Beverly Yong (B.Y): What role do you think Balai should play in the development of Visual Arts in the country?

 

Tan Sei Hon (TSH):  Balai should play the role of a mediator and facilitator of information  

 

Balai has been trying to do too many things without forethought for its long-term results. Balai need to go back to basics. Besides being custodian of the nation’s visual art treasures, they need to educate and inspire the masses

 

• by setting its collection on permanent display.

• Construct a cohesive narrative (national narrative vs national agenda) using the collection that can represent the artistic developments of the country chronologically.

 

With the above in place, research work can be undertaken internally or in collaboration with external parties to strengthen or expand the narrative to further uncover the artistic and historical developments of the past or chart/ engineer/ anticipate future directions*.

 

*Areas of interest to be research that has impacted the visual arts in this country- 

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• colonial policies-immigration, education and administration 

• National Cultural Policy-positive and negative reactions 

• Mahathirsm-economic, cultural and politics

• Coming Islamic imperialism vs Western Globalization

With all these clearly laid out- 

 

• any national competition organized by Balai can be designed to support or expand the narrative (with the view of having those works acquired as part of the national collection if warranted)

• any acquisition must be based on enhancing the national collection’s role in expanding (strengthening or expand) its grand narrative

• any activities must be designed with the aim of promoting, expanding and enhancing the narrative (this includes organizing biennales, art salons, national celebrations, in-reach and outreach programs, workshops, art talks etc)   

 

Since Balai is no longer just a national gallery, it has become the National Visual Arts Development Board with broad powers to set up branches in each state in the country- 

 

• It should replicate the national narrative in each of the states whether in collaboration with state galleries or under its own branch-

• Include the state’s own local art history and artists as part (in support or in opposition) to the ‘bigger’ narrative 

 

Balai should not be involved with commercial galleries or business-related entities.
 

B.Y: Is Balai doing enough to develop new work and support emerging Malaysian artists and if not, how do you think Balai can support young artists?

 

TSH: Balai has been a significant patron since its inception before all the commercial and corporate galleries emerged and had organized numerous exhibitions as well as competitions where some of the best and experimental works are shown. 

 

Balai has and continues to 

 

• given endorsements and recognition

• acquire works (in competition against other buyers) 

• Organized exhibitions

• Organized competitions

• Outreach programs

• Workshops, art talks,

• Publications   

• provide financial assistance (even before the Tabung Bantuan Seni) 

• and also, other logistical support to numerous artists since its inception

Balai can really help develop and support artists (young and old) by recognizing and acquiring works which supports or expands the national narrative. While commercial and corporate galleries can promote and market those who are more commercial or aesthetically driven. 

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B.Y: Is Balai doing enough to promote Malaysian art/artists internationally? What would you ideally like to see them doing?

 

TSH: Balai, since the 1960s have promoted or supported many Malaysian artists abroad. 

 

My opinion is that Balai cannot be the sole agency to undertake this task as they do not have the expertise or the sophistication to do so.

 

• It really does require the participation of other agencies as well for promotion to be effective. 

• If the country is not proud of its visual artists, and does not see any R.O.I for its spending of taxpayers’ money, why should they bother? 

• Therefore, the public must be educated and be inspired by our artists and their works- they must be exposed to the national collection, via the permanent displays at Balai to realise its importance as part of our nationhood, and a modern national identity that reflects the hopes, dreams and aspirations of an independent country trying to make sense of itself (history, culture, politics etc.) and its place in the world.   

 

B.Y: How successful do you think Balai has been in encouraging the Malaysian public's interest in Malaysian visual arts through its exhibition programme and collection? How accessible is Balai's programmes and collection?

 

TSH: Inculcating interest in Malaysian visual arts requires the concerted effort of many agencies inside and outside of the government. Balai alone cannot be tasked with this duty. 

• The mass media must highlight the visual arts, its importance and its role / relevance to the nation. 

• Textbook now do include the history of Malaysian visual arts as well as some key players and artists but without a reference to the national collection, which is on display permanently at the national art gallery, it will not stick in the consciousness of the masses. 

• When one wants to see the early historical developments of the country from its prehistoric to contemporary times, they can visit the national museum. But when we want to see the early developments of our visual arts, where can we go?​

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