latiff mohidin langkawi

Image courtesy of Chan + Hori Contemporary As part of the DISINI Festival, Langkawi (1976 – 1980) is an exhibition showcasing a series of works by esteemed Malaysian artist Latiff Mohidin, that have not been exhibited for 40 years. [11] As reflected in one Minangkabau teromba (poetic lyrics), the kemuning also has its place in the compounds of the rumah gadang (traditional house) to tie horses to.[12]. Mohd Yusof Ahmad, Haned Najak et all. Abdul Latiff bin Haji Mohidin (A. Latiff Mohidin, Alma) dilahirkan pada 20 Ogos 1941 di Seremban, Negeri Sembilan. Credits: Chan + Hori Contemporary Graphic in design and extremely subtle in its imagery to the extent that symbolic implications are merely suggestive of “Islamic domes, rafts, battle shields, wall plaques, windows and portals to secret and sacred places”, the series had a distinct development process. Malaysia. Meanwhile in the same cultural context, the square, or rectangle, is said to represent earth, materiality, and internal and external human worlds and creations. Synopsis: As part of the DISINI Festival, Langkawi (1976 - 1980) is an exhibition showcasing a series of works by esteemed Malaysian artist Latiff Mohidin, that have not been exhibited for 40 years. Known for his iconic Mindscape, Pago-Pago,Gelombangand Langkawiseries, Latiff is also an accomplished poet and laureate of the Southeast Asian Write Award (1984). A brief introduction to LANGKAWI (1976-1980) by Latiff Mohidin. Latiff Mohidin : "Langkawi" arca dinding. In his retrospective featuring 60 years of practice at the Balai Seni Visual Negara in Kuala Lumpur, Malaysia (2013), Latiff Mohidin’s development was illustrated as belonging to 3 periods. No 84B, Prior, the National Culture Congress meet in 1971 had resolved to use Malay culture and Islam amongst key pivot points in drafting Malaysia’s existent National Culture Policy. Latiff Mohidin was born in Seremban, Malaysia in 1941. 50460 Kuala Lumpur, CURATED BY … As a painter, Latiff has redefined Malaysian visual arts with series such as “Pago-Pago”, “Mindscape” and “Langkawi”. Anak Alam, loosely translated as Child of Nature, was a revolutionary, avantgarde collective of visual artists, poets, writers, dramatists and other creatives seeking alternative ideas in an environment laden with politicised, fiery debates on ‘national culture’ amidst a decade of post-independent sentiments. Abdul Latiff Mohidin – Winter-Wind, Hofheim (Germany) Abdul Latiff Mohidin Winter-Wind, Hofheim (Germany), (1963) Watercolour on paper 18.5 x 14.3 cm. Essays by Khairuddin Hori and Syed Muhammad Hafiz SGD 30.00 including GST ea. The undertaking appears for Piyadasa and Sulaiman like a mission in engaging an elusive ‘mysticism’ that bridges art with earthly realities and away from optical ‘illusions’ of the artist. Abdul Latiff Mohidin Langkawi, (1977) Watercolour on paper 31.2 x 16.3 cm Malaysia View Langkawi II by Latiff Mohidin on artnet. The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. 0 Reviews. Balai Seni Lukis Negara, 2012, Malaysia, p. 28, 2 National Culture Policy, National Department for Culture and Arts, Malaysia, (http://www.jkkn.gov.my/en/national-culture-policy), 3 Towards a mystical reality: a documentation of jointly initiated experiences, Redza Piyadasa and Sulaiman Esa. [8] Latiff not only respected the principles of traditional adat (customs) but also evidently embraced this very spirit of merantau in cultivating and contextualising his art. 19 He dug deep from within and injected life with lyrical metaphors of the otherwise ‘everyday’ trees, roots, rocks, wind and rivers, contributing refreshingly personal, extremely visual, and an almost vividly surreal voice as we find here in the poem dada laut (bosom of the sea): In traditional Malay woodcraft, the adaptation of nature is poetry, represents an evolving mindset and is itself a form of devotion. Later in the 16th century, with the presence of Islam, the floral looking patterns evolved into what is known as Kelopak Maya (Petals of the Virtual Universe). Latiff Mohidin was born in Seremban, Malaysia in 1941. 2nd Floor, Lot. Langkawi : arca dinding Author. The Zhongshan Building Each piece of Langkawi wall sculpture is fundamentally composed of 3-parts. In 1986, as part of his paper on the transposition of poetry and art in the works of Latiff Mohidin, academic Anuar Nor Arai laid a diagram to decode the structure of Langkawi. The culture of the Minangkabaus is laden with sophisticated lyrical idioms, communal creeds infused by Islam, an almost devotional appreciation for nature; and the spirit of merantau (journeying), specially to contribute to the village economy. 23 Jun - 22 Jul 2018. KUALA LUMPUR: It is often a challenge to put a value to art, but artists such as Abdul Latiff Mohidin have proven that Malaysian artworks are able to fetch high prices. The Langkawi that Latiff visited was not the same as the one we know today. And when he began to compose poems in the first decade of Malaysian independence, unlike most others, he resisted the pressures of political, post-colonial and western dialectics. Muzium & Galeri USM, 1979 - 12 pages. He is generally known for his Pago Pago expressionist paintings produced between 1963 and 1969. Latiff Mohidin, Langkawi 1, 1978. First was the ‘formative period’, followed by the ‘meditative period’ and ‘gestural period’. The parts unite to make a complete shape not dissimilar to a capsule. Latiff after all was raised amidst an environment of respect for the adat, which includes a respect for mother nature and the benefits of journeying. Publisher: Muzium & Galeri USM, 1979: Length: Langkawi (1976–1980) is illustrated as belonging to the ‘meditative period’, sandwiched between Mindscape series 1 (1974) and Mindscape series 2 (1976). [5] Born in 1941 in a Malay-Minangkabau village of Lenggeng in Negeri Sembilan, Malaysia, Latiff experienced a close link to traditional Minangkabau culture. Peer a little farther and one would find it hard to dislocate Latiff’s art and its associations to ancient knowledge, traditional culture and spirituality. Published. Sesudah itu, Latiff menyambung pelajarannya di Sekolah … [7] In the community, the value of a journeyman’s worldview is as treasured as the capital he brings. And while many in the folio were titled Langkawi followed by respective numbered sequence or subtitles, others carry concise titles such as Laut (sea), Rembang (high noon), Tanjung (promontory), Suria (sunshine) and Fajar (daybreak). Besides, Latiff’s interest in the histories, knowledge and landscapes of the region is obvious in his keenness to traverse the Mekong region so quickly upon return earlier from Berlin. Only quieter and more calculated, the paint technique on Langkawi takes after the earlier Mindscape series. Monday to Friday: By appointments only [10] As an example, Malay woodcarvers prefer to use the kemuning and kenaung woods for the hilts of the keris (Malay dagger) not only for its distinctive decorative properties, but also in the belief that these woods possess ‘good spirit that must be respected and that will accompany the weapon’. As a coincidence, we know wood to be the choice material for artisans and architects of the Nusantara (Malay Archipelago). Mohd Yusof Ahmad, Haned Najak et all. Jalan Rotan, Kampung Attap, Latiff menerima pendidikan awalnya di Sekolah Melayu Lenggeng hingga lulus darjah IV. Between the two, Anak Alam appears more embracing and compassionate, openly inviting ‘all art practitioners from all branches of arts who feel this tremor and turmoil and are with us in this manifesto are our comrades in the same vassal.’[4] The point of covenant between the two appears in their reconsideration of the wisdom, knowledge, philosophies and spirituality of Asia, Southeast Asia and the Malay Archipelago. It was not until 1986 that Langkawi was officially launched as a tourist destination, and in fact, the first flight into Langkawi was made by a propeller driven Malaysian Airlines Fokker F27 on 4 December 1986. Balai Seni Lukis Negara, 2012, Malaysia, p. 42, 6 Sejarah Pengalaman Adat Pepatih di Negeri Sembilan, Rosiswandy bin Mohd Saleh, Muzium Adat, Jelebu, Negeri Sembilan, Malaysia, p. 5, (www.jmm.com.my), 7 Rosiswandy bin Mohd Saleh, op cit, p. 39, 8 Rosiswandy bin Mohd Saleh, op cit, p. 40, 9 Interview by www.pluralartmag.com, June 2018, 10 Timber Species in Malay Wood Carving, Ismail Said, Proceedings of the International Seminar Malay Architecture as Lingua Franca, Trisakti University, June 22 and 23, 2005, Jakarta, p. 6, 14 The philosophy in the creation of traditional Malay carving motifs in Peninsula Malaysia, Haziyah Hussin; Zawiyah Baba; Aminuddin Hassan; [email protected] Haji Mohamed, Issue 7, Malaysia Journal of Society and Space 8, 2012, Malaysia, p. 88-95, 15 Tradition and transformation: the structure of Malay woodcarving motifs in craft education, Sumardianshah Silah; Ruzaika Omar Basaree; Badrul Isa; Raiha Shahanaz Redzuan, 6th International Conference on University Learning and Teaching, 2012, Malaysia, p. 827, 17 Latiff Mohidin, Transposisi seorang penyair-pelukis, Anuar Nor Arai, working paper for Seminar Ikatan Sastera Universiti Malaya (ISUM), Berita Harian, 4 December 1986, Malaysia 18 Annex 2, 19 Mencipta Sepanjang Hayat, Baha Zain, Pago-Pago to Gelombang : 40 years of Latiff Mohidin, Singapore Art Museum, 1994, Singapore, p.60, 20 Haziyah Hussin; Zawiyah Baba; Aminuddin Hassan; [email protected] Haji Mohamed, op cit, p.90, 21 Redza Piyadasa and Sulaiman Esa, op cit, p. 21, G5-G6 Mont'Kiara Meridin Sacred geometry, in the philosophy of Malay craft points to a transcendent commitment that highlights its people’s spiritual links. Watercolour on paper Arts and Culture. Langkawi, (1977) As a painter, Latiff has redefined Malaysian visual arts with series such as “Pago-Pago”, “Mindscape” and “Langkawi”. Latiff Mohidin: Pago Pago (1960-1969) traces a formative period in the artist’s practice during the 1960s as he journeyed across Europe and Southeast Asia. Beginning from the mid-1980s, the Gelombang body of works marked Latiff Mohidin's turn towards a more expressionist and gestural approach to picture-making, after the rational explorations of form and line in the immediate past Mindscapes and Langkawi series of works. They were painted with oil paints, but not with the bold, recognizable brush strokes typically observed on Pago-Pago, Gelombang or Rimba. [16] In every Langkawi, the rectangle retains its unmistakable position and purpose in bringing together both top and inverted bottom domes. Abdul Latiff Mohidin The same attribute was used when they were subsequently exhibited in Latiff’s solo exhibitions in Penang (1977 and 1979) and in Bangi (1980). Well-established in the canons of Southeast Asian modern painting and Malay literature, the artist was dubbed ‘boy-wonder’ after his first solo exhibition at the age of ten. Before falling into British hands in the 20th century, the historical roots of Kedah and Langkawi island were tied to the 2nd century Thai Langkasuka kingdom, 8th century Buddhist Sriwijaya kingdom, 15th century Pattani kingdom, and 19th century Sultanate of Kedah. Artistic interpretations “based on the creativity of Malay carvers, plant motifs are usually changed and interpreted according to their appropriateness consistent with Malay culture and values and which are not in conflict with Islamic values or beliefs.”[20] Whereby in 1972 Redza Piyadasa and Sulaiman Esa were rallying for ‘a mental/meditative/mystical viewpoint of reality’ [21] in the approach to artmaking and its reading, Latiff’s metaphorical ‘boat’ appears to have sailed far into the horizon. It was not until 1986 that Langkawi was officially launched as a tourist destination, and in fact, the first flight into Langkawi was made by a propeller driven Malaysian Airlines Fokker F27 on 4 December 1986 [13]. Subjects. Latiff is also a highly accomplished literary translator. These measures of cultural civilisations continue to live and could be found in the Malay palaces of today.[14]. As sculptures, they solicit to be observed beyond the two-dimensions that paintings are typically subject of. He currently resides in Penang, where his home and studio are located. It was presented as part of DISINI Festival 2018 at Block 9, #03-21, Gillman Barracks from 23 June to 22 July 2018. Nevertheless, both struggles underline a need to return cultural authorship to artists while acting as echo chambers of discordant ground sentiments between artists and the bureaucrats. Men in the community have after all, been described as ‘pipit jantan tak bersarang’ or ‘male sparrows without nest’. While journeys to the Mekong region in mainland Southeast Asia informed the thinking behind his watershed Pago-Pago (1964-1969) series, it is Langkawi, the legendary and mythical island located north-west of the Malaysian peninsula and state of Kedah that provided the much-needed respite and inspiration for the artist in what have often been described as a restless [9] period of his grand journey. A quick read on the island reveals a rich and magical history most commonly anchored around the eventful burning of rice supplies at Padang Matsirat to cripple Siamese invaders and the fleeing of its native inhabitants as a consequence of the tragic death and curse set by a beautiful damsel named Mahsuri. When they were first presented at Tunku Chancellor Hall at the University of Malaya in December 1976, the Langkawi series were billed as ‘wall sculptures’, not paintings. Within the Malay Archipelago, wood is a material employed for the most significant istana (palace) to the humble centong (rice ladle). For Latiff, the restless local environment of the early 1970s had made it even more necessary to take some time off, to meditate, dissolve and distil the dissonance and clamour of a rapidly urbanised civil society. Upon encounter, they often remind many of commonly found local articles such as the Malay sampan (small wooden boat), beras (rice grain), nisan (tombstones), jendela (windows) and perisai (shields). Abdul Latiff Mohidin Langkawi, (1977) Watercolour on paper 31.2 x 16.3 cm. In Latiff’s hands, nature dominate and transcend the corporeal into the spiritual with an absolute, mystic frequency. Here it begins with the circle, denoting the ‘essence of God’. Given the conventions of the artistic climate he was enveloped by at that time, Latiff’s choice to refer to Langkawi as ‘wall sculptures’ and to use wood instead of canvas as a  substrate broke the norms of ‘painting’. ARTIST CONVERSATION WITH LATIFF MOHIDIN AND CURATOR KHAI HORI ON THE LANGKAWI SERIES (1976-1980) at Chan + Hori Contemporary on Saturday Jun 23, 2018 at 3:30PM Saturday and Sunday: 10am to 5pm. Dates. Browse upcoming and past auction lots by Latiff Mohidin. Inspired by his time in meditation at the seaside, Latiff Mohidin re-emerged a couple of years later with Langkawi. Langkawi’s construction and geometry appears to resonate strongly with the concept of sacred geometry. The series consists of 'sculptural paintings' named after the western Malaysian archipelago of 99 islands around the Straits of Malacca – a region known for its mystical tales and landscapes. Notes "5-15 Feb 1979" Text in Malay and English. The founding of Anak Alam was preceded two years earlier by an exhibition and accompanying manifesto titled Towards a Mystical Reality (1972) by Redza Piyadasa and Sulaiman Esa, amplifying a bold statement to ‘revolutionise modern Malaysian art’. These ‘sculptural paintings’ are named after the western Malaysian archipelago comprising 99 islands on the Straits of Malacca that is well-known for its mythical tales and landscapes. After delivering the groundbreaking Pago-Pago (1964-69) and Mindscape (1973-74) series that exhilarated the Malaysian art scene then, Latiff reemerged a couple of years later with Langkawi. As an example, should a man return empty after years of merantau, it is his acquired wisdom and experience that is expected as contribution for the betterment of his community. The Langkawi that Latiff visited was not the same as the one we know today. His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. Although Latiff has never made explicit theoretical statements on the context and conceptual resolve of Langkawi, it is not far-fetched to look beyond the formal, ‘western’ trappings of modern art should one be willing to study deeper into them. [2]. Malaysia. One could trace this overlapping, dripping, ‘streaking’ and chiaroscuro-like approach to works such as Penjual Sate (1959), Reading the Koran (1959), Pangkor/Pago-Pago (1967), Imago Kelam (1968), Mindscape IV (1973) and Mindscape 49/Blue (1983). 31.2 x 16.3 cm, To donate materials to our archive collection or if you'd like to make an appointment to see materials from our collection, contact our archivist at archivist@malaysiadesignarchive.org, We’re excited by both the support and potential of growing this collection into a significant resource that can be accessed and shared to create an open platform for collective critical engagement with visual culture. Latiff Mohidin at Langkawi 1976 - 1980 exhibition artist talk, 2017. They were constructed with a combination of plywood, wood strips and stretched canvasses. Exhibition catalogue, 1972, Malaysia, 5 60 Tahun Latiff Mohidin Retrospektif, Ed. Abdul Latiff Mohidin or simply Latiff Mohidin (born 1941) is a Malaysian modernist painter, sculptor and poet. Langkawi (1976 – 1980) by Latiff Mohidin. 1 60 Tahun Latiff Mohidin Retrospektif, Ed. Other Authors. In the animistic Langkasuka period for example, there exist a style of woodcarving known as Kelopak Dewa (God’s Petals) inspired primarily by elements such as earth, air, water and fire. Make A Donation, Malaysia Design Archive Language. Physical Description [12] p. : ill. Latiff Mohidin is a Malaysian Asian Modern & Contemporary painter who was born in 1941. 50480 Kuala Lumpur, http://www.jkkn.gov.my/en/national-culture-policy. Visit Website. Abdul Latiff Mohidin – Langkawi. Also Titled. The exhibition showcased 344 artworks that spanned 60 years of his creative output. Latiff Mohidin. Taking on the roles of carpenter and painter, all of them were formed wholly by Latiff himself. What people are saying - Write a review. Visit the From the Studio Latiff Mohidin Artsy page As a relentless wanderer, poet, artist and intellect, Latiff’s choice in seeking respite on Langkawi island appears not as simple a coincidence or convenience. The exhibition was titled LANGKAWI (1976 -1980) by Latiff Mohidin, From the Studio Series and curated by Khairuddin Hori. Flowing between these historic transitions, anthropologists found clues to artistic practices guided by spiritual beliefs through an evolution of its little-spoken woodcraft heritage. Beginning from the mid-1980s, the Gelombang body of works marked Latiff Mohidin's turn towards a more expressionist and gestural approach to picture-making, after the rational explorations of form and line in the immediate past Mindscapes and Langkawi series of works. Latiff was born in Lenggeng, Negeri Sembilan, Malaysia and received his formal primary education at Kota Raja Malay School in Singapore. The exclusive use of wood as primary substrate for Langkawi is an indication that further relates Latiff to tradition. While most run flat and parallel to the wall they hung on, others curved in concave or convex from its side, while some others ‘distend’ and ‘rise’ at its center. This particular piece is fondly known as the Mahsuri, alluding to the well-known history of the slain damsel who bled white blood at her injudicious execution in the 18th century, giving off additional suggestions to Latiff’s accommodating relationship with Malay history and traditions. In the tradition of Malay artistans, the selection of wood species not only depended on their availability, but also on the strength of its innate semangat (spirit). A half-dome connects to the top of a rectangular center-piece while another, an inverted dome, is joined at the bottom. Latiff Mohidin is a Malaysian Asian Modern & Contemporary painter who was born in 1941. KUALA LUMPUR: It is often a challenge to put a value to art, but artists such as Abdul Latiff Mohidin have proven that Malaysian artworks are able to fetch high prices. The manifesto of Anak Alam Generation (as they were known) was laid akin a poem, a stark contrast to the 6-part, 20-page, somewhat ‘heroic’ argument of Redza Piyadasa and Sulaiman Esa. Latiff Mohidin (1941), born in Negeri Sembilan, Malaysia completed his primary education in Singapore. Artist Conversation with Latiff Mohidin and Curator Khai Hori on the LANGKAWI Series (1976-1980), DISINI Festival 2018, From the Studio Series. Latiff exhibited his Pago-Pago series at Centre Pompidou, Paris in early 2018. [3] While Piyadasa and Sulaiman Esa dealt head-on with perennial discourses on ‘east’ versus ‘west’ centricity right after the 1971 national culture and identity debates, Anak Alam circles in on a more human, universal perspective; on purpose, values, readers and readings. His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. Bibliographic information. In this version, the representation of local plants and flowers emerged, partly as an acknowledgement of the presence and greatness of God (Allah). On their façade, drops of colours are dribbled with restraint, each overlapping the one before to eventually form a complete, constructed colour field environment. [1], http://www.theedgegalerie.com/photo-gallery/latiffs-langkawi, In 1974, two years before starting work on Langkawi, Latiff co-founded and was active with the remarkably consequential Anak Alam artist collective. On to the 18th century, Kelopak Hidup (Living Petals) took over eschewing the same tributes to divinity only this time, with freer form of artistic expression to its design. Title: Latiff Mohidin: "Langkawi" arca dinding: Author: Latiff Mohidin: Contributor: Muzium & Galeri USM. The Mekong gave us Latiff’s pivotal Pago-Pago paintings and an unconventional Malay voice with the publication of Sungai Mekong (1972) (Mekong River) anthology. It was even rumoured that Langkawi was inspired by the grains of sand from its beach, of how a single grain of sand could speak of our mortal existence. We haven't found any reviews in the usual places. Early life. One notable piece is Langkawi Putih (white Langkawi) dated 1977 now in the collection of the National Visual Arts Gallery of Malaysia. Pulau Pinang : Muzium & Galeri USM, 1979. Quieter and more calculated, the paint technique on Langkawi takes after the earlier Mindscape series the Building! Have n't latiff mohidin langkawi any reviews in the collection of the Nusantara ( Archipelago. No 84B, Jalan Rotan, Kampung Attap, 50460 Kuala Lumpur, Malaysia completed his primary education in.... Constructed with a combination of plywood, wood strips and stretched canvasses ’, followed by the ‘ meditative ’. 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