LEE Kian Seng 李健省 Asia Contemporary Art

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 李健省 LEE Kian Seng（1976年图片）

 

 

Note: under construction

 

不向风沙献媚骨

贫贱不能移，威武不能屈


Websites: www.leekianseng.com |    http://lee-kian-seng.blogspot.com/

https://www.leekianseng.com/lee_Bio.html   
https://www.leekianseng.com/lee_BioNote.htm 
https://www.leekianseng.com/lee_LetterUndertaking.pdf

 https://www.leekianseng.com/lee_Klang_1.pdf
https://www.leekianseng.com/lee_Klang_2.pdf
https://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf
http://www.leekianseng.com/lee_KlccPleading20080716.pdf

 

 


《 MANKIND》(人类 )（1972）by Lee Kian Seng 李健省   (2_Mankind)

Permanent collection of the National Art Gallery Malaysia (马来西亚国家艺术馆的永久馆藏)

 

·      1970s


马来西亚 20 世纪 70 年代的先锋艺术运动（Avant-Garde Movement）是在政治动荡、身份认同危机及对西方现代主义反思的交织背景下诞生的。这一时期被视为马来西亚当代艺术转向的“分水岭” 。 

 1969 年 5 月 13 日的种族骚乱造成了马来西亚社会紧张和分裂的背景，促使李健省(Lee Kian Seng)这样的艺术家通过艺术来回应这些复杂性。1971 年的全国文化大会 (NCC) 进一步影响了他的创作方式，因为它试图在文化多样性中定义国家身份。

 智性上的抵抗：
 对许多人来说，该政策激发了反思。艺术家不再纠结于画“华人的” 或“马来的”事物，而是质疑身份定义本身。李健省(Lee Kian Seng) 的作品《人类》 (Mankind (,972)) 就是普世人本主义的典范。

 李健省的创作深受以下因素影响：

李健省的回应方式是： 以东方哲学重构当代艺术语言
 https://www.artgallery.gov.my/wp-content/uploads/2021/08/Errata-Masterpieces-c1.pdf

 

·       Historical Background（历史背景）

 

20世纪70年代的马来西亚艺术界正处于现代主义向当代艺术转型的关键阶段。在这一背景下，李健省( Lee Kian Seng)通过跨媒介与空间实践，开创了装置艺术的早期形式，其代表作《人类》(MANKIND)（1972）被视为重要里程碑。


The 1970s marked a transitional period in Malaysian art from modernism to contemporary practices. Within this context, Lee Kian Seng pioneered early forms of installation art through interdisciplinary and spatial experimentation. His work Mankind (1972) is widely regarded as a milestone.

 该作品由马来西亚著名艺术家 李健省 (Lee Kian Seng) 创作，是其代表性的装置艺术作品之一。 以下是该作品与其陈列地点的历史概况：

·       作品背景：

o   创作成于：1972年。

o   艺术表现：该作品是一件混合媒介装置，包含两座抽象的、形似椅子的金属结构，分别象征 “男” 与 “女” 。它们被铁链锁在一起，矗立在牛草泥地上，象征着人类在地球上的存在与相互联系。

 ·       陈列历程与馆址迁移：

o   1973–1984年：该作品陈列于安邦路（Jalan Ampang）的国家美术馆入口处。当时的馆址位于 Dewan Tunku Abdul Rahman（即现在的马来西亚旅游咨询中心 MaTiC）。

o   1984–1998年：随着美术馆搬迁，该作品继续陈列于苏丹希沙姆丁路（Jalan Sultan Hishamuddin）的新馆入口处。该建筑原为 Majestic Hotel（大华酒店）。

o   1998年至今：国家美术馆再次迁至位于 Jalan Temerloh 的现址（靠近蒂蒂旺沙湖园），并更名为国家视觉艺术馆。 

 

李健省（Lee Kian Seng）创作的装置艺术作品 《人类》(Mankind, 1972)，是马来西亚当代艺术史上极具先锋意义的里程碑。以下是该作品的详细艺术解析：

 ·       视觉构成与符号学：

o   阴阳与性别：作品由两个抽象的、类似椅子的金属结构并置而成，分别象征“男性”和“女性”。其设计灵感源于汉字的原始象形意涵：“女”字表现为鞠躬俯首的姿态，而“男”字（由“田”和“力”组成）象征在田间施力。

o   连接与束缚：这两个金属结构被铁链锁在一起，象征着人类性别之间的共生关系、社会契约以及不可分割的命运纽带。

 ·           材料与空间哲学：

o   混合媒介：作品使用了金属结构与自然媒介的结合。两座雕塑矗立在一片牛草（Cow Grass）泥地上，强调了人类与地球（大自然）的紧密联系。

o   剪纸工艺的转化：在技术层面，李健省深受中国传统剪纸艺术的启发。他采用 “操纵” 而非 “增减” 的手法，直接对平面的钢板进行切割和弯折，以展现三维的空间感，整个过程不涉及焊接，实现了形式与空间的纯粹交互。

 ·           历史与美学地位：

o   装置艺术先驱：该作品创作于 1972 年，远早于 “装置艺术” 这一名词在 1980 年代的普及。它不仅是马来西亚最早的装置作品之一，也挑战了当时对绘画或雕塑的传统界定。

o   艺术宣言：李健省通过该作品表达了对全球人类共同命运的关怀，超越了种族和国界，是其 “关怀世界，拥抱地球” 艺术哲学的体现。 

 目前，《人类》 被列为马来西亚国家艺术馆 (National Art Gallery) 的永久馆藏。 Lembaga Pembangunan Seni Visual Negara

 李健省的“立体空间探索”并非单纯的形式实验，而是一种对“存在之维度”的哲学提问。
他借由材料、构造与光影的关系，探讨“形”与“意”的转化过程——从可见走向不可见，从物理空间延伸至精神空间。

 这一创作思想在1970年代的马来西亚极具突破性。彼时社会仍在寻求国家认同与文化定位，而李健省却从更深层的角度出发：他关心“人在时代变迁中如何保持精神的自由”。这种对“意识空间” 的关注，使他的艺术在政治与文化重塑的年代中独树一帜。

 在技术层面上，他早期受科学期刊《Scientific American》的启发，深入研究视觉心理与知觉原理，将科学逻辑引入艺术创作；

在精神层面上，他重新体悟中国古典思想中的“气”“虚实”“阴阳”概念，将之转化为关于“空间”与“时间”的动态哲学。

 由此，他的艺术语言呈现出一种独特的双重性——既具有东方哲学的内敛，又拥有现代结构思维的张力。

 

从1990年代至2000年代，马来西亚国家艺术馆的官方出版物（客座策展人所撰写），开始出现一些不正确的历史记录。其中包括李健省(Lee Kian Seng) 的标志性作品1977年的《形像、物体、假象》（ Of ‘Image, Object, Illusion’ - Off Series Mechanism ）和1972年的《人类》（MANKIND）均被严重篡改。    

 

 《Masterpieces from the National Art Gallery of Malaysia》(自马来西亚国家画廊的杰作 ),作者 Redza Piyadasa 在 2002 年出版的上述书籍第 186~187 页的文章中歪曲和篡改了许多事实,涵盖《Mankind》(人类) 的作品构成,语境和创造年(被 Redza Piyadasa 篡改去1992 年)。

这是一个在马来西亚艺术史上极具争议的话题。李健省（Lee Kian Seng）与 Redza Piyadasa 之间的这场“叙事之争”，揭示了艺术史编纂过程中的权力、误读以及对于“先锋地位”的争夺。

 为何会发生事实篡改或误读？
以下是导致这种现象的几个深层原因：

1. 艺术史霸权的争夺 (Contest for Art Historical Hegemony)

Redza Piyadasa 不仅是画家，更是当时马来西亚最有影响力的艺术评论家和史学家。他在书中将《Mankind》的创作年份从 1972年 篡改为 1992年，在客观效果上抹杀了李健省作为 “70年代早期装置艺术先驱” 的历史地位。这种做法旨在将马来西亚装置艺术的起源归功于 Piyadasa 所在的群体。

2. 对“跨学科” 属性的排斥 (Rejection of Interdisciplinary Attributes)

Piyadasa 在书中不仅改了年份，还对作品构成进行了误导性的描述。李健省的《Mankind》融合了中国象形文字、实物（草坪）和哲学，而 Piyadasa 的叙事倾向于将其简化。这种 “选择性忽略” 往往是为了让作品符合评论者自己设定的艺术理论框架。

3. 史料核实与制度性的疏忽 (Institutional Negligence in Fact-Checking)

作为国家美术馆出版的官方书籍，这种错误之所以能通过审核，反映了当时学术监督的缺失。由于 Piyadasa 的权威地位，许多编辑可能没有查阅早期的展览记录（如 1972 年的原始资料）来核实作品的真实创作背景。

这种现象在艺术史上被称为 “叙事篡夺” (narrative usurpation.)。Piyadasa 的误录不仅仅是一个印刷错误，它更是一场关于“谁拥有定义马来西亚当代艺术起点权力”的博弈。

 

李健省的维权与澄清

 李健省随后通过自己的官方渠道和文献资料进行了坚决的澄清。他指出《Mankind》早于1973年就在国家美术馆展出，并附上了当时的媒体报道作为铁证。这证明了他是实至名归的先驱，而 Piyadasa 的记录在学术上是存在严重瑕疵的。


结束语 Conclusion:

这场争议凸显了李健省作为一位实践先驱的重要性，他的作品在理论家撰写历史之前就已经存在。

[ 这场争议凸显了李健省作为实践先驱的至关重要性；早在理论家们开始正式撰写艺术史之前，他的开创性作品就已经以切实可感的方式存在。通过修正历史记录，我们确保他所构建的现代主义与当代艺术之间的 “关键桥梁” 能够得到应有的认可，展现其真正的历史性和思想深度。]

 [注：作品 《人类》（Mankind, 1972）于 1973–1984 年期间，设于吉隆坡 Jalan Ampang 国家美术馆入口处长期陈列；并于 1984–1998 年期间，继续设于吉隆坡 Jalan Sultan Hishammuddin 国家艺术馆入口处长期陈列。
"Mankind" was prominently display at the entrance of the National Art Gallery on Jalan Ampang from 1973 to 1984, and at the entrance of the National Art Gallery on Jalan Sultan Hishamuddin in Kuala Lumpur from 1984 to 1998.]

 Narrative usurpation   （叙事篡夺）

The controversy regarding Redza Piyadasa’s documentation of Mankind in the 2002 book Masterpieces from the National Art Gallery of Malaysia is a significant case study in the power of art historiography and the struggle over "pioneer" status in Southeast Asian art.

 Why Did the Distortion and Fabrications Occur? 
1. Contest for Art Historical Hegemony

Redza Piyadasa was not just a painter but the most influential art critic and historian in Malaysia at the time. By altering the creation date of Mankind from 1972 to 1992, the text effectively stripped Lee Kian Seng （李健省） of his historical status as an early 1970s pioneer of installation art. This move functioned to consolidate the origin story of Malaysian installation art around Piyadasa’s own circle (such as the "New Scene" group).

2. Rejection of Interdisciplinary Attributes

 Piyadasa’s text reportedly provided a misleading description of the work's composition. While Lee’s Mankind integrated Chinese pictographs, ready-mades (grass), and deep philosophy, Piyadasa’s narrative tended to simplify it. This "selective omission" is often used by critics to force a work to fit into their own predetermined theoretical frameworks.

3. Institutional Negligence in Fact-Checking

As an official publication by the National Art Gallery, the fact that such errors passed through editorial review reflects a lack of rigorous academic oversight at the time. Due to Piyadasa’s authoritative status, many editors likely failed to consult primary exhibition records from 1972 to verify the work's true context.


Lee Kian Seng’s Clarification

Lee Kian Seng subsequently issued firm clarifications through his official channels and archived documentation. He pointed out that Mankind was exhibited at the National Art Gallery as early as 1973, providing contemporary media reports as concrete evidence. This re-established him as the rightful pioneer, rendering Piyadasa’s account academically flawed.

 

Summary:

This phenomenon is known in art history as "narrative usurpation." Piyadasa’s "mistake" was not merely a typo; it was a strategic move in the game of who holds the power to define the starting point of Malaysian contemporary art.
This controversy highlights the vital importance of Lee Kian Seng as a practical pioneer; his groundbreaking works existed as tangible realities long before theorists began the formal process of writing art history. By correcting the historical record, we ensure that the "Crucial Bridge" he built between modernism and contemporary art is recognized for its true chronological and intellectual depth.

 

From 2000, Lee Kian Seng dedicated 20 years to seeking to restore the historical truth regarding his works《Mankind》 (1972) ,《 “Of ‘Image, Object, Illusion’- Off Series Mechanism” 》 (1977) and the essay by a Malaysian art history observer Dato P.G.Lim, which  has been heavily tampered with. With the last nine years supported by legal assistance from lawyers Wendy Lam Mei Kuan and Tan Zhao Ying of Messrs. V Chong W Lam. Ref: VW 21(140). This lengthy process highlighted the difficulties he faced in ensuring that his contributions were accurately represented and recognized. 
 

National Art Gallery of Malaysia finally published a revised version  ( CTP hard copy ) on August 30, 2021 and corrected some errors in  four books published between 1994 and 2008， which can be obtained from the National Art Gallery reception counter upon request.

 

This document delves into the historical context surrounding Lee Kian Seng’s installations, particularly during the 1970s, a time marked by significant socio-political changes. It highlights his recognition by the National Gallery of Malaysia and addresses the challenges faced in preserving the integrity of art history.


Example Questions：   

1.     What were the key influences on Lee Kian Seng's work during the 1970s?

The key influences on Lee Kian Seng's work during the 1970s included the socio-political climate of Malaysia, particularly the aftermath of the May 13, 1969 racial riots and the National Cultural Congress (NCC) of 1971. These events prompted him to draw on Eastern cultural thinking, specifically the concept of Yin-Yang thinking, which allowed him to explore various forms of thought and expression. His three-dimensional, immersive installations emerged as a response to these complexities, representing a new frontier of thought that transcended the prevailing narratives of the time and engaged deeply with the intricacies of Malaysian society and culture.

(易经，太极，三分法思维（https://www.bilibili.com/video/BV1TU4y1S7dT/?spm_id_from=333.337.search-card.all.click） 



 2. How did the socio-political climate of Malaysia impact Lee Kian Seng's artistic expression?

The socio-political climate of Malaysia significantly impacted Lee Kian Seng's artistic expression by shaping the themes and motivations behind his work. The aftermath of the May 13, 1969 racial riots created a context of tension and division within Malaysian society, prompting artists like Lee to respond to these complexities through their art. The National Cultural Congress (NCC) of 1971 further influenced his approach, as it sought to define a national identity amidst cultural diversity. 

In this environment, Lee Kian Seng drew on Eastern cultural thinking, particularly the concept of （易经太极，三分法思维） Yin-Yang thinking ，to explore and express the multifaceted nature of Malaysian society. His three-dimensional, immersive installations were a direct response to the socio-political challenges of the time, allowing him to engage with and reflect on the complexities of identity, culture, and history in Malaysia. This engagement positioned his work as a rising frontier of thought that transcended the mainstream narratives of the era.

 3. What controversies arose regarding Lee Kian Seng's major works in the 1990s and early 2000s?       

In the 1990s and early 2000s, several controversies arose regarding Lee Kian Seng's major works, primarily related to the manipulation and misrepresentation of art history. Specifically, incidents occurred where guest curators（artist/history observer）allegedly abused public platforms to alter historical facts concerning Lee's significant works. This included attempts to undermine the recognition and context of his contributions to Malaysian art.

  [ Between 2000 and 2003, there were further issues when documents related to Lee Kian Seng's works, such as "MANKIND" (1972) and "Of 'Image, Object, Illusion' - Off Series Mechanism" (1977), were tampered with in the book “Masterpieces from the National Art Gallery of Malaysia “authored by Redza Piyadasa and 45@45 special issue published by the National Art Gallery of Malaysia respectively. This tampering raised concerns about the integrity of art historical narratives and the acknowledgment of Lee's contributions.]  

Additionally, in 2008, a regional scholar noted that Lee Kian Seng 's work had been overlooked in mainstream narratives of Malaysian art history, highlighting the ongoing struggle for recognition and the need to restore historical truth regarding his contributions.


（译文）本文深入探讨了李健省(Lee Kian Seng)装置艺术的历史背景，尤其是 1970 年代，当时社会政治发生了重大变化。它强调了马来西亚国家艺术馆对他的认可，并探讨了在保护艺术史完整性方面所面临的挑战。

示例问题: 

1. 20 世纪 70 年代李健省作品的主要影响因素是什么？

20 世纪 70 年代李健省作品的主要影响因素包括马来西亚的社会政治氛围，特别是 1969 年 5 月 13 日种族骚乱和 1971 年全国文化大会 (NCC) 的后果。这些事件促使他借鉴东方文化思想，特别是（易经）太极阴阳思维（三分法）的概念，这使他能够探索各种形式的思想和表达。他的三维沉浸式装置艺术正是对这些复杂性的回应，代表了一种超越当时主流叙事的新思想前沿，深入洞察马来西亚社会和文化的复杂奥秘。

 https://www.bilibili.com/video/BV1TU4y1S7dT/?spm_id_from=333.337.search-card.all.click


2. 马来西亚的社会政治环境如何影响李健省的艺术表达？

马来西亚的社会政治氛围极大地影响了李健省的艺术表达，塑造了其作品的主题和动机。1969 年 5 月 13 日的种族骚乱造成了马来西亚社会紧张和分裂的背景，促使李健省这样的艺术家通过艺术来回应这些复杂性。1971 年的全国文化大会 (NCC) 进一步影响了他的创作方式，因为它试图在文化多样性中定义国家身份。

在这种环境下，李健省借鉴了东方文化思维，特别是（易经）太极阴阳思维（三分法）的概念，来探索和表达马来西亚社会的多面性。他的三维沉浸式装置是对当时社会政治挑战的直接回应，使他能够参与并反思马来西亚身份、文化和历史的复杂性。这种参与将他的作品定位为超越时代主流叙事的思想前沿。

3. 20 世纪 90 年代和 21 世纪初，李健省的主要作品引发了哪些争议？                    

20 世纪 90 年代和 21 世纪初，李健省的主要作品引发了多起争议，主要涉及对艺术史的操纵和歪曲。具体而言，有客座策展人（艺术家兼历史观察员）涉嫌滥用公共平台篡改李健省重要作品的历史事实。
这种篡改行为引发了人们对艺术历史叙述的完整性和对李氏贡献的认可的担忧。

 2000年至2003年期间，又发生有关李健省作品的资料被篡改的问题，例如《人类（1972年）》和《 “Of Image, Object, Illusion ' - Off Series Mechanism” 》（ “形像、物体、假象” ，1977），分别收录在Redza Piyadasa所著的《马来西亚国家美术馆的杰作》一书中以及马来西亚国家美术馆出版的《45@45（2003）》特刊中。

2008 年，有区域东南亚研究学者指出，李健省的作品在马来西亚艺术史的主流叙事中被忽视，这凸显了人们为获得认可而进行的持续斗争以及恢复其贡献的历史真相的必要性。

 

Note: AI responses may include mistakes, please notify Lee Kian Seng （ lee_kian_seng@hotmail.com）if you notice any discrepancies. AI 回应可能包含错误，如果你发现任何错误/差异，请即刻通知李健省@ lee_kian_seng@hotmail.com

 

 

 叙事篡夺 (narrative usurpation.)

《Masterpieces from the National Art Gallery of Malaysia》(自马来西亚国家画廊的杰作 ),作者 Redza Piyadasa 在 2002 年出版的上述书籍第 186~187 页的文章中歪曲和篡改了许多事实,涵盖《Mankind》(人类) 的作品构成,语境和创造年(被 Redza Piyadasa 篡改去1992 年)。

这是一个在马来西亚艺术史上极具争议的话题。李健省（Lee Kian Seng）与 Redza Piyadasa 之间的这场“叙事之争”，揭示了艺术史编纂过程中的权力、误读以及对于“先锋地位”的争夺。

 为何会发生事实篡改或误读？
以下是导致这种现象的几个深层原因：

1. 艺术史霸权的争夺 (Contest for Art Historical Hegemony)

Redza Piyadasa 不仅是画家，更是当时马来西亚最有影响力的艺术评论家和艺术史观察家。他在书中将《Mankind》的创作年份从 1972年 篡改为 1992年，在客观效果上抹杀了李健省作为 “70年代早期装置艺术先驱” 的历史地位。这种做法旨在将马来西亚装置艺术的起源归功于 Piyadasa 所在的群体。

2. 对“跨学科” 属性的排斥 (Rejection of Interdisciplinary Attributes)

Piyadasa 在书中不仅改了年份，还对作品构成进行了误导性的描述。李健省的《Mankind》融合了中国象形文字、实物（草坪）和哲学，而 Piyadasa 的叙事倾向于将其简化。这种 “选择性忽略” 往往是为了让作品符合评论者自己设定的艺术理论框架。

3. 史料核实与制度性的疏忽 (Institutional Negligence in Fact-Checking)

作为国家美术馆出版的官方书籍，这种错误之所以能通过审核，反映了当时学术监督的缺失。由于 Piyadasa 的权威地位，许多编辑可能没有查阅早期的展览记录（如 1972 年的原始资料）来核实作品的真实创作背景。

这种现象在艺术史上被称为 “叙事篡夺” (narrative usurpation.)。Piyadasa 的误录不仅仅是一个印刷错误，它更是一场关于“谁拥有定义马来西亚当代艺术起点权力”的博弈。

李健省的维权与澄清
 李健省随后通过自己的官方渠道和文献资料进行了坚决的澄清。他指出《Mankind》早于1973年就在国家美术馆展出，并附上了当时的媒体报道作为铁证。这证明了他是实至名归的先驱，而 Piyadasa 的记录在学术上是存在严重瑕疵的。

 结束语 Conclusion:

这场争议凸显了李健省作为一位实践先驱的重要性，其作品在理论家撰写历史之前就已经存在。
[ 这场争议凸显了李健省作为实践先驱的至关重要性；早在理论家们开始正式撰写艺术史之前，他的开创性作品就已经以切实可感的方式存在。通过修正历史记录，我们确保他所构建的现代主义与当代艺术之间的 “关键桥梁” 能够得到应有的认可，展现其真正的历史性和思想深度。]

🔗 https://www.artgallery.gov.my/wp-content/uploads/2021/08/Errata-Masterpieces-c1.pdf
🔗https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
🔗https://drive.google.com/drive/folders/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD
🔗http://www.leekianseng.com/lee_LetterUndertaking.pdf

  

在探讨李健省（Lee Kian Seng）作为“关键桥梁”的地位时，将其与同时代的Redza Piyadasa 进行比较，能够清晰地揭示出东南亚艺术从现代主义迈向当代主义的两条不同路径。

 总结比较 (Summary Table) 

特质 Feature

李健省 Lee Kian Seng

Redza Piyadasa

核心身份 Core Identity

实践型艺术家 / 媒介先锋 (Practitioner / Media Pioneer)

理论型艺术家 / 观念者 (Theorist / Conceptualist)

跨越手段 Transition Tool

材料实验与空间装置 (Material & Spatial Installation)

文本批判与档案重构 (Textual Critique & Archival Reconstruction)

桥梁意义 Bridge Significance

连接了传统工艺与当代多媒体 (Bridges traditional crafts and contemporary multimedia)

连接了形式主义与后现代主义 (Bridges formalism and postmodernism)

 

 对后世的影响：媒介自由 vs. 理论框架
 Influence: Medium Freedom vs. Theoretical Framework

  • Piyadasa 为后辈提供了批判性思维的理论框架，让艺术家学会思考 “什么是艺术” 。Piyadasa provided a theoretical framework for critical thinking, teaching younger artists to question "what is art."
  • 李健省 则为后辈提供了媒介的绝对自由。他早在 1970 年代的实验，为后来 90 年代的马华艺术家（如黄海昌 Wong Hoy Cheong）探索多元媒介提供了先例，证明了 “桥梁” 可以是物质性的、空间性的。
    Lee Kian Seng     provided the absolute freedom of medium. His experiments in the 1970s set a precedent for artists in the 90s (like Wong Hoy Cheong) to explore mixed media, proving that a "bridge" can be both material and spatial.

 

 

·      Narrative usurpation   （叙事篡夺）

The controversy regarding Redza Piyadasa’s documentation of Mankind in the 2002 book Masterpieces from the National Art Gallery of Malaysia is a significant case study in the power of art historiography and the struggle over "pioneer" status in Southeast Asian art.

  
Why Did the Distortion and Fabrications Occur? 

1. Contest for Art Historical Hegemony

Redza Piyadasa was not just a painter but an influential art critic and art history observer in Malaysia at the time. By altering the creation date of Mankind from 1972 to 1992, the text effectively stripped Lee Kian Seng （李健省） of his historical status as an early 1970s pioneer of installation art. This move functioned to consolidate the origin story of Malaysian installation art around Piyadasa’s own circle (such as the "New Scene" group).

2. Rejection of Interdisciplinary Attributes

 Piyadasa’s text reportedly provided a misleading description of the work's composition. While Lee’s Mankind integrated Chinese pictographs, ready-mades (grass), and deep philosophy, Piyadasa’s narrative tended to simplify it. This "selective omission" is often used by critics to force a work to fit into their own predetermined theoretical frameworks.

 3. Institutional Negligence in Fact-Checking

As an official publication by the National Art Gallery, the fact that such errors passed through editorial review reflects a lack of rigorous academic oversight at the time. Due to Piyadasa’s authoritative status, many editors likely failed to consult primary exhibition records from 1972 to verify the work's true context.

Lee Kian Seng’s Clarification

Lee Kian Seng subsequently issued firm clarifications through his official channels and archived documentation. He pointed out that Mankind was exhibited at the National Art Gallery as early as 1973, providing contemporary media reports as concrete evidence. This re-established him as the rightful pioneer, rendering Piyadasa’s account academically flawed.

 Summary:

This phenomenon is known in art history as "narrative usurpation." Piyadasa’s "mistake" was not merely a typo; it was a strategic move in the game of who holds the power to define the starting point of Malaysian contemporary art.

This controversy highlights the vital importance of Lee Kian Seng as a practical pioneer; his groundbreaking works existed as tangible realities long before theorists began the formal process of writing art history. By correcting the historical record, we ensure that the "Crucial Bridge" he built between modernism and contemporary art is recognized for its true chronological and intellectual depth. 

🔗 https://www.artgallery.gov.my/wp-content/uploads/2021/08/Errata-Masterpieces-c1.pdf
🔗https://www.artgallery.gov.my/en/notis-pemakluman-errata-karya-karya-instalasi-lee-kian-seng/
🔗https://drive.google.com/drive/folders/1-aWuiZdYp5fXlHyUYuS2bl1Tcw__AKtD
🔗http://www.leekianseng.com/lee_LetterUndertaking.pdf


***** 

·      TIMELINE OF CONTROVERSY

 KEY FIGURES

·      Narrative Usurpation

🔹 (Academic)

“Narrative usurpation” refers to the process in which historical narratives are altered through misdating, misattribution, and reinterpretation, thereby reshaping the attribution of artistic “pioneer” status.

In this case, the alteration of Mankind (1972) directly impacted the historical positioning of installation art in Malaysia.

Note： Since 2010, the unauthorized website goodenei.com, spearheaded by a Goh Ah Ang （吴亚鸿）, began publicly spreading the false information from the 2002 book. The incorrect pictures, commentary, and biographical data slandered Lee Kian Seng’s international public image.

 
（1） 关键争议时间线（TIMELINE OF CONTROVERSY）

（2）关键人物（KEY FIGURES）

 （3） 核心概念：叙事篡夺（Narrative Usurpation）
“叙事篡夺” 指在艺术史书写过程中，通过错误归属、时间篡改与语境重构，重新定义作品的历史地位，从而影响 “谁被认定为先驱” 的权力结构。

在本案例中，《Mankind》（1972）的创作年份与结构被改变，直接影响其在马来西亚装置艺术史中的起源定位。

注：2010：虚假传播 —— 自2010年起，由 吴亚鸿 (Goh Ah Ang) 牵头的未经授权网站 goodenei.com 开始公开传播上述书中的虚假信息 。该网站刊登的不正确图片、解说及个人资料污蔑了李健省的国际形象 。

 Note: AI responses may include mistakes, please notify Lee Kian Seng （ lee_kian_seng@hotmail.com）if you notice any discrepancies. AI 回应可能包含错误，如果你发现任何错误/差异，请即刻通知李健省@ lee_kian_seng@hotmail.com 

 

 ·       Lee Kian Seng李健省｜Biography & Historical Position

 李健省｜艺术家简介与历史地位     Websites：http://www.leekianseng.com/

 Lee Kian Seng (b. 1948, China) is a Malaysian contemporary artist recognized as a pioneering figure in the development of conceptual and installation art in Malaysia during the early 1970s. Over a career spanning nearly six decades, his practice has established a critical bridge between modernist formal exploration and contemporary conceptual art.

 Primarily self-trained, Lee developed a structured “self-designed curriculum” that replaced conventional academic training. At the age of eighteen, he held his first solo exhibition in 1966 (organized by the Arts Council of Malaysia), marking his early emergence into both national and international art scenes.

 During the 1960s and 1970s, Lee participated in major international platforms including the India Triennale, the São Paulo Biennale, and Expo ’70 in Osaka, where he served as Display Artist for the Malaysian Pavilion. He subsequently undertook interdisciplinary research in Japan, studying ukiyo-e, Yuzen dyeing, and printmaking (1969-1972,1974,1976). He was awarded the Japan Foundation Professional Fellowship in 1976.

 In 1972, Lee produced Mankind , a work widely regarded as one of the earliest mixed-media installations works in Southeast Asia. Integrating metal structures, living grass, and symbolic elements, the work explores Yin–Yang philosophy and the conditions of human existence, challenging the conventional boundaries of painting and sculpture.

 In 1977, he presented Of 'Image, Object, Illusion' – Off Series Mechanism, associated with the exhibition Open Art and Graphics Competition 1977 held at the National Art Gallery Malaysia. This work further developed his investigation into perception, conceptual structures, and the relationship between image, object, and illusion.

 Between the 1990s and 2000s, key works by Lee were misrepresented in several official publications, involving inaccuracies in dating, structure, and interpretation. This phenomenon has been conceptualized as “narrative usurpation,” ¹ reflecting broader issues of historiographical authority and institutional mediation. Following more than two decades of sustained advocacy and legal engagement, these inaccuracies were formally corrected by the National Art Gallery of Malaysia in 2021.

 Today, Lee Kian Seng is increasingly recognized for his role in shaping the discourse of contemporary art in Malaysia and Southeast Asia. His significance lies in his position as a critical bridge between modernist formalism and contemporary conceptual practice. Through interdisciplinary methods, spatial thinking, and philosophical inquiry, he redefined artistic expression and contributed to the development of installation art in the region.

 His achievements were incorporated into the Malaysian national secondary school art curriculum in 2019, affirming his position within the country’s cultural and art historical framework.

  Footnote 1 注脚（Timeline / 事实核心）
Discrepancies concerning the dating, structure, and interpretation of Lee Kian Seng’s work—particularly Mankind (1972)—appeared in multiple publications by the National Art Gallery of Malaysia between 1994 and 2003. 

In the Rupa Malaysia exhibition (2000), the structure of Mankind was altered under the curatorship of Redza Piyadasa. Lee formally submitted a complaint on 6 November 2000. Further inaccuracies appeared in Masterpieces from the National Art Gallery of Malaysia (2002), also authored by Piyadasa. 

Following approximately twenty years of sustained advocacy and legal efforts (2000–2021), these discrepancies were officially corrected in a revised publication issued by the National Art Gallery of Malaysia on 30 August 2021. 

Footnote 2（概念定义）
The term “narrative usurpation” is used here to describe the process by which historical narratives are reshaped through misdating, misattribution, and reinterpretation, thereby altering the attribution of artistic precedence and authorship. 

Footnote 3（艺术方法论）
Lee’s artistic methodology is characterized by interdisciplinary integration, spatial thinking, and philosophical grounding. His practice dissolves the boundaries between painting, sculpture, and craft, extends artistic form into environmental space, and draws upon Yin–Yang philosophy and ontological inquiry.
Footnote 4（历史背景）

Lee’s practice in the 1970s was shaped by the socio-political aftermath of 1969, the National Cultural Congress of 1971, and broader questions of cultural identity. His response involved reframing contemporary artistic language through Eastern philosophical systems.

 Footnote 5（Art & Science）
Lee’s work reflects an engagement with scientific thought, influenced by publications such as Scientific American. His research into visual perception and cognition informed his integration of scientific logic into artistic practice.

 Footnote 6（Artists’ Rights）
Lee has also played a role in advancing artists’ rights in Malaysia. Notably, he successfully pursued legal action against KLCC concerning lost art proposals, contributing to increased awareness of artistic intellectual property and institutional accountability. 

  

·       李健省｜艺术家简介与历史地位    官网：http://www.leekianseng.com/

 李健省（1948年生，中国）是马来西亚当代艺术家，被公认为1970年代初观念艺术与装置艺术发展的重要先驱之一。在近六十年的艺术实践中，他构建了一座从现代主义形式探索迈向当代观念艺术的关键桥梁。

 李健省主要通过自学建立其艺术基础，并发展出一套系统性的“自我设计学习体系”，以取代传统学院训练。1966年，年仅十八岁的他举办首次个展  ( the Arts Council of Malaysia主办），迅速进入国内与国际艺术舞台。

 1960至70年代期间，他活跃于多个国际艺术平台，包括印度三年展、圣保罗双年展，以及1970年大阪世博会（担任马来西亚馆展示艺术家）。其后赴日本展开跨学科研究，涉及浮世绘、友禅染及版画技术 (1969-1972、1974、1976) 。于1976年获得日本国际交流基金会专业奖学金 (Japan Foundation Professional Fellowship) 。

 1972年，李健省创作《人类》（Mankind），该作品被广泛视为东南亚最早的混合媒介装置艺术之一。作品结合金属结构、草地与象征性元素，探讨阴阳哲学与人类存在状态，突破了绘画与雕塑的传统界限。

 1977年，他创作并展出《Of Image Object Illusion – Off Series Mechanism》（《形象·物体·假象》），该作品与马来西亚国家艺术馆举办的 “Open Art and Graphics Competition 1977” （全国公开艺术及版画赛）相关，进一步深化其对感知结构与观念系统的探索。

 1990年代至2000年代期间，其重要作品在部分官方出版物中被误述，包括创作时间、结构与诠释的偏差。该现象可概括为 “叙事篡夺” ¹，反映出艺术史书写中的话语权问题与制度性中介机制。经过长达二十年的持续申诉与法律行动，这些错误最终于2021年由马来西亚国家艺术馆正式修订。

 如今，李健省的艺术贡献正逐渐获得重新认识。他的重要性在于作为连接现代主义形式与当代观念艺术的关键桥梁，通过跨媒介实践、空间思维与哲学导向，重新定义了区域艺术表达，并推动了马来西亚装置艺术的发展。

 其艺术成就已于2019年纳入马来西亚国家中学美术课程，确立其在国家文化与艺术史中的重要地位。

  

注脚 -1（Timeline / 事实核心）
1994年至2003年期间，马来西亚国家艺术馆多项出版物中出现关于李健省作品（尤其是《人类（MANKIND）》（1972））的时间、结构及诠释错误。

在2000年《Rupa Malaysia》展览中，该作品的结构在Redza Piyadasa策展下被改变。李健省于2000年11月6日正式提出投诉。2002年由Redza Piyadasa撰写的《Masterpieces from the National Art Gallery of Malaysia》进一步出现误述。

经过约二十年的持续申诉与法律行动（2000–2021），相关问题最终于2021年8月30日由马来西亚国家艺术馆通过修订出版物予以更正。

 注脚 -2  （概念定义）
“叙事篡夺” 指通过时间错置、归属误置及语境重构，对历史叙事进行重组，从而改变艺术先驱地位与作者归属的过程。

 注脚 -3 （艺术方法论）
 李健省的艺术方法体现为跨媒介整合、空间思维与哲学导向。他打破绘画、雕塑与工艺之间的界限，将艺术延展至空间环境，并结合阴阳哲学与存在论思考。

 注脚 -4  （历史背景）
李健省1970年代的创作受到1969年社会动荡、1971年国家文化大会及身份认同问题的影响，其回应方式是以东方哲学重构当代艺术语言。

 注脚 -5
李健省的创作亦受到科学思想影响，包括《Scientific American》等出版物。他对视觉感知与认知的研究，使科学逻辑融入其艺术实践。

 注脚 -6
李健省亦在推动艺术家权利方面具有重要作用。他曾成功就艺术提案遗失事件对KLCC提起法律行动，提升了艺术知识产权意识及制度责任问题。

 

·       李健省共获得了十三项主要的国家和国际艺术奖项。以下是这些奖项的中英版本列表，以及获奖作品的中英名称：

年份

奖项名称 (国家/国际)

获奖作品名称

1964

马来西亚艺术理事会《生活乐趣》比赛B组第三奖 (国家级)

《生活乐趣》("Joy of Living")

1966

马来西亚艺术理事会《第10届全国青年画展》全场最佳奖及油画组首奖 (国家级)

《丁加奴》（Kuala Terengganu）

1969

《马来西亚沙龙》雕塑第三奖、混合媒介第三奖及巴迪画荣誉奖 (国家级) 马来西亚国家艺术馆

《一对》（The Pair）、《My Poem》及《Villager》。

1972

《马来西亚风景画》全国赛两大奖之一 (国家级) 马来西亚国家艺术馆

《红色的视窗》("From the Windows of Red")

1973

《人类及其世界》全国赛次奖 (国家级)马来西亚国家艺术馆

《人类》("Mankind")

1975

《现代青年》比赛大奖 (国家级)马来西亚国家艺术馆

《扑克牌游戏过程》("Process of Playing Poker")和《复始与消耗》（Resumption and Consumption）

1977

《全国艺术与版画公开赛》艺术大奖 (国家级)马来西亚国家艺术馆

《形象、物体、假象》("Of 'Image, Object, Illusion' - Off Series Mechanism")

1977

《全国艺术与版画公开赛》版画大奖 (国家级)马来西亚国家艺术馆

《形象、物体、假象 1》("Of 'Image, Object, Illusion' - Off Series Mechanism 1")

1988

香港《国际沙雕赛》团队第二名 (国际级)
代表马来西亚国家

《和谐》("Harmony") (团队作品)

1993

东京创作大赏（海外奖）(国际级)

蜡染/防染技术创新探索相关作品

 

Year

Award Name (National/International)

Award-Winning Work Name

1964

3rd Prize in Category B of "The Joy of Living" Competition by the Art Council of Malaysia (National)

"Joy of Living"

1966

Best Exhibit Prize and 1st Prize in Oil Painting Category at the “10th Young Artists Exhibition” by the Arts Council of Malaysia (National)

 “Kuala Terengganu”

1969

3rd Prize in Sculpture, 3rd Prize in Mixed Media, and Honourable Mention in Batik Painting at the "Malaysian Salon" by the National Art Gallery Malaysia (National)

“The Pair” 、” My Poem and “Villager” 。

1972

One of the two Major Awards in the "Malaysian Landscape" National Art Competition (National)

"From the Windows of Red"

1973

Minor Award in the "Man and His World" National Art Competition (National)

"Mankind"

1975

Major Award in the "Young Contemporaries" Competition (National)

"Process of Playing Poker" and “Resumption and Consumption”

1977

Major Art Award in the "Open Art and Graphic Print Competition" (National)

"Of 'Image, Object, Illusion' - Off Series Mechanism"

1977

Major Award in Graphic (Printmaking) in the "Open Art and Graphic Print Competition" (National)

"Of 'Image, Object, Illusion' - Off Series Mechanism 1"

1988

2nd Prize at the International Sand Sculpture Competition in Hong Kong (International)

"< Harmony >" (Team work)

1993

Tokyo Creation Award (Overseas Prize) (International)

Works related to the exploration and innovation of dye and resist techniques (batik)

 

 

In the High Court of Malaya at Kuala Lumpur. Civil Suit No.S4 (S1)-22-504-2000   
Full trial on 16th July 2008  
http://www.leekianseng.com/lee_KlccPleading20080716.pdf

Story  : The developer of the PETRONAS (National Petrolem Malaysia) Twin Towers ‘Kuala Lumpur City Centre Berhad ( KLCC, Malaysia )’ had invited LEE Kian Seng to design a sculpture for its tower precincts in August, 1994.  Within a month, Lee submitted a proposal comprising the art concept, a metal model and a preliminary sketch of the proposed sculpture. However, KLCC never got back to Lee in response to his submission. He had been left completely in the dark as to whether his proposal was accepted or not. In spite of his repeated efforts at inquiry, the developer was never heard from again as if the company had ceased to exist, that is, until four years later. Only in June 1998 was he officially informed that his proposal had been turned down, but then his metal model and drawing of the proposed sculpture had gone missing.He did try to settle the matter with KLCC amicably, but not successful. Thoroughly dejected, he had no alternative but to resort to legal action against KLCC vide Kuala Lumpur High Court Writ Summons No.S4 (S1)-22-504-2000

1994年8月，吉隆坡市中市公司 (Kuala Lumpur City Centre Berhad 简称 KLCC) ，即吉隆坡石油双塔（PETRONAS Twin Tower）发展商邀请李健省（LEE Kian Seng） 设计雕塑作品。李健省同年９月呈上设计建议书包挂创作概念雕塑模型与素描。之后一直没有收到 KLCC的答覆，李健省完全不知他的创作概念是否被采用，多次询问犹如石沉大海音信全无。4年后的1998年6月，KLCC才正式回信不采用他的设计，而作品模型与素描也不知所踪。

为了正义追求真相，在毫无其他选择的情况下李健省遂通过 Messers Cheang & Ariff 于2000年9月18日开始在马来西亚吉隆坡高等法庭上诉KLCC，随后由 Messers Pani Normala & Co 接手处理审讯。第二被告国家石油（PETRONAS / National Petrolem Malaysia）于2002年11月8日获法庭批准退出此民事诉讼。

高等法庭于2008年7月16日审讯此案，２００８年１１月３日法官下判李健省胜诉获得２万令吉的赔偿。对李健省而言，这２万元与十年来在法庭精疲力尽的斗争与坚持，根本不成比例，只是精神上的胜利更激励他继续努力，名利转眼皆空，更重要的是诉求企业家尊重艺术家的创作权益，唤醒社会大众对人文艺术的关怀，希望马来西亚进步。KLCC 在2010年12月14日摊还诉讼费(Cost)。

 

To Police reports;
Malaysia, Klang RPT 025502/2006. S/D 5064/2006. Date:17 July 2006
Malaysia, Klang RPT 5524/2000/   S/D 5491/2000. Date:22 February 2000
Malaysia, Klang RPT 024386/2006  S/D 3964/2006  Date: 08 July 2006
Malaysia, Klang RPT 024273/2006  S/D 3853/2006  Date: 07 July 2006

 

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🔗https://www.leekianseng.com/lee_Klang_1.pdf

https://www.leekianseng.com/lee_Bio_2016MalaysianArtHistory.pdf

 https://cchs.research.utar.edu.my/%E5%8B%98%E8%AF%AF%E8%A1%A8%EF%BC%88Errata%EF%BC%89.php

 

      

 Note: under construction

     
 (1-a_19720918 )                                       (1-b_19720918)

a bird was released on the 18 September 1972


(1973_LeePortrait)

        

 


 Part detail of 《 Unity》 ( 3d_Unity_1970a)



《 Unity·和谐》（1969-1970）包含了染上红漆代表血迹的象征造型.（图左：400 x120 x 120 cm )；
 另一造型包含了科学之镜，人类之镜与艺术之镜（图右 ：45cm x 45cm x 65 cm/这部分展后失踪了），摄于1970年世界博览会场内。《Unity》 comprising two enclosed forms i.e. （a）a 400 x120x120 cm and 45cm x 45cm x 65 cm. Mixed media of reinforced concrete, lit from within, glass, steel, mirror, key holder. Red paint was poured all over the figurative structure (right), allowing it to flow down as if it was bleeding（picture left）。（b）a second enclosed form (picture right), developed after May 13, consists of three mirrors, mirror of Science, mirror of Arts and mirrors of Humanism 。 Picture @ World Exposition 1970. 

(3d_Unity_1970b)

   
  （3d_Unity_1970c）                            （ 3d_Unity_19710414）                           ( 3d_Unity_1970 )

Note：under construction