作品在塑造/启发马来西亚艺术的轨迹和扩大该国艺术表达的可能性方面发挥了重要作用。(AI )
http://www.leekianseng.com/3d_Unity.pdf，
http://www.leekianseng.com/3d_Installation.htm
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当你朝向艺术高峰的同时，你无法避免命运暗黑的侵击。它会利用你的盲点或无知捉住你，将你困在浅水滩上，再揑住你的脖子。
"I am afraid the most dreadful form of social control is not the aggressive in-your-face measures, raw force or torture against dissenting voices. It is rather a narrative strategy craftily designed to create a parameter and order of knowledge structure by drowning and distorting the facts of history. This would pave the way for all future speech and narrative to fall within the standard and disciplinary framework established by the authorities."-- O.Young（Chinese/English）
“……最可怕的社会压制恐怕不是赤裸裸的打压与对异议分子的虐待，而是一种將歷史淹没与变形的论述策略，製造一种知识系统的规范与秩序，使以后所有的言论敘说，都必须在其既定的准则和戒律框架中进行。” --- 欧阳文风（摘自南洋商报新视野2008-04-28《马来西亚装置艺术之父――李健省》）（Chinese/English）http://www.leekianseng.com/lee_YZZK.pdf
*“在种族政治凌驾于学术伦理的环境中，不免有沙文主义人物借助文化冲突作筹码，以虚幻史观，企图实现私人的议程，有时甚至会顺应政局捏造事实，沦为服务于政客议程或商业工具。在一个盛行贪腐共犯的时代里，一些 “历史叙事” 尚未被质询和交叉盘问，坊间一些所谓的 “史实记录” 、 “美术史” 、 “传略” ，也似是而非，自矜功伐地臆造了。”
【“李健省年轻时就在艺术领域表现特出，得奖无数，这包括十一项国家级奖及两项国际奖，然而这也使他受到不必要的排挤”】 （林友顺《亞洲週刊》2011-02-06）
【“实际上，李健省就因为新创意多次得奖而遭到小部份同道排挤，例如刻意地遗忘他和他作品的存在，篡改（剽窃和改头换面地移植）他的作品和创作史实等。” 】（“記錄我們的時代 —— 艺术家李健省 ”/吴小保
/ 普门2011年9月）
【“…华社小部分人士对他（李健省）的评价多有保留，偏见颇深，但愿不是出自“文人相轻”的心里。”】---星洲日报副刊1996-10-13“艺术道上双人行 ”--吴爱丽专访。有一“小部分人士”
，在同副刊 1997-05-11的报道里出现。
【“华社内虽有落井下石者乘机破坏李健省的名誉、但事实是不能掩抹、当[铁锤与铁钉]系列中的第三幅寻回时，李健省已无须多言。”】--- 萧瑞云报道《铁锤铁钉失踪》1987-10-18马来西亚新晚报。http://lee-kian-seng.blogspot.my/
【“我国的艺术和美术评论太一般，中文完全不行，英文也只有一两位，也不算太好，多只是报导，不太能进入欣赏和比较的程度，视野太平面的缘故。我偶而去国家美术馆看画或艺展，总觉得华人美术差距较大，其他民族的美术作品整体表现优于华人艺术家。您在国家艺术史开创的新局，国家某些人选择性遗忘，华社更无知，违乎史实，实当力争，我颇有戚戚之感。”】 ----近年华社里有著名学者与李健省分享对艺术界的观察。
曾寄出4封 ‘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。
“ 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2008年11月3日下判李健省胜诉,KLCC赔偿。( police report (9813/06) dated 1st April 2006)。
http://www.leekianseng.com/lee_LetterUndertaking.pdf
Note: Please notify Lee Kian Seng （ lee_kian_seng@hotmail.com）if you notice any discrepancies. 如果你发现任何错误/差异，请即刻通知李健省（ lee_kian_seng@hotmail.com）
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君子诚之为贵...至诚如神（中庸）
***马来西亚个人资料保护法令***
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by Ooi Kok Chuen New Straits Times January 25,2006
***《李健省的部分记录+简介》 （part-record-1+brief-bio）
http://www.leekianseng.com/lee_Bio_1966_FirstOneManShow.pdf
《New Creativity for Malaysian Artist LEE Kian Seng （大马艺术家李健省新创意》 http://www.leekianseng.com/lee_YZZK.pdf （Chinese + English
林友順·大馬艺术家李健省新创意·保钓新作品·亚洲周刊·
New Creativity for Malaysian Artist LEE Kian Seng · On the Defence of Diaoyu Islands·
林友順·大馬畫家李健省保釣新作品·亚洲周刊·2012-09-09
吴小宝·記錄我們的時代--艺术家李健省·Documenting Our Times （Chinese + English ) http://www.leekianseng.com/lee_PuMen110915.html
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1.骑劫艺术 （有2条评论）
2.亚洲艺术界的无常 （有2条评论）
3. 對大馬藝術界現象的補充 (有3条评论）
4.大马艺术史：神话与真相 （有1条评论）
5.大马艺术进展落人后 （有4条评论）
6. 验证大马51年的改变？
8. 黄能世·艺术无惧於强权
“天鹅高飞于空，自由自在；而人被束縳在土地上，唱出最悲哀的歌声” 《盼望黎明》--（1）+ (2)（20221118完成）
11. 企业应尽抗疫责任，别糟蹋全民的牺牲 https://www.sinchew.com.my/news/20201229/yl/3052836
艺术工作者主要有工匠型与创造型两种 （There are two types of art workers: craftsmanship and creation）
美不等於藝術 藝術需要思考【知定講堂 曹興誠】EP03
- “伟大的作品是时代的呐喊” 艺术不仅包容欢乐，更包容苦难，愤怒和痛苦。
黄慧音的心经https://www.youtube.com/watch?v=2HcOWGKPxpQ
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*Test-tube Baby (Manusia Tabung Uji, 1979,(part detail ) by Lee Kian Seng
@
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***Values are more important
than valuable 价值观比价值更重要***
***Values are more important than valuable 价值观比价值更重要***
***君子诚之为贵...至诚如神（中庸）***
**今天研究艺术史的学者，专事艺术工作者和策展人比以往任何时候都更有责任挑战造成歧视和边缘化的结构、必须为代表性不足和边缘化的叙事腾出空间。
Today's scholars, art workers and curators are more responsible for challenging
the structure of discrimination and marginalization than ever before, and make
room for narratives that are insufficient and marginalized.***
Contemporary art is based on Universal Value that consists of
three basic elements: fairness, justice, freedom, is an important achievement
of human civilization, out of human conscience and rational values, regardless
of the field, beyond religion, country, nation, also not equal to Western
values.
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图：1966年为配合校庆回馈母校，李健省毅然将筹备中的吉隆坡个展作品（@1966年10月17～22日/马来西亚艺术理事会Arts Council Malaysia主办）提前移至滨华中学大礼堂展出（@1966年8月27～31 日 )，创造了开埠以来第一个于巴生市举行的个人画展。何友智校长和刘怀谷校长大力支持，该展吸引了许多公众包括多位南洋美专校友和外国人士的到访。
(在李健省个展开幕日 1966‐08‐27，现场与来宾庄金秀即兴掀起一项跨越族群
联谊群展的构思，即 1967 年的第一届 “雪州王城画展” )。
（注：1966年8月，Frank Sullivan 先生（马来西亚国家美术馆义务秘书）为李健省在巴生和吉隆坡共用的的个人画展纪念册写序言。）；1968年雪兰莪苏丹殿下在巴生Klang Club主持李健省在巴生的第二次个人画展开幕礼。https://leekianseng.com/lee_Klang_2.pdf
李健省自1969年4月游学国外多年。
1968年10月10日雪州苏丹殿下假巴生 (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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（note: under construction)
@1978
（摘自《南洋商报》2015.08.11 副刊 ）：【今年（2015）3月与副刊主编何雪琳（ Hoo Sue Ling）在《南洋商报》餐厅会面后，彼此话题相投让我们当机立断合作这项意义深远的作品回顾。《南洋商报》提供的平台与她的诚心，让我存心底。
欧阳文风（ O.Young）在很多年前经已写了《马来西亚装置艺术之父》，像注定要通过一段漫长披荆斩棘的路程才适宜发表，其中苦衷不为外人所知。这著作的内容涉及多本政府体制下相关单位(国家艺术馆 ) 著作里的错误和坊间的部份谬误，幸亏好友Wendy
Lam Mei Kuan律师在法律程序上大力帮我处理，天时人和助我顺利完成有关查证。这回有缘预先与大家分享著作其中的19篇，感恩。
欧阳文风是国际著名旅美社会学学者社评家作家，他跨领域探索当代艺术心灵、进入体制坊间发掘真相，我十分感激。
这回顾是人生途中的小息，是指向明天的准备。
尊敬的读者朋友们再会。健康平安。 ----李健省 （ LEE Kian
Seng）】
16.诚
15.文明
1988年，李健省领头在马来西亚社区推介/策展装置艺术，为巴生带来两项发表会。
1988年1月17日～19日于巴生福建会馆实践《现代文明的证言》以及1988年3月13日 于巴生中华独中实践《诚》，激活了社区对当代装置艺术的认识。
@ Klang
1988-01-17 https://www.youtube.com/watch?v=DwFYQ-xVTg0
@ Klang
1988-03-13 https://www.youtube.com/watch?v=0ubnbQBTkAs
more detail @ https://leekianseng.com/lee_Klang_2.pdf
14.脱绑
12. 生生不息
Of all his installation works, Lee’s 1977 masterpiece Of ‘Image, Object, Illusion’-Off
Series Mechanism is by far the most imaginative and controversial. It too was added to the Permanent
Collection of
the National Art Gallery Malaysia. In conjunction with the 45th anniversary celebration
of
its establishment, the Gallery organized the 45@45 Exhibition in late 2003. For this event, 45
highly
respected
people in cultural circles were invited
to
select 45 major works from the
Permanent Collection of the Gallery and elaborate on their choices. Lee Kian Seng was also among
the 45 invited, so was Dato’ (Ms) P.G. Lim, who played a key role in the early development of the National Art Gallery having served
as the Deputy Chairperson of its Board of Trustees and the first Chairperson of the Exhibitions Committee.
Of ‘Image, Object, Illusion’-Off Series Mechanism was among the 45 selected works and the
only installation
work displayed. It was made up of several items including a painting on canvas
hung on the wall, and an 8 x16 square
feet 6mm playwood (painted white) on the floor extending
from the wall to a white podium, above which a Malaysian flag was juxtaposed at approximately
the same level(88’height) as the two dimensional painting on the wall that reflects the flag in
reverse. Lights were set to cast shadows of the national flag on the painting and on the white
plywood floor. The resulting spatial interaction between image and object creates a delicate
interplay of positive and negative Yin and Yang elements.
Another point worth mentioning is the presence of the ubiquitous cockroach at the top right of
the image
of
the flag on the wall in the painting. Between painting and shadow, the viewer gets a
sense of illusion that provokes the imagination. Through a combination of visual, intuitive and cognitive stimuli, viewers are led to explore new frontiers in their thinking on the basis of their personal aesthetics and experiences.
While the National Art Gallery Malaysia had added this work to their Permanent Collection, they have regrettably failed to fulfill the responsibility of treasuring and safeguarding such a highly
symbolic and creative work of art. In their 1994 publication Vision and Idea—Relooking Modern Malaysian Art, they went so far as to make a number of serious mistakes that included showing an
inaccurate title, as well as tampering with the art pieces such as replacing the white podium with one of black-carpeted wooden steps, and wiping out the image of the cockroach on the painting.
The 16’ x 8’ square white plywood on floor also missing. As the result, the work is made to assume
a changed appearance. It is a wonder how they can make such mistakes in the handling of an artwork in their collection. Consequently, Lee lodged a written complaint time and again, seeking a specific and favorable response, but all to no avail.
The publications of
the National Art Gallery are considered official works with definite historical value and significance. Yet surprisingly, they have repeatedly taken the liberty of revising historical facts. How could a simple “regret” suffice to describe such a blunder? The issue actually goes
beyond the mere infringement of the artist’s personal respect to one of national interest. At stake is
an integral part of the nation’s historiography. In the face of such blatant disregard to the nation’s accurate historical documentation, how can anyone remain silent?
The National Art Gallery Malaysia organized the National “Open Art and Graphic Print Competition
1977” from 20 Dec 1977 to 26 Feb 1978. With this work, Lee won the Major Award for the Art
category. The other Minor Award winners included academician CHONG Kam Kow, Sulaiman Esa, and Ruzaika Omar Basree of UITM
and USM art lecturer Lim Eng Hooi. LEE Kian Seng also bagged the Major Award for the print-making category.
Art critic Cecil Rajendra gave this work a very high opinion. He wrote, “Here is a painting that makes a settlement on a number of levels. It speaks of our past, our present and our future. It is loaded with symbolism that teases and invites the viewer to interpretations. Why is the flag reversed? What does the cockroach on the top right of the painting mean? Does it augur ill for our future? It is also a beautifully composed picture that achieves an almost perfect balance between subject matter and media. It is brilliantly executed and well merits the top award." (An excerpt from the Exhibition Catalogue of the Open Art and Graphic Competition 1977, National Art
Gallery Malaysia.)
第十章：《 形像，物体，假象 》 (Of ‘Image, Object, Illusion’ - Off Series Mechanism, 1977 )
另一值得一提的是画面上国旗的投影里有只蟑螂，在画面与投影之间，予人一种幻觉的感受，激发观众想像，藉著视觉、直觉与知觉的刺激，让观众本着个人的美学与经验，开拓思想空间。
国家艺术馆出版的刊物，可说是官方文献，具有一定的历史价值与意义，可却一而再，再而三的擅自改写史实，岂又是遗憾二字可以形容 ？这已不再只是涉及不尊重艺术家的个人的问题了，而是关乎一个国家、民族的历史问题。我们岂可能继续保持缄默？
欧阳文风2006年12月于纽约
<李健省更正：欧阳文风稿于2006年12月>
Lee’s work Unity/团结 (1969/70) was completed during the cataclysmic racial conflicts that culminated in bloodshed on May 13, 1969. In the year that followed,
the piece was published
at the Malaysia Pavilion World Exposition 1970
hosted by Japan
A true work of art is, of necessity, born of the times. It is an intensely passionate stare at life in
the face. Not only does it convey the artist’s philosophical ideals, it embodies the harsh reality of life as well. It may have its foundation
deeply rooted in reality, or it may break away from
conventional fetters
and
point the way forward to sha （ping the future. It may showcase the artist’s
real
self and his subjective aspirations, but more so, it transcends the depth of human nature in an
individual artist. It may be an imitation of nature, yet it may also be a resistance and challenge against imitation. This is because the artist’s work is more than crude imitation, as its creator’s imagination goes far beyond the disguise of nature. The artist’s exaggerated expressions mirror the
emotional struggle in his inner soul. His works therefore possess the power to stimulate the visual senses and provoke the intellect.
Unity is a symbol of the oneness of the three major ethnic groups in Malaysia.
The work
expresses the hope, unity and peaceful co-existence of humankind. There are two enclosed forms to
this piece of installation that are fused into a unifying singularity. The first comprises a gigantic human form made of reinforced concrete, created prior to the May 13 incident. The second, developed after May 13, consists of several entities set beneath the structure, including metal rods, key holders, and three mirrors—the mirrors of Science, of the Arts, and of the Humanities
respectively. They represent the essential elements for the advancement of human civilization, each
reflecting the other’s spirit of the times. The chaos and errors of the world are also mirrored therein.
The statue is lit from within at night to create a stunning visual effect. At the time of the May 13 incident, Lee happened to be abroad. But the tragedy left him absolutely devastated—so much so that he splattered red paint all over the figurative structure. The act in itself was a symbol of dashed hopes and dreams. So it was after the production of Unity that the concept and technique of Lee’s installation art became more and more evolved.
(note:<Unity> comprising two enclosed forms, 400x120x120 cm and 45cm x 45cm x 65 cm.
Mixed media of reinforced concrete, , glass, steel, mirror, key holder, lit from within。(left) red paint was poured all over the structure, allowing it to flow down as if it was bleeding .
(right) after the May 13,1969
incident, the formation of 2nd enclosed forms was evolved, consisting of three mirrors, mirror of Science, mirror of Arts and mirrors of Humanism. Photo taken at World
Exposition 1970. )
Author’s Profile
Rev. Dr Ngeo, Boon Lin ( O.Young /欧阳文风牧师 ） is Chinese Malaysian. He was an award-winning journalist before he came to the United States in 1997. He has published extensively in the Chinese language since 1999, and is the author of more than 30 books and numerous bestsellers in Malaysia. He holds a BA degree in sociology from university of Wisconsin, a MA degree in sociology from Minnesota State University, a Master of Theological Studies from Episcopal Divinity School, and a doctoral degree in theology from Boston University. He is also a doctoral candidate in sociology. Dr. Ngeo is a staff pastor of MCC New York, and the first openly gay minister in his native country Malaysia, and the first openly gay minister who hold
s a doctoral degree in theology in Asia. He is one of the most sought-after speakers in LGBTI Chinese communities in
Asia, such as China, Hong Kong, Taiwan, and Malaysia. His activisim in Asia has been reported by CNN and the New York Times. He also has been named as one of the most inspiring LGBT religious leaders in the world by Huffington Post.
(Note: The original Chinese text of the Preface of this book "LEE Kian Seng-The Progenitor of Malaysian InstallationArt" was published in Nanyang Siang Pao Malaysia on the 28 of Apri 2008.)
欧阳文风牧师， 马来西亚出生，祖籍福建南安，早年毕业于马来西亚中央艺术学院新闻系，曾在马来西亚任专题记者，获国内多项新闻奖与报导文学奖，1997年获马来西亚全国中文报最佳新闻从业员奖，后赴美深造，考获社会学学士与硕士学位，再到波士顿圣公会神学院考获神学研究硕士学位，之后在波士顿大学取得神学博士学位， 同时亦是纽约市立大学社会学博士候选人。他是亚洲第一位，亦是迄今为止唯一拥有神学博士学位的出柜同志牧师；他是大都会社区教会（MCC）牧师，目前在美国执教性别研究，并在圣彼得大学执教社会学。曾获美国《哈芬登邮报》（The Huffington Post）推举为「十五名最激励人心的LGBT宗教领袖」。目前已出版著作四十余种，包括《现在是以后了吗？》、《酷儿千秋，同志万岁》、《同志教育》、《身体社会学》、《思考思考》，以及《因为佛陀，我是更好的基督徒》等。
李健省更正：在小标题 “ ‘人类 ’ 无心之过的错误 ” 的第三段第4行是 ‘..艺术家的收藏 (Artist’s collection ) ’，不是 ‘..由国家艺术馆永久收藏’
Lee
Hui Lian / 李慧莲
https://www.omga.sg/
http://www.leekianseng.com/shoko.htm
https://leekianseng.com/lee_Klang_2.pdf
视频
https://www.youtube.com/watch?v=UHlAjJXnpcMShoko LEE 李正子-1997年电视访谈
https://www.youtube.com/watch?v=J8Jx_RxXSc0
Shoko LEE 李正子-我的日记 1 My Diary 1981-1983
by Shoko LEE 李正子https://www.youtube.com/watch?v=2nk9EbcImvo&ab_channel=LEEKianSeng
Shoko LEE 李正子-我的日记 2 My Diary 1983-1985
by Shoko LEE 李正子
https://www.youtube.com/watch?v=LgolCVMZBmE&ab_channel=LEEKianSeng
Shoko LEE 李正子-我的日记 3 My Diary 1985-1988 by Shoko LEE 李正子https://www.youtube.com/watch?v=UHlAjJXnpcM&ab_channel=LEEKianSeng
Shoko LEE 李正子-@ Penang 2012
https://www.youtube.com/watch?v=rNpcQxWSOWE&ab_channel=LEEKianSeng
Shoko LEE 李正子《龙马系列》
https://www.youtube.com/watch?v=cYmpecH9vpM&ab_channel=LEEKianSeng
Shoko LEE 李正子 @ Pilgrimage 2008 India Nepal
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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） 。
1966年18 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 1970，Osaka 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”（Unity1969～1970）、“ 自天空“（From the Sky, 1972），“人类”（Mankind,1972） 、“红色的视窗”（From the Windows of Red,1972）、“扑克牌游戏过程”（Process of Playing Poker,1974）、“复始与消耗” (Resumption and Consumption，1975）、“形像、物体、假象”（ Of ‘Image,Object,Illusion’ - Off Series Mechanism ,1977）、“铁锤与铁钉系列”( Hammer and Nail series,1977) 、“试管婴孩 ”（Test tube Baby,1979），1970年代的 “Soul and Form” 等系列，确立了其在马来西亚当代艺术主流中的历史地位。
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 Malaysia）1966年的 《第十届青年艺术家》 展最佳奖和油画类首奖以及1964年《生活的情趣》 ( The Joy of living)展B组第三奖。
1988年他领导的国家队以作品《和谐》(Harmony) 获香港《国际沙雕赛》国际组第二奖。（队长：Lee Kian Seng，队员：Zakaria Awang、Zulkifli Yusof、Kung Yu Liew、Zainon Abdullah） 。
1993年，荣获《东京创作大赏》海外奖（Tokyo Creation Award Overseas Prize），表彰其在 “染色防染技法” 领域的探索、创新和创造力，使 ‘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2021年8月30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 》 第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（ 从1972年篡改去1992年）;
III. 2003年 的 《45@45》第 92～95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）。
自2019年10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： 获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 Yusof、Kung Yu Liew、 Zakaria Awang 和 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
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 Malaysia》by Redza Piyadasa, page
186~187;
2003: 《45@45》page 92～95;
2008 :《Timelines》page 232.（ Note: The guest curator clarified that he actually has no idea of the errors existed in the photography document which is sourced from the existing database of the National Art Gallery of Malaysia’s collection. ）
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 Competition，The Arts Council of Malaysia, for the work” Joy of Living”.
1966: Best exhibit prize & first prize in oil painting section @ “10th
Young Artists” The Arts Council of Malaysia, for the work “Kuala
Trengganu”.
1969: Third prize in sculpture for "The Pair", third prize in mixed
media for "My Poem" & Honorable Mention in Batik for
"Villager” @"Salon Malaysia" National Art Gallery Malaysia.
1972: Won one of the two Major awards (jointly with Redza Piyadasa )@"
Landscape Malaysia " National Art Gallery Malaysia, for the work “From the
Windows of Red”.
1973: Minor award @ “Man and His World" National Art Gallery Malaysia, for the work " Mankind".
1975: Major award for the works “Process of playing Poker " and "Resumption and Consumption” @ "Young Contemporaries" National Art Gallery Malaysia.
1976: Japan Foundation Professional Fellowship.
1977: Major Art Award for the work “Of ' Image, Object, Illusion'-Off Series Mechanism" and Major Award for the work "Of ' Image, Object, Illusion'-Off Series Mechanism 1 “in Graphic section @ national “Open Art and Graphic Print Competition 1977" National Art Gallery Malaysia.
1984: Malaysia National Representative at the 3rd ASEAN Sculpture Symposium in Indonesia, created” Peace,Harmony and One” at Taman Suropati Jakarta, Indonesia. (BSLN/0042/84)
1988: Leader of the Malaysia National Team to the International Sand Sculpture Competition in Hong Kong, team work < Harmony > won the 2nd prize. Team members: Lee Kian Seng, Zulkifli Yusof, Kung Yu Liew, Zakaria Awang and Zainon Abdullah (BSLN /002/88).
1993: Awarded the Tokyo Creation Award Overseas Prize, for “…exploration, innovation and creativity of dye & resist technique in painting and for his role in having 'developed batik into a modern art' and having ' made known worldwide batik/dyes painting.
reference:
http://www.leekianseng.com/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
Notes 杂记
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“……. In the 1971 National Cultural Congress (Malaysia)
met to reconstruct the terms of a ‘national culture’ for our newly reconstituted
nation. The Malays had asserted their hegemony and laid claim to the economic
fruits of the nation, which the earlier liberal approach of the period immediately
following independence had failed to deliver. The National Economic Policy
(NEP) had been put in place with the aim of reconstructing wealth and opportunity
for advancement in favour of the Malays. The National Congress asserted the
necessity for Malay prominence in the realm of culture. The Dasar Kebudayaan
or ‘Foundations of Culture’ were drawn up stating the necessity for the
predominance of the indigenous cultures of the region, the possibility of incorporating
other cultures where appropriate and the importance of Islam. Though this document
never gained the force of law its tenets have permeated the official narrative
of all Malaysian cultural production, including the visual arts. Today, the
urgent assertion for Malay dominance of the 1970’s has given way to a more relaxed
multiculturalism at home. However, the forces of globalization have usurped
the role of national institutions in representing our cultural identity on
the world stage.” ( Niranjan Rajah
) Curatorial Hierarchies “In spite of best intentions and the participation of national curators,
the narratives of major global art arenas……are underpinned by the preferences
and prejudices of the host nations. At their worst these exhibitions have used
their national co-curators as mediators in the extraction of information and
resources in a colonial fashion. Indeed, the administration of these expansive
and comprehensive exhibitions, curated on the basis of national sections has
produced what can be described as neo-colonial curatorial hierarchies,
with national curators feeding powerful central selection committees to whose
unperatives regional ‘co-curators’ are obliged to comply.” by Niranjan Rajah ( Extracted
from the "Regionalism in An Era of Global Art" from the Symposium
“Constructing Cultural Identities in the Context of Globalisation” held in Malaysia
in March 2000.) *** " Overtly and covertly, events of May 13 (1969 Malaysia) and the Cultural Congress (1971 Malaysia), and no doubt other related movements, began to shape thinking and practice among artists; they were far too shattering and fundamental to be ignored. Throughout the 1970's, artists began the difficult, painful process of rethinking their positions, and recasting their perceptions of culture, language, race, state/nation and identity. For some , the prospects loomed as intolerable and inhospitable and they chose to migrate; some retreated into temporary or permanent silence; for everyone else, the stakes were too important and consequential not to be involved."
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(note: under construction)
2000:
2.
2000: 在马来西亚新国家艺术馆开幕展《 Rupa Malaysia-meninjau seni lukis modern Malaysia》（2000-09-15 -2001-09-30），李健省的作品《Mankind》（人类）(1972) 的构成和艺术意蕴，被客座策展人Redza Piyadasa（马来西亚艺术观察家/画家）严重篡改。随该展出版的目录也遗漏了《Mankind》的记录。（注：马来西亚艺术历史观察家人权律师林碧颜（Dato P.G.Lim）有出席当天的开幕礼，一切看在眼里。）
Lee Kian Seng’s 《Mankind》 was heavily tampered by guest curator Redza Piyadasa at
the 《 Rupa Malaysia-meninjau seni lukis modern
Malaysia》, 2000-09-15 -2001-09-30, National Art Gallery
Malaysia.
3.
2000: 2000-11-5 李健省与Dato P.G.Lim（林碧颜）一同到国家艺术馆再检查被人篡改的“Mankind”。之后，在Dato P.G.Lim的协助下，李健省以2000-11-06信件向马来西亚国家艺术馆投诉《 Rupa
Malaysia-meninjau seni lukis modern Malaysia》展的策展人不公，寻求改正错误。注：国家艺术馆和客座策展人Redza
Piyadasa皆没回应。 http://www.leekianseng.com/lee_LetterNag20081231.pdf
4.
2000: In November 2000,
Veronica Shunmugam from the Sunday Star Malaysia visited《 Rupa Malaysia-meninjau seni lukis modern Malaysia》at the National Art Gallery Malaysia, thereafter she interviewed
Lee Kian Seng and published the article “On the edge of innovation “on the
3rd December 2000.
http://www.leekianseng.com/lee_LetterUndertaking.pdf
5.
2002: 《 Masterpieces from the National Art Gallery of Malaysia》（自马来西亚国家画廊的杰作），页186-187，李健省的作品《Mankind》（人类）被撰写人Redza Piyadasa严重篡改，包括作品的构成，语境和创造年。
图：2019年8月27日《 马来西亚华人人物志 》主编何启良教授和钟瑜在李健省的工作室谈艺术。
于20190927去探望他，希望他早日康复。
简报 Briefing 《Malaysian Chinese Historical Personalities》（马来西亚华人人物志）, published by the Centre for Chinese Studies, Universiti Tunku Abdul Rahman, Malaysia in November 2014。 One of the above-mentioned works, the biography of Lee Kian Seng(李健省) written by Chung Yi (钟瑜) on pages 626~629 of the second volume----" A Maverick and Deviant in the World of Art " (离经叛道的画坛异数 ) has at least 16 errors, including misleading descriptions of Lee Kian Seng’s（李健省） personality and public image as well as the distortion of the composition and artistic implication of the original work " Of ‘Image, Object, Illusion'- Off Series Mechanism". In August 2019, Lee Kian Seng began seeking corrections from editor-in-chief Professor Ho Khai Leong（何启良） and Chung Yi（钟瑜） (see Lee Kian Seng's 20190812 NOTE) 。 On August 19, 2020 and August 21, 2020 TEE TAI TZIAN & SIM (郑大前律师楼), the solicitors for Lee Kian Seng began to request the Errata from Chung Yi and Professor Ho Khai Leong respectively. The entire process of obtaining the amendments for the above biography took 3 years. 《 马来西亚华人人物志 》（共四卷）, （马来西亚拉曼大学中华研究中心2014年出版）。（https://www.sinchew.com.my/content/2015-01/07/content_1425882.html） 上述著作的其中的一篇作文，第二卷页626～629由锺瑜(ChungYi)撰写的李健省 (Lee Kian Seng)传略--《离经叛道的画坛异数》，发生至少16项 错误。 2019年8月李健省开始向主编何启良教授和锺瑜寻求勘误。 2020年8月19日 和 2020年8月21日，李健省的代表郑大前律师楼（MESSRS. TEE TAI TZIAN & SIM （ TS.L.20.LKS-HKL&CY.396(T)））开始向锺瑜和何启良教授寻求勘误。 2022年3月：李健省成功协助锺瑜修订《 马来西亚华人人物志 》第二卷页626～629由锺瑜撰写的李健省 (Lee Kian Seng) 传略--《离经叛道的画坛异数》里的十多项错误，包括人格/公众形象的误导性描述，以及《形象、物体、 假象》 (“Of ‘Image, Object, Illusion’- Off Series Mechanism”) （1977） 作品的构成和艺术语境。耗时3年。
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http://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf
《 马来西亚华人人物志 》--拉曼大学中华研究中心于2021年12月出版勘误表（ERRATA）
https://cchs.research.utar.edu.my/%E5%8B%98%E8%AF%AF%E8%A1%A8%EF%BC%88Errata%EF%BC%89.php
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2007年 8月, Yap Sau Bin 对 “Mankind (1972)” 贡献了一份精心研究的报告 ( @ “Threading Three Figures At NAG” 《 Between Generations—50 years across Modern Art in Malaysia （ 马来西亚艺术50年） (2007) 》。 主编：Beverly Yong 和 Hasnul Jamal Saidon，马来西亚理科大学 （University Sains Malaysia) ，马来亚大学 (University Malaya) ，Valentine Willie Fine Art (Malaysia) 画廊和 Penjana Bebas (Malaysia) 于2007年联合出版。）
（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)
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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.
https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
; http://www.leekianseng.com/lee_LetterUndertaking.pdf 2007年： 5月李健省/LEE Kian Seng大病在新加坡治疗。 2007年： 6月《Masterpieces from the National Art Gallery of Malaysia（2002）》作者Redza Piyadasa 去世。 2007年：自2007年12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 和 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 Malaysia（2002）》页186和187里共有6处严重错误。i. e该书著者 Redza Piyadasa篡改李健省的 作品《Mankind》 （人类）的构成（composition），语境和创作年份（ 从1972年篡改去1992年、混淆事实和历史流程）。 2015：国家艺术馆于2015年3月11日签署的《承诺书》(Letter of
Undertaking) 第5项（e）（b）阐明，该书自当日开始停止在馆内外或公共场所或书局出售或展示，直到该书的修订本出版，并插入上述著作和国家艺术馆官网。(“That we publish an “Errata” to rectify the inaccuracies in the Works and
the “Errata” be inserted in the Books in our library and bookstores including
our official website; and”) http://www.leekianseng.com/lee_LetterUndertaking.pdf 2021: 于2021年8月30日出版的修订本里，马来西亚国家艺术馆官方确认：《 Masterpieces from the National Art Gallery of Malaysia》（自马来西亚国家画廊的杰作 ）作者 Redza Piyadasa于2002 年页186 里所写的文章被李健省的文章替代。同时在《星报》（ The Star Malaysia 20 December 2021, p.15），32nd Edition of KINISENI和 国家艺术馆官网刊登“NOTICE” （ 通告）。 参照：：BSVN/P/209-03/18(10) and VW21(140 ;https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/ ; https://drive.google.com/drive/folders/1aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD?usp=sharinghttp://www.leekianseng.com/lee_LetterUndertaking.pdf |
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| 上图：百度百科里的错误信息来自马来西亚的 goodnei.com *** |
（特注：2003年10月，一位来自马来西亚巴生皇城，助纣为虐，圆滑的 XX‘艺术家协会’会长（一向惯用抽离剔除真相，借刀除忧的话语策略 )，向一媒体副刊主任投诉道： “林碧颜不是历史学家，她对马来西亚艺术界的评论不足为信” ）
@@@@@@@@@
- 世间有多少明智之士，断定不能瞒天过海。越过市越不过学术，越过学术越不过历史。
1988年，李健省领头在马来西亚社区推介/策展装置艺术，为皇城巴生带来两项发表会：
1988年1月17日～19日于巴生福建会馆实践《现代文明的证言》以及1988年3月13日 于巴生中华独中实践《诚》，激活了社区对当代装置艺术的认识。
@ Klang 1988-01-17 https://www.youtube.com/watch?v=DwFYQ-xVTg0
@ Klang 1988-03-13 https://www.youtube.com/watch?v=0ubnbQBTkAs
Truth always exists ; only lies are invented.
· 1995年6月21日在巴生博雅画廊（博雅艺术中心）
一位吴亚鸿导演的装置艺术展怎会是 ‘巴生的破天荒第一次’ ？ 以下的声明偏离事实。
“该装置艺术发表会负责人吴亚鸿，同时也是8名参展画家之一的他表示，这项别出心载的展览会是首次在巴生举行，可算是巴生艺术界的一项突破。（见南洋商报1995.6.19陈美佩报道）
“巴生虽然已经拥有100年的历史，但在巴生这个皇城主办装置艺术还是破天荒第一次、 其余7名参展者为黄俊杰，周靖化，郭云珍，陈艾英，李选凤，叶振和与陈福财” 。” (见星洲大都会1995.6.18林宝源报道)
巴生皇城号称 " XX艺术家协会“是否可以出示其所谓于1967年向社团注册局注册的原始委员会名单、相关文件和注册过程？
< 鲁迅
- 李健省（Lee Kian Seng)的名字于1960年代被人盗用去注册艺术家协会 ?
(注：社评作家林明华先生所见到的，与马来西亚雪州皇城巴生艺术界的病态大同小异。
乡愿为了塑造’会长‘形象，不惜移花接木偷梁换柱。“妄言” 和 “绮语” 在巴生（Klang）皇城艺术界流行，历史真相被‘会长’ 囚禁。《骑劫艺术》： https://www.sinchew.com.my/?p=2136559
"...传媒工作者，即为社会信息传媒守门人，攒写文稿就应有一定的专业操守，不能弄虚作假，不可草率马虎，所有的报道必须追求正确公正。”- 陈玉水/南洋商报 2016-01-16
* 媒体有责引领社会及读者迈向更高层次。
“不准确的理解和翻译就会歪曲原义，以讹传讹，害人不浅。” ，希望朱光潜的金玉良言（摘自‘美学拾穗集’）能唤醒马来西亚华社一部份画家与美术/文史研究者的良知，这小撮人（4人帮）企图垄断学术平台，社区公器、篡改史实，营造假舆论蒙蔽华社。
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***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，2003年4月6日 至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2021年8月30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 |
"My Poem"1968 Permanent collection of the National Art Gallery Malaysia
( image from catalogue of Salon Malaysia 1969)
( image from catalogue of Salon Malaysia 1969)
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