‘Art expresses and reflects the spirit and personality of the peoples who make a nation. Malaya has many artists of whom she may be justly proud, but it is only in an art gallery that the public can see and enjoy their work, and unless the best works of our artists are purchased for a National Collection, they can rarely be exhibited.

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The foundations of Independence have been well laid, and it is the responsibility of the present generations of Malayans to build on them a nation which will gain some of its inspiration from a fine collection of works of art, worthily housed and accessible to all.’

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The above is an excerpt from the foreword of the National Art Gallery’s (NAG) inaugural exhibition catalogue in 1958. Showcasing works loaned from well-known patrons of the arts and leading artists of the day, the exhibition was launched by YTM Tunku Abdul Rahman Putra Al-Haj (1903-1990), the country’s first prime minister. The establishment of the NAG just one year after Merdeka was a momentous event. According to Redza Piyadasa (1939-2007), it ‘constitutes an important watershed in the story of modern Malaysian art as our artists’ works had finally been recognised and legitimised by the Malayan government’ (1). The government saw Art as an expression and reflection of the citizens ‘spirit and personality’ and that it would play an important role in inspiring the people of a newly independent country as they begin to chart a course towards the kind of country that they wished or deserved. That a sizeable amount of the taxpayers’ money is allocated every year for the purpose of purchasing ‘the best works of art’ by our artists underscores the significance of this national undertaking. Having relocated twice in the past, the NAG has now been operating from its own premises for close to two decades. The question is, after over half a century of existence, why is the country’s foremost national art institution yet to set the National Collection on permanent display, making it ‘accessible to all’?

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Other national art galleries and museums abroad and notably, Malaysia’s own National Museum, have long had a permanent display. As a premier depository of the country’s art collections, the NAG is in a unique and even obligatory position to make room for a permanent display of its National Collection in order to share more readily with the public the national treasures in its safekeeping.  As a corollary, this effort will insightfully inform the discourse on the history of the nation’s formative period and subsequent development and enrich the narrative on its people, history and heritage.

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I’d like to propose that research and related work on the National Collection be seriously undertaken in preparation for the setting up of a permanent display of the National Collection. 

 

Galleries 1A-3A for Permanent Display of the National Collection

The works to be put on permanent display from the National Collection in each of these galleries must be carefully selected and presented in chronological based in order to reflect historical developments, the local socio-cultural and political realities with its challenges and reactions. The seminal figures, the artists and art groups instrumental in playing a part in the development of visual arts of the country are to be highlighted and celebrated for contributing to the narrative on its people, history and heritage.

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Gallery 1A (1890-1956)

The layout and works chosen must reflect the timeline of development of Malaysian art beginning from the colonial era, specifically under the British. The existing arts and crafts, the introduction and various artistic practices brought by artists from different ethnic and cultural backgrounds, training and outlook all had contributed to a rich and diverse artistic tradition that operating under the British Administration.

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Areas of Research

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Timeline: Late 1890-1956

• Daily life under colonialism (Pre Merdeka and Pre-War)  

• Introduction of non-traditional artistic expressions during the colonial era. Indigenous arts and crafts, Pre-Islamic and Islamic arts and the introduction of western arts under the British administration.    

• Art activities and objectives of various groups operating during the colonial era- Arts Council, Penang Water Colour Impressionists, Nanyang Academy of Art, Penang Art Teachers League, Wednesday Art Group, Kesatuan Kesenian Melayu, Angkatan Pelukis SeMalaysia and others. 

• Growing sense of nationalism, local identity and non-traditional artistic expressions-causes and motivations

• The beginning of diversity and the search for a modern Malayan identity. 

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Gallery 2A (1957-1980)

This gallery highlights works by visual artists, art groups and other prominent figures in their search for a post-colonial identity as well as other related trajectories during and after Merdeka. The challenges, reactions and embracement of those efforts had further encouraged a more socio-political outlook and national consciousness expressed through the visual arts. The reactions to modern artistic practices and sensibilities and its subsequent embracement in modified forms underscore conscious efforts by local art practitioners from different groups, training and outlook to combining elements from both east and west as the ideal approach in their continuous search for a Malayan, and later Malaysian artistic identity.

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The May 13, 1969 riots and the introduction of the National Cultural Policy as guide to formulate a more Malaysian identity in the visual arts had further inspired artistic practitioners from various ethnic backgrounds to explore and apply traditional forms, motifs and ideas into their artistic outputs while the ‘Towards a Mystical Reality’ exhibition was mounted to re-questioned the western foundations of all local art making to proposing a more Asian and regional-centric approach that embraces and celebrates both the Asian philosophical and spiritual heritages.

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The rise of non-traditional forms of art making and growing number of art competitions with its specific entry guidelines or requirements for the judging and appraisal of works too had contributed to widen and diversify practices which continues to this day.

 

Areas of Research

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Timeline: 1957-1980

• Search for a post-colonial identity as by various figures and art groups

• The growing forms of non-traditional artistic expressions and concerns

• The formation of Malaysia and May 13, 1969 communal riots and the formation of policies such as the National Culture Policy: Its influence and impact on Malaysian art  

• Akar –Akar Seni Pribumi, Rupa dan Jiwa, Towards a Mystical Reality: the search for the local, regional and universal as principles for a Malaysian and Asian art.     

• Art Salon, Open Show, Young Contemporary Award and other competitions which had encouraged the growth of art making and diverse approaches with monetary rewards and national recognition

• The beginning of critical discourse in Malaysian art, culture and politics  

 

Gallery 3A (1980s – 2000s)

The 1980s saw tremendous changes and economic growth due to the government’s drive towards industrialization to replace the previous agriculturally based economy. With the country opening up to the world as well as many Malaysians returning from abroad after completing their tertiary education to work in the education sector, as art writers and art practitioners, the impact on the artistic practices, approaches and concerns have been unprecedented.

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Growing middle and upper middle classes with disposable income, increasing number of private galleries as well as art related events supported by the government and a climate of openness saw the flowering of much diverse art practices and approaches. The National Art Gallery was the centre where some of Malaysia’s cutting edge works and performance art were shown and celebrated. The easy access to information, the availability of secondary sources, artists graduating from abroad and the networks with other artists has made Malaysian art more contemporary and diverse.            

 

Areas of Research

 

Timeline: 1980s-2000

• Introduction of more experimental and unconventional approaches in terms of ideas, concerns and materials into local art practices.

• New media, performance art and others that reflects ‘post-modern’ tendencies. Blurring distinctions in art and culture. 

• Beginning of inquiry into international issues while addressing local politics, policies and cultural issues. Artists became more politically in tune and vocal through their works.  

• Indie and alternative visions (see Hasnul Saidon’s categorisation of tendencies and strategies by the art and artists of that era). Relooking the National Narrative and proposing alternative visions.  

 

Conclusion:  A Case for the National Collection on Permanent Display

This effort will insightfully inform the discourse on the history of the nation’s formative period and subsequent development and enrich the narrative on its people, history and heritage.

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First and foremost, the National Collection must be seen as markers and milestones in the various stages of our modern history as a united and independent nation. It shows the level of sophistication in thought and efforts at symbolic communication that are the hallmarks of any civilization.  It is how we see ourselves, the world around us and our projections for the future. As Malaysians, it is a matter of national pride that the country’s foremost art institution showcases the best of what our artists are capable of producing to reflect our status as a modern and independent nation.

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Secondly, by making the National Collection accessible to all, Malaysians will have the opportunity to learn about the various important figures and artistic approaches adopted by our many art practitioners in their search for a distinct Malayan and later Malaysian artistic identity, which is our way of looking at ourselves in relation the past, present and future. The National Collection is our expression of our modern and contemporary National Identity which will continue to evolve to reflect how we as peoples of this nation see ourselves dealing with the challenges of the coming future.

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Thirdly, with the setup of the National Collection on permanent display, it will also be a useful and objective guide to inform the purchases of old and new works to support, complement or challenge the National Narrative. Only works that meets the requirements are to be considered to avoid wastage of tax payers’ money on purposeless purchases that do not contribute to any part of the National Narrative. A small entrance fee imposed on visitors will also increase the gallery’s coffers in substantial ways.

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And finally, all researches, exhibitions, publications, supporting activities whether in house or outreach, guided walk through, promotional items and merchandise are to be undertaken with reference to the National Collection so that information about the artists, artworks and their contributions can be made accessible to all for purpose of education and inspiration.        

 

Proposed names and functions of the Galleries 1A-3A for Permanent Display of the National Collection  

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The names of giants and prominent figures in the history of Modern Malaysia. The content or works to be housed in each of the galleries must reflect the personality and contributions of the said figure to the development of: 

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• Modern arts, ideas and knowledge, 

• Socio-political history and policies

• Contemporary culture and expression    

 

The themes of the content of the exhibitions are housed accordingly to the names of the prominent figures, to reflect the timeline of the development modern Malaysian art history from pre-modern to pre-Merdeka, from Modern Merdeka to contemporary and beyond from the National Collection.

Galleries for the permanent display of the National Collection: Modern Art History of Malaysia.

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