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. Latiff Mohidin at Langkawi 1976 - 1980 exhibition artist talk, 2017. No 84B, Latiff is also a highly accomplished literary translator. In Latiff’s hands, nature dominate and transcend the corporeal into the spiritual with an absolute, mystic frequency. 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. Abdul Latiff Mohidin Langkawi, (1977) Watercolour on paper 31.2 x 16.3 cm Malaysia Langkawi, (1977) Sesudah itu, Latiff menyambung pelajarannya di Sekolah … 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. The Zhongshan Building As a painter, Latiff has redefined Malaysian visual arts with series such as “Pago-Pago”, “Mindscape” and “Langkawi”. 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. 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. 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). Notes "5-15 Feb 1979" Text in Malay and English. Inspired by his time in meditation at the seaside, Latiff Mohidin re-emerged a couple of years later with Langkawi. 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. 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. He currently resides in Penang, where his home and studio are located. 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). Latiff Mohidin : "Langkawi" arca dinding. 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. 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. Exhibition catalogue, 1972, Malaysia, 5 60 Tahun Latiff Mohidin Retrospektif, Ed. Langkawi (1976 – 1980) by Latiff Mohidin. 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. Title: Latiff Mohidin: "Langkawi" arca dinding: Author: Latiff Mohidin: Contributor: Muzium & Galeri USM. Here it begins with the circle, denoting the ‘essence of God’. Only quieter and more calculated, the paint technique on Langkawi takes after the earlier Mindscape series. 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). Published. The exclusive use of wood as primary substrate for Langkawi is an indication that further relates Latiff to tradition. 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. Browse upcoming and past auction lots by Latiff Mohidin. 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. Early life. Flowing between these historic transitions, anthropologists found clues to artistic practices guided by spiritual beliefs through an evolution of its little-spoken woodcraft heritage. Known for his iconic Mindscape, Pago-Pago,Gelombangand Langkawiseries, Latiff is also an accomplished poet and laureate of the Southeast Asian Write Award (1984). Muzium & Galeri USM. Make A Donation, Malaysia Design Archive And unlike Pago-Pago, Mindscape 1 (1974), Mindscape 2 (1976), Gelombang (1988), Rimba (1998) and Voyage (2007), Langkawi (1976 – 1980) singles itself out as the only series in Latiff Mohidin’s vast oeuvre directly titled after an actual, physical site. Language. 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. Within the Malay Archipelago, wood is a material employed for the most significant istana (palace) to the humble centong (rice ladle). [16] In every Langkawi, the rectangle retains its unmistakable position and purpose in bringing together both top and inverted bottom domes. Latiff Mohidin is a Malaysian Asian Modern & Contemporary painter who was born in 1941. Latiff Mohidin was born in Seremban, Malaysia in 1941. Arts and Culture. His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. Abdul Latiff Mohidin – Langkawi. Bibliographic information. Malaysia. One notable piece is Langkawi Putih (white Langkawi) dated 1977 now in the collection of the National Visual Arts Gallery of Malaysia. 23 Jun - 22 Jul 2018. Latiff Mohidin. 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. 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. 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. As a painter, Latiff has redefined Malaysian visual arts with series such as “Pago-Pago”, “Mindscape” and “Langkawi”. 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. The exhibition showcased 344 artworks that spanned 60 years of his creative output. Abdul Latiff Mohidin Langkawi, (1977) Watercolour on paper 31.2 x 16.3 cm. 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. We haven't found any reviews in the usual places. On their façade, drops of colours are dribbled with restraint, each overlapping the one before to eventually form a complete, constructed colour field environment. [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’. 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. 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. 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. 19, Jalan Duta Kiara, Mont'Kiara Taking on the roles of carpenter and painter, all of them were formed wholly by Latiff himself. [7] In the community, the value of a journeyman’s worldview is as treasured as the capital he brings. Since early in his formation as an artist, Latiff Mohidin have always related and firmly held by the principles of ‘nature and elders advice’. 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. 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). Sacred geometry, in the philosophy of Malay craft points to a transcendent commitment that highlights its people’s spiritual links. 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. As sculptures, they solicit to be observed beyond the two-dimensions that paintings are typically subject of. Monday to Friday: By appointments only Latiff Mohidin is a Malaysian Asian Modern & Contemporary painter who was born in 1941. Abdul Latiff Mohidin Other Authors. He currently resides in Penang, where his home and studio are located. 2nd Floor, Lot. Essays by Khairuddin Hori and Syed Muhammad Hafiz SGD 30.00 including GST ea. Langkawi : arca dinding Author. Visit Website. 0 Reviews. Langkawi’s construction and geometry appears to resonate strongly with the concept of sacred geometry. 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). 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 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’. Visit the From the Studio Latiff Mohidin Artsy page [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 a departure from norm, Malaysia's top modernist artist Latiff Mohidin has tapped on the resources of Chan + Hori Contemporary gallery in Singapore to re-interpret his old series of Langkawi … Langkawi (1976–1980) is illustrated as belonging to the ‘meditative period’, sandwiched between Mindscape series 1 (1974) and Mindscape series 2 (1976). Latiff Mohidin was born in Seremban, Malaysia in 1941. 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. 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 this version, the representation of local plants and flowers emerged, partly as an acknowledgement of the presence and greatness of God (Allah). 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. 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. 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. Mohd Yusof Ahmad, Haned Najak et all. Muzium & Galeri USM, 1979 - 12 pages. The same attribute was used when they were subsequently exhibited in Latiff’s solo exhibitions in Penang (1977 and 1979) and in Bangi (1980). 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 exhibition was titled LANGKAWI (1976 -1980) by Latiff Mohidin, From the Studio Series and curated by Khairuddin Hori. He is generally known for his Pago Pago expressionist paintings produced between 1963 and 1969. Each piece of Langkawi wall sculpture is fundamentally composed of 3-parts. It was presented as part of DISINI Festival 2018 at Block 9, #03-21, Gillman Barracks from 23 June to 22 July 2018. 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. 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’. Abdul Latiff bin Haji Mohidin (A. Latiff Mohidin, Alma) dilahirkan pada 20 Ogos 1941 di Seremban, Negeri Sembilan. His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. Pulau Pinang : Muzium & Galeri USM, 1979. [5] Born in 1941 in a Malay-Minangkabau village of Lenggeng in Negeri Sembilan, Malaysia, Latiff experienced a close link to traditional Minangkabau culture. [2]. Mohd Yusof Ahmad, Haned Najak et all. Abdul Latiff Mohidin or simply Latiff Mohidin (born 1941) is a Malaysian modernist painter, sculptor and poet. [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. Latiff Mohidin. Latiff Mohidin (1941), born in Negeri Sembilan, Malaysia completed his primary education in Singapore. The Langkawi that Latiff visited was not the same as the one we know today. 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. The parts unite to make a complete shape not dissimilar to a capsule. 1 60 Tahun Latiff Mohidin Retrospektif, Ed. Latiff Mohidin, Langkawi 1, 1978. 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. Artist Conversation with Latiff Mohidin and Curator Khai Hori on the LANGKAWI Series (1976-1980), DISINI Festival 2018, From the Studio Series. Latiff menerima pendidikan awalnya di Sekolah Melayu Lenggeng hingga lulus darjah IV. Jalan Rotan, Kampung Attap, Publisher: Muzium & Galeri USM, 1979: Length: First was the ‘formative period’, followed by the ‘meditative period’ and ‘gestural period’. [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. Watercolour on paper Malaysia. 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. 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 -- Exhibitions. A half-dome connects to the top of a rectangular center-piece while another, an inverted dome, is joined at the bottom. 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 Malaysia. What people are saying - Write a review. [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 View Langkawi II by Latiff Mohidin on artnet. [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. Also Titled. Image courtesy of Chan + Hori Contemporary Saturday and Sunday: 10am to 5pm. 50480 Kuala Lumpur, http://www.jkkn.gov.my/en/national-culture-policy. 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. 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. These measures of cultural civilisations continue to live and could be found in the Malay palaces of today.[14]. [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. 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. Abdul Latiff Mohidin – Winter-Wind, Hofheim (Germany) Abdul Latiff Mohidin Winter-Wind, Hofheim (Germany), (1963) Watercolour on paper 18.5 x 14.3 cm. 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. 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. Dates. Men in the community have after all, been described as ‘pipit jantan tak bersarang’ or ‘male sparrows without nest’. 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 [13]. 50460 Kuala Lumpur, Latiff exhibited his Pago-Pago series at Centre Pompidou, Paris in early 2018. 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. Subjects. A brief introduction to LANGKAWI (1976-1980) by Latiff Mohidin. 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. They were constructed with a combination of plywood, wood strips and stretched canvasses. Latiff was born in Lenggeng, Negeri Sembilan, Malaysia and received his formal primary education at Kota Raja Malay School in Singapore. They were painted with oil paints, but not with the bold, recognizable brush strokes typically observed on Pago-Pago, Gelombang or Rimba. 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. 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. Physical Description [12] p. : ill. Latiff is also a highly accomplished literary translator. Meanwhile in the same cultural context, the square, or rectangle, is said to represent earth, materiality, and internal and external human worlds and creations. CURATED BY … The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. 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. 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. 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’. Nature dominate and transcend the corporeal into the spiritual with an absolute mystic. Now in the philosophy of Malay craft points to a capsule parts unite to a. 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