LEE Kian
Seng
李健省
Asia Contemporary Art
亚洲当代艺术
Source:
Original Chinese text by Goh Siew Poh
Photo by Lai Choon Ngoh / PuMen
September 2011 issue 140
(Translation
Documenting
Our Times—Artist LEE Kian Seng
LEE Kian
Seng has always been in the vanguard of artistic progress in his style of works.
He is known to be daring yet attentive to details. On a lot of contemporary
issues, LEE is one rare trendsetter who constantly leads the local art scene in
ever new paradigms of thinking. And his works are therefore very much in step
with the pulse of the times.
Recently,
the celebrated Malay poet, novelist and national laureate Datuk A. Samad Said
was probed by the police into his poem recital during a rally in Kuala Lumpur.
The incident sparked a public outrage that had more than 100 artists, writers
and activists in the country banding together to sign a joint statement decrying
the harassment of A. Samad Said. And there in that long list of names, we find
the name LEE Kian Seng.
LEE Kian
Seng is a name that resounds in the regional art scene. Extremely diverse in his
techniques and medium, many of LEE’s artworks have become key milestones in the
history of art. He has even been
hailed as the progenitor of installation art in Malaysia.
At a young
age, LEE’s artworks were already showing great promise. The self-taught artist
made two study tours to Japan
through the 1970s. His outstanding works have earned him eleven national awards
and two international awards. He was twice commissioned by the government of
Malaysia to represent the country at international art events overseas. His
works were exhibited at numerous world art exhibitions. He has also held a total
of 22 solo exhibitions.
LEE has
always been in the vanguard of artistic progress in his style of works. He is
known to be daring yet attentive to details. On a lot of contemporary issues,
LEE is one rare trendsetter who constantly leads the local art scene in new
paradigms of thinking. Society needs dissenters to blow the whistle when the
people have lost their sense of direction, fearless people who would stand at
the frontline against oppressive regimes to defend truth and justice. As a
staunch believer in justice, freedom and democracy, LEE as an artist is just
such a man.
As has
happened most recently, when LEE saw that the freedom of artistic expression had
been threatened, he and other outraged artists rose to the occasion to express
their solidarity with A. Samad Said. To LEE, an artist needs to have more than
just artistic skills and techniques. He or she needs to have an artistic
conscience as well.
Artists Must
Have Courage and Insight
LEE was born
in Kinmen, China. As a child, his mother took him and his elder brother to
Singapore to be reunited with their father. Eventually the family settled down
in Klang. Given the dire straits his family was in, the young LEE had no
financial means to further his education in an art institute following his high
school graduation. However, he did not give up his dream of obtaining an art
education. Being artistically gifted, LEE decided to design his own course and
learn everything through self-study.
“I believe
there is no such thing as an absolute learning procedure. Under adverse
circumstances, human beings have the capacity to create an ideal environment and
procedure that is conducive for learning,” said LEE. “In fact, self-study is
also a way of learning. It is different from other learning methods in that it
is not done in stages, but is a lifelong endeavor.” It is commonly believed that
one becomes a qualified artist after three or four years of formal study in an
art institute. But LEE apparently does not think so.
“What we
learn in school is nothing but basic knowledge. A true artist, however, learns
from real life experiences.”
It was such
profound insights that moulded LEE into the artist that he is today. His
artworks have been shaped not only by the technical training and study of
aesthetics that he undertook, but also his personal observations and perceptions
of the world, the society and life itself, which are artistically presented in
his works.
To LEE, the
creation of art must neither adhere rigidly to conventional ways without being
open to new ideas, nor simplistically changing the form without changing the
content or departing from the classical style of antiquity. “We are contemporary
people, and we cannot deliberately create an ‘integrated ideological beauty’ in
order to bury the harsh realities of life.” Artists must not play sick, or live
in dissipation, or repeatedly paint the same things as if they are replaying
stories from memory to shortchange people who wish to see a constant flow of
fresh creations.
It is this
very philosophy of life that made LEE one of the few local artists who care
deeply about current political trends and literary development in the country.
His keen observation of current affairs makes him realize the truth about some
issues. However, it is not always easy for him to express his thoughts verbally.
In fact, LEE
was systematically marginalized by a small number of his fellow artists who were
envious of his numerous award-winning groundbreaking creations. For instance,
some people deliberately excluded him and his works from the art scene, and
tampered with his works and the relevant historical facts. Having thus been cut
off from the art community, what would LEE think about his future? Would he be
worried and discouraged?
“Having
lived with this for more than thirty years, I am used to the fact and have made
peace with it. If you were to worry about all these, then you had better not be
an artist. Just be a painter and be content with painting imitation works.” In
his reply to this question, LEE lashed out in a straightforward manner, “Artists
must have courage and insight. Without these qualities, how could they create a
masterpiece? I would document all
these experiences on my website (www.leekianseng.com)
and share them with the world.”
Caring about
the World, Embracing the Earth
An artist
who dares not speak out to decry the gross violation of the freedom of artistic
creation is showing signs of decadence. Therefore, LEE stressed the point,
“Innate conscience and ability make up the moral character of an artist. Anyone
with a conscience would understand that truth and justice constitute the
essential nutrients in any artwork.”
LEE’s most
recent《DanJin
series(当今系列
)》is
the best embodiment of “artistic conscience.” Take one of his masterpieces《Blessings(祝福)》for
example; It resonates with many people across the globe today. “Let this new
series be a catalyst for new impetus, new values, new art. Let it be a
reconsideration of the eternal and unchanging spiritual values in art.” LEE
allows his art to expand beyond the gallery, integrates it with the contemporary
society, and exerts its influence over the people. This is what makes LEE’s
creation so enchanting.
The piece《Ushering
In A Civil Society》which
was completed in 2010, was inspired by massive anti-ISA (Internal Security Act)
street protests. In this oil painting, LEE created a fist and placed it
alongside a picture that was published in the newspapers to express the people’s
wishes. The same year saw another of LEE’s oil painting titled
《Dawn
Is Breaking?
》unveiled.
Amidst a darkened backdrop, a pale bird’s cage (of 1972 )is hanging. The bottom
of the painting shows a paragraph excerpt from the article “Awakening the Dawn”
authored by celebrated poet and writer Poh Seng Titt, which was published in the
15/08/2009 edition of Sin Chew Daily.
In just a few short lines, Poh eloquently bares all that is in the heart of the
Chinese community.
“ …This country has been
making a mockery of justice. Let’s face it. Leaders are too busy grabbing power,
amassing wealth, and engineering cover-ups to be thinking about justice. Talents
have been unfairly treated. Over the years, unjust policies and corruption in
high places have not only sidelined many talented citizens who would have
otherwise done their country proud, but treated them as if they were worthless …
…
Meanwhile, the Chinese community in Malaysia has become largely apathetic and
insensitive with regard to these issues. Instead of moving forward, Chinese
leaders seem to remain complacent about the status quo. Business people care too
much about profits, and scholars scorn each other, while the rest of the
community holds materialism in higher regard than humanism.
In the mind of the Chinese community leaders, the so-called “Chinese
Malaysian culture” is but an absolutely scoreless paper, the dessert after the
main course…”
These two
oil paintings in the
《DanJin
series (当今系列
)》have
articulated the sensitivity of the artist towards current affairs. They concern
politics, but at the same time transcend it. LEE’s art has never compromised the
sordid nature of humanity, nor has it bowed to political powers.
In the
《DanJin
series(当今系列
)》,
there is a sub-group named
《The
Earth——My Home》.
“Wherever I go in my travels, I would draw on local resources, and express the
emotions and sentiments of my soul directly through my creations.” LEE cares
deeply about what all humankind shares in common. Another sub-group that is
related to this one is《In
Dialogue with the Soul》.
“I was calm
and composed when I created the《DanJin
series(当今系列
)》.
It was as though I was in the process of self-dissection, eyeing the world,
crossing national boundaries, and transcending ethnic barriers to reach out to
the modern world, and embrace the planet called Earth.”
Though we
are in the age of globalization, many still remain complacent and detach
themselves in their racist view of world. A view that focuses on differences not
only divides the human race into different groups, but pits one group against
another. LEE advocates an artistic vision that crosses international borders and
transcends ethnicities. These words from a leading thinker of our times allow
many to feel the sincerity of his works.
(转载自普门
第140期
艺术风华
·采访：吴小保 摄影
：黎春儿
記錄我們的時代
——
艺术家李健省
李健省的创作与行为作风向来前卫，胆大心细，在许多议题上，他可以说是本地艺术界少见的新思维开拓者，他的创作也因此带着时代的脉膊。
前阵子，国家文学桂冠沙末赛益因为创作的一首诗歌，被警方传召录供。当时国内一百多位艺术与文学创作者发表联合声明，支援沙末赛益。在那冗长的名单上，我们找到了李健省的名字。
李健省在本区域艺术界是个闪耀的名字，他的创作手法与媒介非常多元化。他的许多创作是马来西亚艺术史上的座标，也被誉为我国装置艺术之父。
年少时他已锋芒毕露，曾经二度游学日本，作品获得11项国家奖及2项国际奖。个人曾两次受国家委任代表马来西亚出席国际盛会和在无数的国际展展出，举办过22次个人作品展。
这位艺术家的创作与行为作风向来前卫，胆大心细，在许多议题上，他可以说是本地艺术界少见的新思维开拓者。社会需要异议者，在人们迷失方向时，给予社会当头棒喝；在捍卫公义与真理方面，不畏惧强权，站在最前线。坚信公平、自由、民主的李健省就是这么一位的艺术家。
一如这次眼看艺术创作自由受到侵害，李健省联同其他艺术家挺身而出，声援沙末赛益。对他而言，创作者需要的不只是技术，更要具备艺术良知。
艺术要有胆识
李健省生于中国金门，1953年与哥哥随同母亲南下新加坡与父亲团聚，后来举家落户巴生。由于家境贫困，中学毕业后家里无法资助他到艺术学院升学。然而，他并不因此放弃对艺术殿堂的向往，颇具艺术天分的他决定自设课程自修。
「我想信，学习是没有绝对程序的。人类在劣境下，可以自创有利的学习环境与程序」他表示，「所谓『自修』，其实也是一种学习的方式，这种学习方式跟其他的不同，它不是阶段式的，而是终身的学习。」一般人都以为，在学院熏习三四年后，就可以成为合格艺术家，李健省认为这是错误的观念。
「学校所学习的，只不过是基本知识。真正的艺术家，必须要经过生活的历练。」
由于有这一层面的认知，所以形塑李健省为一名艺术家的，不只是技术训练和美学，也包括他对世界、社会、人生的观察与体悟。而这些观察与体悟，都被他艺术化地展现出来。
对李健省而言，艺术创作最忌食古不化,换汤不换药，或只在古人的风格框架里翻筋斗。「我们是当代人，也不能刻意去营造一种『综合理想美』来淹埋生活里的真实。」，而艺术家也不可以无病呻吟、风花雪月，像在背书一样，重复画那些陈腐的题材来自欺欺人。
这创作理念使李健省成为本地少数关注当今政文发展的艺术家。对于时局，他都有自己的观察与体会。然而要把自己的想法表达出来，并非一件易事。
实际上，李健省就因为新创意多次得奖而遭到小部份同道排挤，例如刻意地遗忘他和他作品的存在，篡改（和剽窃）他的作品和创作史实等。面对被排挤的局面，李健省会否因为担心自己的未来，从此有所忌讳？
「三十多年来我都已经习惯自然了。你若担心这些，那就不要当艺术家，作画匠画水货好了。」对于这个问题，李健省很直接地抨击道，「艺术家必须要有胆识，否则怎么去创作？我会把这些经历记录在网站（www.leekianseng.com）与世界分享。」
關懷世界，擁抱地球
看见社会弊端，侵害艺术创作的自由而不敢发言或表达，是艺术家的颓废表现。李健省因此强调，「良知良能是艺术创作者的品德。有良心的人明白公义与真理是艺术创作里的重要养分。」
李健省近期的《当今系列
》，是「艺术良知」的最佳体现。其中的作品《祝福(Blessings)》目前在世界很多角落引起共鸣。「让这新系列催生新动力，新价值观，新艺术，重新思考艺术里那种永恒不变的精神价值。」让艺术走出展馆，融入当今社会并发挥其影响力，这是李健省艺术的魅力。
2010年完成的《迎接公民社会》，创作的背景是群众走上街头反对内安法令的示威。这幅油画把报刊的当时图片与拳头拼贴在一起，表达人民的意愿。同年完成的另一幅油画《黎明会来？》，全黑的背景中间垂挂着苍白（1972年）的鸟笼，下方附上著名诗人、作家傅承得发表于《星洲日报》（2009/8/15）的〈唤醒黎明〉一文，其中一段文字，简单几句话，却道尽华社心声：
「这个国家不公，当政者忙于谋权图利然后掩盖真相，不曾把公平放在心里，包括不曾给有才华的人公平的待遇，政策偏差和政治腐败，把多少有才华，甚至为国家争取荣誉的人，当成一文不值的粪土……华人社会麻木不仁，华社领袖更不长进，商人重利，文人相轻，其他则看重物质而贬低人文。在华社领袖的脑海里。所谓『马来西亚华人文化』，是一张零分的考卷，一顿饱嗝后的甜品。」
《当今系列》里这两件油画，表达了艺术家对时局的敏感，它攸关政治，但却超越政治。李健省的艺术从来不与市侩共舞也不为政治附庸。
在《当今系列
》中，有个小组被命名为
《地球——我的故乡》。「旅途中随地取材,把心灵的感受，直接表达出来。」
李健省关怀全人类所共有的、共同的题材。另一与此相关的小组是《与灵魂对话》。
「我以坦然创作《当今系列
》，像在自我解剖的一个过程，放眼四海，超越国界，超越种族隔阂去关怀当今世界，拥抱地球。」
如今虽是全球化时代，但却有许多人仍然固步自封于各自的种族观念中，这种强调差异的见解，使人类分成各种不同的群体，并互相竞争。倡议跨越国界、超越种族的艺术观点，新思维开拓者李健省的这番话，让许多人受到他的作品的温度。------吴小保/
普门
第140期
艺术风华
Pumen September 2011
-------------------------------------------
笔记
《拳头就是力量+
原来是生存在黑暗的时代
》油画/2010（The
fist is power +We are actually living in the Dark Ages/oil /2010）。
星云大师
说“拳头就是力量”
（星洲日报2009年10月20日）
，所以我也把大师的拳头带入我的画面。他的拳头使我自觉，《原来是生存在黑暗的时代
》。
The Buddhist Master Sing Yun said “The fist is power”
(20th October 2009, Sin Chew Daily Malaysia), so I have
incorporated the Master’s fist into my painting <
The fist is power >. His fist made
me aware and inspired me to create the piece <
We are actually living in the Dark Ages
>.