21.4.09

Meeting the South - an audiences participation art project


tc liew's studio in Danga City Mall

Meeting the South #1 : collected portrait

Meeting the South #1: Choo Kok Choon - Johor artist friend who is surrealism artist.

Meeting the South #1: Mei Yin: Malaysian Institute of Art fine art student

Meeting the South #2: Tan Hong Liang - 10 years old kid from Jombali Cafe

Meeting the South #2: Win Win Mar - Vietnamese women who is working in Jombali Cafe JB.

With Sharon and Elaine at Jombali Cafe after the interaction.

Foo Chuang Ning with her portrait drawing.

[pot-luck (purdue) tan-jong]



刘挺壮《与”绘”南马》 – Iskandar Malaysia Contemporary Art Show (IMCAS)大众”互动艺术”

即日起至614

《与”绘”南马》(Meeting the South)IMCAS 大众参与美术活动, 呼吁爱好美术人士免费参与. 参与者可获免费人像素描!

自《Tan-jong:i-tuo:bi-kin》系列(槟城制)开始,挺壮都不断发表”互动艺术”. 过去大学三年,他已经尝试各种非电子非数据的形式制成互动性的美术品.跟《与”绘”南马》相似的作品有《pot-luck(purdue普渡)tan-jong, 挺壮大胆的借用(Appropriation)七夕鬼节祭典”普渡”环境污染的槟城反映地球暖化课题.2007年七夕,挺壮公开焚烧香料和保利龙制成的槟城建筑物,并邀观赏者参与焚烧.相信”互动艺术”是表演艺术后的发展,无剧台、无剧本、无演员及大众参与的”视觉表演”.

《与”绘”南马》邀大众与”玻璃缸”内的挺壮以绘画”对话”. 对柔佛陌生的他,计划此活动成为他认识柔佛人的平台. 挺壮一直认为,文明是促进艺术生产; 他一直在模仿,体验,理解和重塑生活经验. 生活原本就是艺术; 艺术更需要生活元素来将""发酵. 认识柔佛不只限于浏览名胜古迹, 溶入社会更体验当地文化色彩. 交流并非表面的接触. 缺乏诚意就如, 电脑解码人脑数据. 挺壮相信通过绘画不但是直接表现, 它是诚恳的标记或符号记录.这大众”互动艺术”呼吁柔佛人进一步亲近绘画,让色调沾染人生纯洁画布.

《与”绘”南马》分为两项目:

()刘挺壮邀大众参观位于新山金海广场4(4-28)画室. 参与者将提供原料纸张,在漫不经心的音乐环境下进行涂绘. 这时候,挺壮将把参与者给描绘. 参与者并可以观赏制作中的美术作品,做进一步的了解. 参与者将带回免费人像素描.

()约会柔佛人于新山金海广场底楼的Jombali Café, 31号座. 挺壮将在每晚9时至10时晚上等候来赴约的柔佛人,诚心交流. 同时, 挺壮就为您素描人像.当然,隔天早上您也可以在4楼的画室领取免费人像素描.


IMCAS 大众”互动艺术”

《与”绘”南马》()

时间: 即日起至614(早上11时至晚上8)

地点: 新山金海广场4(4-28)画室


《与”绘”南马》()

时间: 即日起至614(晚上9时至晚上10)

地点: 新山金海广场底楼Jombali Café, 31号座.

联络: 刘挺壮 tcliew 012-4008023

:pot-luck(purdue普渡)tan-jong网上观赏,请浏览:

http://tcliew.blogspot.com/2007/08/pot-luckpurdue-tan-jong-tan-jong-i-tuo.html

表演艺术非戏剧

“她”, 无剧台、无剧本、无演员及展示大众的”视觉表演”. 动作为基本的视觉语言.一般上,艺术家自己演出,把身躯当作美术品的元素之一. 表演艺术演变自从60年代末,艺术家在大众表演.涵盖音乐、舞蹈、、剧场与影像等元素的艺术活动,现场展演的艺术形式.70年代末艺术家们则特别地拒绝表演这名词,因为它充满剧场的含.电子艺术(Electronic Arts)就在这时候普及化,这也开创新局面好让艺术家有另类的创新.80年代,更多艺术家以本身的根源出发追溯到表演与视觉艺术上.表演艺术先驱有Vito Acconci, Laurie AndersonJoseph Beuys.

本土的表演艺术是电子艺术的附属.Hasnul J. Saidon是大马第一个留学美国并主修电子艺术的艺术家(MFA in Integrated Electronic Arts, Rensselaer Polytechnic Institute). 目前Hasnul是理科大学Muzium & Galeri Tuanku Fauziah (MGTF)博物馆任职馆长. Hasnul1993年回国,1994年在砂劳越大学授教电子艺术课程. Hasnul在美国不但活跃地发表影像艺术,多媒体装饰艺术,响艺术等电子创作;他还呈现”混合表演艺术”.

1992年的《Listen to the Land, 灵感来自在美国出世的长女让他质问国籍问题. 这也强烈的刺激Hasnul体会”土生土长”的感触, 在他的表演中, 他的身躯从地面上钻出混合多媒体装饰,表现回归祖国的精神. 1996, Hasnul在砂劳越大学发表《Jambori Rimba, 一场大众参与的音乐会. Hasnul联合美国的Mclean Mix (Barton & Priscilla Mclean)成功发表. 参与者同时可以无限的发挥潜意识里的乐调;无边无际的表现,仿佛一场大自然般的交响乐. 其他作品有1994年《Xpressi Xerimental》、1994年《Bernafas Dalam Lumpur》、1994年《Skin Trilogy》及1995年《Rama & Sita. Hasnul认为表演动作是一种形式的语言学, 它可以展现想法,情绪甚至理论.

1990年国际音像艺术节, 黄海昌(Wong Hoy Cheong)发表《Sook Ching. 黄海昌结合了表演艺术、彩画及影像装饰艺术;以记录模式展示四年八个月日本时代的残局. 海昌强调主观性的历史档案也该重视.这项表演可列为本土”混合表演艺术”先锋之一.

资料整理: 刘挺壮

资料来源:

1. 1. Hasnul J Saidon and Niranjan Rajah, Pameran Seni Electronik pertama (catalogue), Malaysia: National Art Gallery of Malaysia, 1997.

2. 2. Roopesh Sitharan, Relocation Electronic art of Hasnul Jamal Saidon & Niranjan Rajah (catalogue), Malaysia: Muzium & Galleri Tuanku Fauziah & 12 (Art Space Gallery), 2008.

3. 3. Qian Laizhong, Illustrating Western Contemporary Art, China: Contemporary Art Press, 2003.

4. Wikipedia.com http://en.wikipedia.org/wiki/Performance_art (accessed on 8 May 2009)

21.3.09

8.7.08

Science Carnival & Exhibition 'YOUTH SCIENTISTS'-Exposition of Science Research Projects


MGTF Sculpture Garden

MGTF Screening Hall

MGTF Spaceship Stimulator

MGTF Laser Show (20 June 2008)

"Bengkel Portret MGTF", with Sekolah Menengah Selama, Kedah

40 students from Sekolah Menengah Selama, Kedah Darul Aman.
Musuem & Galeri Tunku Fauziah (MGTF) Portrait Workshop, 12 June 2008
Facilitator: Hardiana Hidayah Binti Azni, Siti Nazurah Hashim & tcliew

3.5.08

looking into [tan-jong i-tou bi-kin] series

A Surrealism video art that is depicted my dream about how I look into myself and adventure to seek for my late grandfather. The last piece of footage has been manipulated with motion graphics. Through the local hokkien conversation about how my late grandfather taught his daughters in their childhood; reflected Penang native lifestyle in the late 60’s. This experience taught me a lot about myself, identity and root.
I just try to say; please looking into yourself; get your own [tan-jong i-tou bi-kin] (made in Penang) or can interpreted as “looking into your very own hometown and yourself”

Extension from Welcome Home [tan-jong i-tou bi-kin] series: http://tcliew.blogspot.com/2008/02/welcome-home-tribute-to-ah-kong-tan.html

29.4.08

Worldwide Pinhole Photography Day

"Let's have a cup of iced coffee, after a long walk in Penang heritage town. I used to do so when i do my visual research in Armenian Street! I love [ko-pi-O-bing]"

logo


3.4.08

[the more we get together (当我们同在一起)] [tan-jong i-tuo bi-kin] series, site specific installation (site: Adiwana Gallery, School of Art USM), 2008

§ Interconnection Puzzle 团结谜§



“The More We Get Together”
The more we get together
Together, together
The more we get together
The happier we’ll be
For your friends are my friends
And my friends are your friends.
The more we get together
The happier we’ll be.
-Katy Pine-

<当我们同在一起>
当我们同在一起
在一起, 在一起;
当我们同在一起
齐快乐无比.

我对着你笑嘻嘻!
你对着我笑哈哈!
当我们同在一起齐快乐无比.

4.11.07

[ma-li pes-sta a-ri a-ri] [tan-jong i-tuo bi-kin] series, interact-able painting

"we" belong to street don't put "us" in the museum! ?
(1st prize in Penang Young Contemporary Art Exhibition)