latiff mohidin langkawi

Latiff Mohidin, Langkawi 1, 1978. Early life. Langkawi (1976 – 1980) by Latiff Mohidin. 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. He is generally known for his Pago Pago expressionist paintings produced between 1963 and 1969. It was presented as part of DISINI Festival 2018 at Block 9, #03-21, Gillman Barracks from 23 June to 22 July 2018. Latiff Mohidin -- Exhibitions. 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. [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’. Subjects. The Langkawi that Latiff visited was not the same as the one we know today. On their façade, drops of colours are dribbled with restraint, each overlapping the one before to eventually form a complete, constructed colour field environment. 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. Muzium & Galeri USM, 1979 - 12 pages. 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. Published. 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. 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). Dates. Latiff Mohidin. Mohd Yusof Ahmad, Haned Najak et all. Latiff Mohidin at Langkawi 1976 - 1980 exhibition artist talk, 2017. 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 Mohd Yusof Ahmad, Haned Najak et all. [17,18] In this diagram, the writer theorises a ‘completeness’ based on the sculpture’s design and a symbolic meeting of ‘nature’ (top-half) and the ‘metaphysical’ (bottom-half) within. [15] This basic shape and its accompanying notion applies to all other polygonal based designs including divisions of the circle such as the semi-circle or dome, a key component of every Langkawi sculpture. 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. Arts and Culture. The exhibition was titled LANGKAWI (1976 -1980) by Latiff Mohidin, From the Studio Series and curated by Khairuddin Hori. 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. Latiff Mohidin was born in Seremban, Malaysia in 1941. 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]. Men in the community have after all, been described as ‘pipit jantan tak bersarang’ or ‘male sparrows without nest’. Exhibition catalogue, 1972, Malaysia, 5 60 Tahun Latiff Mohidin Retrospektif, Ed. 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. Latiff Mohidin was born in Seremban, Malaysia in 1941. 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 Mekong gave us Latiff’s pivotal Pago-Pago paintings and an unconventional Malay voice with the publication of Sungai Mekong (1972) (Mekong River) anthology. Taking on the roles of carpenter and painter, all of them were formed wholly by Latiff himself. Langkawi (1976–1980) is illustrated as belonging to the ‘meditative period’, sandwiched between Mindscape series 1 (1974) and Mindscape series 2 (1976). His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. 50480 Kuala Lumpur, http://www.jkkn.gov.my/en/national-culture-policy. 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’. Inspired by his time in meditation at the seaside, Latiff Mohidin re-emerged a couple of years later with Langkawi. This ‘meditative period’ was described as ‘the period whereby the stylistic and compositional tone of Latiff Mohidin’s art becomes fairly ‘controlled’ or perhaps ‘calmer’ when compared to his more constructive expressive creations in the preceding period’. Pulau Pinang : Muzium & Galeri USM, 1979. Monday to Friday: By appointments only For instance, here, Adat Pepatih, a matrilineal customary law and guiding principles brought to Malaysia through settlers from Sumatra in the 1400s [6] is still referenced by its community today, even if not entirely practiced. Within the Malay Archipelago, wood is a material employed for the most significant istana (palace) to the humble centong (rice ladle). 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. He currently resides in Penang, where his home and studio are located. 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. Sesudah itu, Latiff menyambung pelajarannya di Sekolah … Malaysia. His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. [7] In the community, the value of a journeyman’s worldview is as treasured as the capital he brings. They were constructed with a combination of plywood, wood strips and stretched canvasses. Also Titled. He currently resides in Penang, where his home and studio are located. 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. Known for his iconic Mindscape, Pago-Pago,Gelombangand Langkawiseries, Latiff is also an accomplished poet and laureate of the Southeast Asian Write Award (1984). View Langkawi II by Latiff Mohidin on artnet. What people are saying - Write a review. The parts unite to make a complete shape not dissimilar to a capsule. The Zhongshan Building 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. 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. 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. As sculptures, they solicit to be observed beyond the two-dimensions that paintings are typically subject of. Latiff Mohidin : "Langkawi" arca dinding. Since early in his formation as an artist, Latiff Mohidin have always related and firmly held by the principles of ‘nature and elders advice’. Abdul Latiff Mohidin or simply Latiff Mohidin (born 1941) is a Malaysian modernist painter, sculptor and poet. Language. 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. The same attribute was used when they were subsequently exhibited in Latiff’s solo exhibitions in Penang (1977 and 1979) and in Bangi (1980). [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. 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. As a coincidence, we know wood to be the choice material for artisans and architects of the Nusantara (Malay Archipelago). 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. We haven't found any reviews in the usual places. 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). Image courtesy of Chan + Hori Contemporary These measures of cultural civilisations continue to live and could be found in the Malay palaces of today.[14]. 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. Latiff Mohidin is a Malaysian Asian Modern & Contemporary painter who was born in 1941. Latiff Mohidin is a Malaysian Asian Modern & Contemporary painter who was born in 1941. [16] In every Langkawi, the rectangle retains its unmistakable position and purpose in bringing together both top and inverted bottom domes. Abdul Latiff Mohidin Langkawi, (1977) Watercolour on paper 31.2 x 16.3 cm. The Langkawi that Latiff visited was not the same as the one we know today. Watercolour on paper Physical Description [12] p. : ill. Latiff menerima pendidikan awalnya di Sekolah Melayu Lenggeng hingga lulus darjah IV. 19, Jalan Duta Kiara, Mont'Kiara Abdul Latiff Mohidin Langkawi, (1977) Watercolour on paper 31.2 x 16.3 cm Malaysia Langkawi’s construction and geometry appears to resonate strongly with the concept of sacred geometry. Recently, Latiff marked a career milestone with his monumental exhibition - Six Decades of Latiff Mohidin: A Retrospective (2012-2013) - organised by the National Art Gallery in Kuala Lumpur. A half-dome connects to the top of a rectangular center-piece while another, an inverted dome, is joined at the bottom. 50460 Kuala Lumpur, One notable piece is Langkawi Putih (white Langkawi) dated 1977 now in the collection of the National Visual Arts Gallery of Malaysia. Sacred geometry, in the philosophy of Malay craft points to a transcendent commitment that highlights its people’s spiritual links. As a painter, Latiff has redefined Malaysian visual arts with series such as “Pago-Pago”, “Mindscape” and “Langkawi”. Latiff is also a highly accomplished literary translator. 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. 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). Artist Conversation with Latiff Mohidin and Curator Khai Hori on the LANGKAWI Series (1976-1980), DISINI Festival 2018, From the Studio Series. Browse upcoming and past auction lots by Latiff Mohidin. Latiff exhibited his Pago-Pago series at Centre Pompidou, Paris in early 2018. Make A Donation, Malaysia Design Archive Malaysia. [2]. Essays by Khairuddin Hori and Syed Muhammad Hafiz SGD 30.00 including GST ea. 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). Here it begins with the circle, denoting the ‘essence of God’. 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. Publisher: Muzium & Galeri USM, 1979: Length: [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]. In this version, the representation of local plants and flowers emerged, partly as an acknowledgement of the presence and greatness of God (Allah). 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. The exclusive use of wood as primary substrate for Langkawi is an indication that further relates Latiff to tradition. Abdul Latiff Mohidin – Winter-Wind, Hofheim (Germany) Abdul Latiff Mohidin Winter-Wind, Hofheim (Germany), (1963) Watercolour on paper 18.5 x 14.3 cm. Latiff Mohidin. 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