Electronic Art in Malaysia 4

‘Traces, Legacies, and Futures’ was a conversation on electronic art between Hasnul Jamal Saidon and myself, presented under the auspices o the Muzium dan Galeri Tuanku Fauziah, mediated by Ropesh Sitharan. It took place at 9pm (MYT) on 30 September 2020.

Electronic Art in Malaysia 3

Apa sebenarnya kemampuan sesuatu kejadian seni itu, dan apakah kewajipan seniman yang menguruskannya?
What are the affordances of an art event, and what are the obligations of the artist in managing these?

In the late 1990’s Hasnul and continued the work of the late Ismail Zain in laying the theoretical and the practical ground for new media in Malaysian art. We did this as we worked together at the Faculty of Applied and Creative Arts, Universiti Malaysia Sarawak over a period of about 5 or 6 years. While we have exhibited together in Relocations 2008 in Singapore, curated by Roopesh Sitharan, and shared the occasional speaking platform, we have not worked together since. We have, in fact, barely kept in touch kept in touch in the conventional sense but somehow, we are completely connected in the core of our beliefs in terms of the purpose of art, the meaning of art and of the role of the artist in society.

Traces, Legacies, and Futures’ is a live-streamed conversation on electronic art between Hasnul Jamal Saidon and Niranjan Rajah, mediated by Ropesh Sitharan. The event is hoisted online by  Muzium & Galeri Tuanku Fauziah, Unverslti Sains Malaysia.

Synopsis:
The practice of art is contextual in that it is responsive to, or critical of, the time in which it is performed. Especially a work of art that invites us to foresee the possibilities to come, akin to a message that tries to teach (some say warn) future generations. In this sense, an artist is not someone who mimics the ordinary for a palatable outreach, but who is ready and willing to use their talents to challenge norms and shift perceptions. This casual conversation with Hasnul and Niranjan probes such significant efforts of ‘shifting’ in their art practice – what we have come to refer to as ‘new media art’ today. It will address the diversity and the various trajectories in their practice that have substantially contributed to the ongoing conversations about art, culture and technology in our lives today. Indeed, it is hoped this conversation on past ideas, expressions and arguments by them will help preserve their legacy and launch critical inquiry into the future of electronic art in Malaysia as these ideas find their way to the relevant institutions. 

Traces, Legacies, and Futures’  will take place at 9pm (MYT) on 30 September 2020.
It will be accessible on -WEBEX https://usm-cmr.webex.com/usm-cmr/j.php…
Facebook Live https://www.facebook.com/mgtfusm

Electronic Art in Malaysia 2

Traces, Legacies, and Futures’ is a live-streamed conversation on electronic art between Hasnul Jamal Saidon and Niranjan Rajah, mediated by Ropesh Sitharan.

Apa ‘kuasa’ yg mampu mencairkan ego sambil menyatukan ‘hati’ semua manusia?
What power can melt the ego while uniting the heart of all human beings?
(Hasnul J Saidon)

Traces, Legacies, and Futures’  will take place at 9pm (MYT) on 30 September 2020.
It will be accessible on -WEBEX https://usm-cmr.webex.com/usm-cmr/j.php…
Facebook Live https://www.facebook.com/mgtfusm

Electronic Art in Malaysia

‘Traces, Legacies, and Futures’ is a live-streamed conversation on electronic art between Hasnul Jamal Saidon and myself, mediated by Ropesh Sitharan. It will take place at 9pm (MYT) on 30 September 2020. It will be accessible on –
WEBEX https://usm-cmr.webex.com/usm-cmr/j.php?MTID=m585257ea2a05c62ab28b4bf9b1484530
Facebook Live https://www.facebook.com/mgtfusm

Synopsis:
The practice of art is contextual in that it is responsive to, or critical of, the time in which it is performed. Especially a work of art that invites us to foresee the possibilities to come, akin to a message that tries to teach (some say warn) future generations. In this sense, an artist is not someone who mimics the ordinary for a palatable outreach, but who is ready and willing to use their talents to challenge norms and shift perceptions. This casual conversation with Hasnul and Niranjan probes such significant efforts of ‘shifting’ in their art practice – what we have come to refer to as ‘new media art’ today. It will address the diversity and the various trajectories in their practice that have substantially contributed to the ongoing conversations about art, culture and technology in our lives today. Indeed, it is hoped this conversation on past ideas, expressions and arguments by them will help preserve their legacy and launch critical inquiry into the future of electronic art in Malaysia as these ideas find their way to the relevant institutions. 

Early Internet Art in Malaysia

I am honored to be featured in a keynote by Associate Professor Hasnul Jamal Saidon at the 6th ICACA (International Conference on Applied & Creative Arts), Faculty of Applied & Creative Arts, UNIMAS, 18 August 2021. Hasnul generously describes the work I did at the Universti Malaysia Sarawak between 1995 and 2002 as a very important legacy with regard to Internet art and online art in Malaysia. He describes me as the pioneer of Internet art in Southeast Asia and the forerunner in the region of critical engagement in the context of the shift from offline to online art. He notes that my The Failure of Marcel Duchamp/ Japanese Fetish Even! (1996) is the first Internet art work in Malaysia and that I curated the first online exhibition in Malaysia at the 4th Ipoh Arts Festival (1999). I am happy to be remembered and would like to return the recognition by noting that Hasnul is himself a pioneering contributor to electronic art in Malaysia through his early forays into video art, video installation art and his own critical and theoretical writings. Beyond our individual contributions, I believe that it is what we achieved together, by way of curating the 1st Electronic Art Show (1997) and the founding of the Eart ASEAN Online (1999) portal, that constitutes a platform for further developments in Malaysian new media art.