As a coincidence, we know wood to be the choice material for artisans and architects of the Nusantara (Malay Archipelago). 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, Langkawi 1, 1978. His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. Taking on the roles of carpenter and painter, all of them were formed wholly by Latiff himself. In Latiff’s hands, nature dominate and transcend the corporeal into the spiritual with an absolute, mystic frequency. 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. 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. Monday to Friday: By appointments only What people are saying - Write a review. 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. Latiff Mohidin was born in Seremban, Malaysia in 1941. 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. Other Authors. Abdul Latiff Mohidin Langkawi, (1977) Watercolour on paper 31.2 x 16.3 cm. Artist Conversation with Latiff Mohidin and Curator Khai Hori on the LANGKAWI Series (1976-1980), DISINI Festival 2018, From the Studio Series. [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. 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. The Langkawi that Latiff visited was not the same as the one we know today. 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. [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’. 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). As a painter, Latiff has redefined Malaysian visual arts with series such as “Pago-Pago”, “Mindscape” and “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. View Langkawi II by Latiff Mohidin on artnet. Men in the community have after all, been described as ‘pipit jantan tak bersarang’ or ‘male sparrows without nest’. Langkawi : arca dinding Author. CURATED BY … Image courtesy of Chan + Hori Contemporary 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. 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. Since early in his formation as an artist, Latiff Mohidin have always related and firmly held by the principles of ‘nature and elders advice’. [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. 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 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. 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. Publisher: Muzium & Galeri USM, 1979: Length: Mohd Yusof Ahmad, Haned Najak et all. In this version, the representation of local plants and flowers emerged, partly as an acknowledgement of the presence and greatness of God (Allah). Latiff Mohidin is a Malaysian Asian Modern & Contemporary painter who was born in 1941. 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. 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. Watercolour on paper Latiff Mohidin at Langkawi 1976 - 1980 exhibition artist talk, 2017. He currently resides in Penang, where his home and studio are located. Abdul Latiff Mohidin Langkawi, (1977) Watercolour on paper 31.2 x 16.3 cm Malaysia 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. A half-dome connects to the top of a rectangular center-piece while another, an inverted dome, is joined at the bottom. They were painted with oil paints, but not with the bold, recognizable brush strokes typically observed on Pago-Pago, Gelombang or Rimba. Visit Website. [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. [2]. 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). We haven't found any reviews in the usual places. 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. 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. Latiff Mohidin. Meanwhile in the same cultural context, the square, or rectangle, is said to represent earth, materiality, and internal and external human worlds and creations. Latiff Mohidin. Known for his iconic Mindscape, Pago-Pago,Gelombangand Langkawiseries, Latiff is also an accomplished poet and laureate of the Southeast Asian Write Award (1984). 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. 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. Abdul Latiff Mohidin – Winter-Wind, Hofheim (Germany) Abdul Latiff Mohidin Winter-Wind, Hofheim (Germany), (1963) Watercolour on paper 18.5 x 14.3 cm. They were constructed with a combination of plywood, wood strips and stretched canvasses. [7] In the community, the value of a journeyman’s worldview is as treasured as the capital he brings. 50460 Kuala Lumpur, Latiff is also a highly accomplished literary translator. 1 60 Tahun Latiff Mohidin Retrospektif, Ed. Latiff was born in Lenggeng, Negeri Sembilan, Malaysia and received his formal primary education at Kota Raja Malay School in Singapore. Exhibition catalogue, 1972, Malaysia, 5 60 Tahun Latiff Mohidin Retrospektif, Ed. 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 Latiff Mohidin : "Langkawi" arca dinding. 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). 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. It was presented as part of DISINI Festival 2018 at Block 9, #03-21, Gillman Barracks from 23 June to 22 July 2018. Langkawi (1976 – 1980) by Latiff Mohidin. Here it begins with the circle, denoting the ‘essence of God’. 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. Visit the From the Studio Latiff Mohidin Artsy page Each piece of Langkawi wall sculpture is fundamentally composed of 3-parts. 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. Dates. [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. Flowing between these historic transitions, anthropologists found clues to artistic practices guided by spiritual beliefs through an evolution of its little-spoken woodcraft heritage. 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. 2nd Floor, Lot. Title: Latiff Mohidin: "Langkawi" arca dinding: Author: Latiff Mohidin: Contributor: Muzium & Galeri USM. The Langkawi that Latiff visited was not the same as the one we know today. 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. 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’. 19, Jalan Duta Kiara, Mont'Kiara Latiff menerima pendidikan awalnya di Sekolah Melayu Lenggeng hingga lulus darjah IV. Malaysia. Abdul Latiff Mohidin – Langkawi. Sacred geometry, in the philosophy of Malay craft points to a transcendent commitment that highlights its people’s spiritual links. 23 Jun - 22 Jul 2018. No 84B, Also Titled. Arts and Culture. Physical Description [12] p. : ill. 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’. The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. Early life. Latiff Mohidin -- Exhibitions. 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. 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. 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. Jalan Rotan, Kampung Attap, 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. A brief introduction to LANGKAWI (1976-1980) by Latiff Mohidin. One notable piece is Langkawi Putih (white Langkawi) dated 1977 now in the collection of the National Visual Arts Gallery of Malaysia. Sesudah itu, Latiff menyambung pelajarannya di Sekolah … Essays by Khairuddin Hori and Syed Muhammad Hafiz SGD 30.00 including GST ea. Muzium & Galeri USM. [5] Born in 1941 in a Malay-Minangkabau village of Lenggeng in Negeri Sembilan, Malaysia, Latiff experienced a close link to traditional Minangkabau culture. 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. 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. Pulau Pinang : Muzium & Galeri USM, 1979. These measures of cultural civilisations continue to live and could be found in the Malay palaces of today.[14]. 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. The exclusive use of wood as primary substrate for Langkawi is an indication that further relates Latiff to tradition. 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. Subjects. The parts unite to make a complete shape not dissimilar to a capsule. Abdul Latiff Mohidin or simply Latiff Mohidin (born 1941) is a Malaysian modernist painter, sculptor and poet. 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