100cm x 100.3cm. Apr 8, 2016 - Abdul Latiff Mohidin. Pago Pago, 1969, Oil on canvas, 84 x 110.5 cm. These finance apps can help you manage your money better, How Latiff Mohidin’s ‘Pago Pago’ paintings bridge European and Southeast Asian modernism. ALL RIGHTS RESERVED. your own Pins on Pinterest The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. Access more artwork lots and estimated & realized auction prices on MutualArt. Prior to showing in Singapore, the exhibition previously travelled to the Centre Pompidou in Paris and ILHAM, It charts Mohidin’s personal and artistic journeys across the globe, from being discovered as an artist at age 12 in Singapore’s Kampong Glam; to training and developing ‘Pago Pago’ works in, Latiff Mohidin’s hand-drawn map of Kampong Glam. Mohidin's long artistic career is often conceptualized into successive and overlapping series of works - beginning with the Pago-Pago series in the mid-60s focusing on powerful expressionist renderings of the monumental stupas found in Southeast Asia. The crowd at the Pompidou Centre is not as huge as some of the exhibitions but the excitement is still there. The 70s saw Mohidin move on to the Mindscape series of abstract works, and subsequently the Gelombang series in the 80s, based on the energy and … But the metamorphic shimmering conceals a Goethean morphology: You attend to the visible surface … If the 1960s could be characterised as a decade when artists from previously lesser-regarded regions such as Latin America and Africa established a locus of participation in the major redraft of Modernism, then Pago Pago was arguably one of the foremost conceptions at the time, manoeuvring Southeast Asia into a similar position as a source of new ideas for modern art. 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It was seen as a compelling family of pictures in 1973, when the Balai Seni Lukis Negara (as it was then known) staged a retrospective exhibition of the artist in Kuala Lumpur, spanning about 20 years of his art. This painting depicts the stories in the Bible about the lack of fishes being caught and Peter, the first disciple, failing to walk on water because he failed to believe. What is skinimalism and why should you get on it? We honestly can't decide either, The best way of experiencing any new phone is by g, @louisvuitton has just named tennis champion @naom, Since we can't travel (yet), our mid-week break in. 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. The period’s leading writers and painters, such as Suri Mohyani, Abdul Ghani Hamid and Liu Kang, also avidly mentored him — paving the way for his interdisciplinary practice in the years to come. Emblematic of these formative times is his hand-drawn map of Kampong Glam, which is exclusive to the Singapore leg of the exhibition. 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. Pago Pago: Latiff Mohidin (1960-1969) opens on February 28 at its In-Focus Gallery. The thick, controlled brushstrokes in sprawling paintings like Provoke (1965) and the free verse of his poetry grew to recall everything from the temples of Angkor and Balinese dance to ginger roots and bamboo rhizomes. PROVOKE, 1965, Acrylic on board, 90 x 120 cm. But funnily enough, this was developed in Berlin in the 1960s; far away from his home in Southeast Asia. It was first presented by National Gallery Singapore in collaboration with the National Museum of Modern Art, Centre Pompidou in Paris from 27 February to 27 May 2018. Later travels across Southeast Asian countries like Thailand, Cambodia, Laos, and Indonesia inspired Latiff Mohidin to integrate regional phenomena and themes into his ‘Pago Pago’ works. Even at … Latiff Mohidin sought out a different enterprise: to open a new sphere in what he calls the “region-intellectual” could find form. Upon his return to Southeast Asia in 1964, Latiff Mohidin embarked on an extensive journey through Indochina and the Malay world, establishing affinities and conversations with avant-garde artists and intellectuals of the time. Latiff Mohidin lives and works in Penang Island, Malaysia. Nov 9, 2013 - This Pin was discovered by Shahril Kharib. It’s an in-depth, biographical approach that immerses viewers in Mohidin’s spirited life, astute worldview, and vivid visual and written works. 1938) Selumbar: Kulit Kayu (Splinters: Barks) signed and dated 'Latiff 97' (lower left); signed and dated again and titled 'Latiff Mohidin 1997, Splinters: Barks, Rimba Seris' (on the reverse) oil on canvas 111 x 122 cm. He was quickly celebrated as a prodigy, and that very year saw him have a solo painting exhibition that year at the Kota Raja Malay School. Yet, Berlin also initiated Latiff Mohidin into the burgeoning debates of the time within German art circles, especially how the pre-War German self could be recovered and the evolving concerns surrounding modern art’s use of the so-called primitive image. He was accorded a major Retrospective by Malaysia’s National Art Gallery, Kuala Lumpur, in 2012-2013. She has a soft spot for the visual and literary arts and can be found at the latest exhibition openings. The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. When he departed for Europe, various nationalist movements had begun to prevail across Southeast Asia. Breaking down disciplinary boundaries between the visual and literary, in 2012, Latiff Mohidin published his translation of Goethe’s Faust (Part 1), a figure who has fascinated him since his encounter with German literature in the early 1960s. Curves mimic the upswept eaves of a Minangkabau house. The show takes its name from the phrase ‘Pago Pago,’ which was coined by Mohidin himself to evoke the consciousness that emerged from his travels. (1965) and the free verse of his poetry grew to recall everything from the temples of Angkor and Balinese dance to ginger roots and bamboo rhizomes. Latiff also explored Pago-pago configurations in a landscape setting; In 'Pago-Pago Kelam', individual totems float atop a dark background, the ochre tones and formal composition creating a sombre environment. Painted in 1997 . A way of thinking and working that sought to challenge the dominance of Western modernism at the time, Pago Pago led Latiff Mohidin to explore a syncretic approach to form in his art, and enter dialogues with other avant-garde thinkers in Southeast Asia. Prices and auction sale details for pago pago, Painting by artist Abdul Latiff MOHIDIN For full functionality of this site it is necessary to enable JavaScript. but National Gallery Singapore’s newest exhibition ‘Latiff Mohidin: Pago Pago’ challenges that by spotlighting the Malaysian painter-poet, whose works synthesise his experiences living around the world. Termed “merantau”, this sensibility is defined as voluntarily leaving one’s home and the familiar. His passion for painting and drawing was evident from an early age and after his first exhibition at the Kota Raja Malay School in Singapore, he came to be identified as “the magical boy with the gift in his hands.” In 1960, Latiff Mohidin was awarded the Deutscher Akademischer Austauschdienst (DAAD) scholarship to study at the Hochschule für Bildende Künste in West Berlin, Germany. It charts Mohidin’s personal and artistic journeys across the globe, from being discovered as an artist at age 12 in Singapore’s Kampong Glam; to training and developing ‘Pago Pago’ works in Berlin; and solidifying a regional aesthetic while travelling in Southeast Asia. It charts the creative networks he engaged with while growing up in the area and offers deep insight into the vibrant cultural and literary activities that defined life there. olo painting exhibition that year at the Kota Raja Malay School. Provenance Anon. It includes an entirely new section with works he made during the 1950s in Singapore. SINGAPORE, Jan 17 — Acclaimed Malaysian artist Latiff Mohidin is the subject of renowned Parisian art space Centre Pompidou’s first exhibition on South-east Asian art. Latiff Mohidin ’s Pago Pago series was hailed as unique and exemplary the moment it appeared in public. But most notably, it was in the city’s ethnographic museums he encountered the Thai and Khmer objects that would form the foundation of his ‘Pago Pago’ works. The period’s leading writers and painters, such as Suri Mohyani, Abdul Ghani Hamid and Liu Kang, also avidly mentored him — paving the way for his interdisciplinary practice in the years to come. It’s one of many archival materials from the artist’s personal collection that are juxtaposed alongside his paintings. Oil on canvas. Here are the instructions how to enable JavaScript in your web browser . With each visual strand and poetic fragment, Latiff Mohidin offers a Pago Pago-esque life-world that measures time not in linear but cyclical flows. They have remained central to Malaysian art ever since. Latiff Mohidin (1941), born in Negeri Sembilan, Malaysia completed his primary education in Singapore. Stephanie writes about food and culture. May 1969 would mark a turning point in Malaysia as sectarian violence broke out in Kuala Lumpur, leading to major shifts in the social contract with significant effects on cultural production. Many of these thoughts are reflected in GARIS Latiff Mohidin dari titik ke titik (LINE Latiff Mohidin from point to point), a work of immense literary prowness that was first published in 1988. Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online. 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 journeyed through these shifting political configurations, as he travelled extensively in the region rom 1964 to 1969. The artist became increasingly enigmatic, activating a Minangkabau sensibility encountered during his rural upbringing in British Malaya. The formative experience led him to integrate horns and serrated edges into his works and provided him with the title ‘Pago Pago:’ he cut the German word for pagoda (‘pagoden’) in half and repeated it to recall the rhythms of Malay poetry. Horns and serrated edges are some of the most distinctive features of Mohidin’s Pago Pago paintings — evident in works like Pagoda II (1964) and Pago Pago II (1965). Kuala Lumpur-based Zain Azahari has lent six of his pieces from the Pago Pago series to the Pompidou show.The retired lawyer, one of Malaysia’s leading art collectors, has been friends with the artist for more than four decades and owns more than 35 of his works. Latiff Mohidin’s literary and painterly world is also heavily informed by the writings of Jorge Luis Borges, Chairil Anwar and Johann Wolfgang von Goethe amongst others. It charts the creative networks he engaged with while growing up in the area and offers deep insight into the vibrant cultural and literary activities that defined life there. “I was asked to write something magical,” … Latiff is not just Malaysia’s first artist at this venue; he’s the first from Southeast Asia. His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. And the fact that it is Latiff makes it all the sweeter. View PAGO-PAGO (1965) By Latiff Mohidin; Ink and watercolour on paper; 19cm x 27cm; Signed; . For Malaysians, it is easy to see why. 1938) Pago-Pago signed and dated 'Abdul Latiff 1969' (on the reverse) oil on canvas 84 x 110.5 cm. The map even playfully marks Mohidin’s personal landmarks and favourite, sensibilities of his Minangkabau upbringing and heritage — which encouraged the community to travel beyond their homeland and seek knowledge from around the world — Mohidin soaked up all Berlin had to offer: everything from Cubism and Surrealism to experimental, Later travels across Southeast Asian countries like Thailand, Cambodia, Laos, and Indonesia inspired. Strong contrasting colours and inverted pyramid heads feature in the other Pago-pago landscapes, all beautiful oil paintings in its own right. As one moves between canvas, paper and ink, each Pago Pago form emerges from the ground like a biomorphic object. Pago Pago Kelam, 1967, Acrylic on canvas, 95.5 x 152 cm. What makes good restaurant design and why is it so important? During my visit, which was on a free admission day, not many viewers stopped to examine the materials in the glass display, which themselves were rather small and the text hard to read. Share your experience at the exhibition using the hashtag #ilhamkl. How does one advance the mediums of painting, drawing and writing to suit local milieus? In this context, Latiff Mohidin’s 1961 encounter with a series of Thai and Khmer relics resembling pagoda forms at Dahlem’s Ethnological Museum of Berlin, from which the word “pagoden” and later “pago” emerged, needs emphasis. This exhibition was conceived by Catherine David and Shabbir Hussain Mustafa. Currently, she's on a quest to devour as much SingLit as possible. The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. Discover (and save!) In some cases, these manifestations blend into one another, highlighting how all forms carry an element of interdependence. 1941) is Malaysia’s leading modernist painter and poet. The poetry of the Pago Pago years is in free verse form and consciously breaks from the traditional structure of the Malay pantun and its quatrain “a-b-a-b” rhyme scheme. ICYMI, the @shondarhimes-directed @bridgertonnetfl, Could whisky aged in sakura wood be the next big t, Just In: London-based fashion designer @simoneroch, Jazzing into the weekend like @fendi and @juilliar, @samsung_sg's latest Galaxy S21 series caters to y, With an array of dining and shopping options, don', Subtle or sizable? Later travels across Southeast Asian countries like Thailand, Cambodia, Laos, and Indonesia inspired Latiff Mohidin to integrate regional phenomena and themes into his ‘Pago Pago’ works. In 1969, Latiff Mohidin was awarded the French Ministy of Culture Scholarship to study etching in Paris at the Atelier Lacourière-Frélaut, followed by the John D. Rockefeller III Grant for a residency at the Pratt Institute in New York. Latiff is also a highly accomplished literary translator. In literature, he won the pinnacle SEA … 6 timeless bags for men that will never go out of style. Abdul Latiff Mohidin or simply Latiff Mohidin (born 1941) is a Malaysian modernist painter, sculptor and poet. 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