The Star Online: Lifestyle: Arts & Fashion
The Star Online: Lifestyle: Arts & Fashion |
| Posted: 02 Sep 2012 01:14 AM PDT Watching Penang's youth rediscover their hometown through his murals is compliment enough for a Lithuanian artist. FORGET stuffy, CCTV-rigged art galleries where even standing too close to a painting will immediately send the security guards into a frenzy. Visit George Town's streets instead if you are in the mood for an artistic experience like no other. The narrow criss-crossing lanes of Penang's Unesco World Heritage Site is arguably the hottest open-air gallery these days, especially among the Gen Y social networking site fans. Log into Facebook and chances are, more than half of your friends have posted pictures of themselves with 25-year-old Lithuanian artist Ernest Zacharevic's modern masterpieces, some measuring more than 15m high! While excited tourists mostly flock to his two murals on Lebuh Ah Quee, the artist himself doesn't have a favourite. "I created them all so it would be strange to prefer one or the other – it would be like having a favourite among your children," he says in an email interview. His seven gigantic murals now adorn the pre-war heritage walls along Lebuh Ah Quee (a boy on a bike and another boy walking his pet dinosaur); Chew Jetty (a couple of children with their cat on a boat); Lebuh Muntri (Zacharevic's eight-year-old art student practising wushu as she hangs on a beam); Lebuh Canon (a boy standing on tiptoes on a chair); Lebuh Armenian (kids on a bicycle), and Upper Penang Road (a man sitting in a trishaw). Zacharevic will be back in Geoge Town to work on what is likely to be his last wall mural in Carnarvon Street. "I will start work at the end of September or beginning of October. Penang is quite small so I don't want to do too many murals because they will loose their appeal," he adds. Once completed, the Murobond paint artworks imprinted on the heritage walls will be presented as part of a self-guided Art & Heritage Walk tour with their locations marked on a map featuring short stories, interesting facts on Penang and impressions of the people depicted in the murals. Zacharevic seems genuinely surprised at the attention his work has garnered. "There is nothing special about me. I'm very simple. I like to eat, sleep and paint." He finds his new-found "celebrity artist" status a little overwhelming. "To be honest, it is nice that people like the murals. I get so many requests for pictures and autographs (but) I think the fact that young people are inspired to rediscover their hometown is the biggest compliment ever." The artist credits George Town Festival director Joe Sidek for the unorthodox "canvas". The murals were created as part of the Mirrors George Town street art project for the recent George Town Festival 2012. "Joe has a clear vision of what he wants for the festival. Without his support, this project would have never happened," Zacharevic says. He spent some six months on the groundwork before he could start weaving his magic on the brick and mortar canvas. "It was a very long process. First, we needed to get all the necessary permits. Then, it was choosing the walls, discussing the visuals and making sure everyone was in agreement. "Next up was sorting out the logistics, scaffolding, etc, before I could even start painting." It was loads of research, photo shoots, digital mock-ups, and of course, buckets of sweat under the scorching tropical sun, before the visuals – the most time-consuming process – were ready. Zacharevic says the murals weren't too difficult to paint but the biggest challenges he faced were time limitation and the heat. "I could not paint at night because you can't see the colours properly, so it had to be daytime. In Penang, it gets quite hot during the day." Photographs of the murals and his artwork in the island have since been published in the Street Art Notebook. "This is an extension of the mural project. It is like a DIY street art book in which people can draw their own murals," he says. Zacharevic is holding a competition for the public to post their drawings, photographs, montages, or anything that is creative, on facebook.com/Ernestzachas, to win prizes. The most interesting works will be featured in an exhibition. Besides the murals, he also joined five Malaysians in the RESCUBE exhibition (held at Beach Street, Penang, in July), which highlights the interdisciplinary marriage between visual arts and music. The cube, now on display at the 23 Love Lane boutique hotel, is based on the structure and the concept of "one cube, six walls, one entity, six sides". While growing up, Zacharevic had always wanted to paint – well, that and to juggle. "I like juggling and have been doing Diabolo (an action role-playing video game) for almost 10 years now," he shares. The Middlesex University (London) fine art graduate has studied art since he was little, attending the National Art Boarding School, where they teach sculpture, painting, design, even textiles and stained-glass. His next big project will be in Selangor – an art installation for the Urbanscapes Festival in November. "It should be a fun project and (Icelandic folk band) Sigur Ros is performing, so I am really looking forward to it. "I also have a few requests to create a series of murals in Kuala Lumpur which are similar to what I've done for Penang. But that's next year, so we'll see how it goes. Most of KL's buildings do not have heritage status, so it will be very different, but still interactive and fun," he says. Sharing his thoughts on George Town, where he is currently based, Zacharevic echoes what Penangites had been saying even before the 2008 George Town World Heritage listing – that is, the city is an amazing place to live, heat aside. His "extended stay" was apparently unintended. "I just came for few days and never left. Penang is an amazing place and I really like it here. My girlfriend likes it as well, so there's no reason not to extend a visit for few more months," he says. Apparently, size does matter to him. "I like the size of the place. It is not too big and there's a sense of community and things are accessible. Yet, it's also not too small and you can still buy the things you need, meet interesting people and eat food from around the globe." Apart from his work in Penang, Zacharevic has also left his "mark" in Singapore's Little India district, and Shoreditch, London. |
| Posted: 02 Sep 2012 01:12 AM PDT Two film buffs pay tribute to the Hindi silver screen ahead of its centenary. FRUSTRATED by the lack of old Bollywood glamour on the streets of Mumbai, two film buffs are trying to brighten up India's movie capital with mural tributes to mark the industry's 100th birthday next year. The iconic image of a reclining, cigarette-smoking young Amitabh Bachchan, the biggest star of Hindi cinema, has been lovingly recreated on a roadside wall, replicating the dying style of hand-painted poster art. Bachchan's character Vijay joined the underworld of the city's mean streets in the 1975 hit Deewar (The Wall), but the film's antihero now has pride of place on a lane in the hip Bandra suburb, home to many film stars. Despite the abundance of slick new posters plastered around Mumbai, artist Ranjit Dahiya says he was struck by how the city's rich film heritage was being forgotten in recent years. "I couldn't see any Bollywood in Bombay, yet this is the city of Bollywood," adds Dahiya, using the city's old name. "So I thought I should paint the walls on the street." The mural in Bandra was the second to be completed as part of the Bollywood Art Project (BAP), a self-funded venture set up by Dahiya and his friend Tony Peter to create film artwork "accessible for everyone". The duo hope to finish about one painting a month in the run-up to next May, when India will celebrate a century since its first silent feature film, Raja Harishchandra, opened in Mumbai in 1913. Getting permission is not always straightforward, with plans for a 21m dancing girl thwarted by unimpressed locals. "It depends on the people," said Dahiya. "Some people are sensible and really know about the art." BAP began life last April with a mural of the 1953 classic Anarkali, one of the greatest hits of its decade, which told the tale of an ill-fated love affair between a beautiful court dancer and a Mughal prince. "With Bollywood having run for 100 years, the films have run into the hundred thousands at least. We're skimming the surface," says Peter, who runs a film and design company. Their murals also pay tribute to Bollywood's old poster painters, whose art Dahiya laments "is going to die" as digital media technology takes over. It is one of many aspects of the prolific film industry that some fans would like to see preserved in Mumbai, whose role at the heart of the movie world may have passed its glory days. "There was a time when 'Bombay' and 'Bollywood' were synonymous," says a recent Hindustan Times article, wistfully recalling the days when more film premieres were held in Mumbai and star-struck fans thronged film studio gates. "Since Bollywood has gone global and premieres have shifted to Dubai and Singapore, the city's studios lie forgotten." Much of the studio action now happens in a Film City complex in north Mumbai, and film historian Amrit Gangar says that old heritage gems such as the once-famed Bombay Talkies studio have been left to crumble in recent decades. Gangar laments India's attitude to its film heritage and history – from the studios to original film frames to hand-painted billboards – saying that it is crucial for future generations to have reference material from the past. "At this point of time, not much has been left with us. But whatever we can salvage has to be preserved with a lot of care and respect and made public." Next year's anniversary could provide a crucial impetus, with other projects springing up across the city in the countdown. A recent exhibition at the National Gallery of Modern Art explored the relationship between Mumbai and the movies, while the first part of a museum dedicated to Indian cinema is due to open in December. "It's going to be pretty huge," says D.P. Reddy, joint secretary of India's information and broadcasting ministry, adding that 1.2bil rupees (RM62mil) will be spent on the project. He also lists plans for various festivals, exhibitions and other events to mark the centenary of not just Hindi-language Bollywood, but all Indian cinema. Last March, the UTV Stars television channel launched a "Walk of Fame" in the style of the famous boulevard in Los Angeles, but Mumbai still has some catching up to do to match the legendary landmarks of the US film capital. "Hollywood is a location but Bollywood is just an entity without a specific location," adds Peter, who hopes to attract more funding to keep their project alive. "Maybe if our paintings help to create the feeling of being in Bollywood, that will be something we have achieved." – AFP Relaxnews |
| Posted: 01 Sep 2012 04:44 PM PDT What would it take to make KL a lively arts paradise? CAN Kuala Lumpur ever become an arts hub like Melbourne (in Australia), Seoul or Singapore? We do have a vibrant arts scene in this country as every week sees a play or musical or art exhibition being held in KL. And although our arts community is relatively small, the practitioners are nevertheless a busy bunch. But how ready are we to turn KL into an arts city that never sleeps? The Economic Transformation Programme (ETP) recently held a panel discussion on "Arts and the city" with members of the arts community, on how to empower the arts community, how much money matters in artistic endeavours, and what's on the arts community's wish list. It is the ETP's belief that arts and culture will play a major role in turning KL into "an iconic and vibrant city", from both a social and an economic perspective. Thus the panellists explored the economic value of the arts, the impact of policies and incentives, and what can be done to help KL move in that direction. On the panel were Low Ngai Yuen, head of Kakiseni, the arts portal that organises the annual Boh Cameronian Awards; Bilqis Hijjas, president of MyDance Alliance; Lee Weng Choy, co-director of The Substation Arts Centre, Singapore; dance choreographer, writer and educator Dr Zulkifli Mohamad; and Nor Asmah Mohd Noor, senior manager of communication, content and infrastructure of Pemandu (the Performance Management and Delivery Unit). Zulkifli felt that transparency in fund-giving is of top priority, and there should also be more spaces for different types of performances. "Thirdly, we should have platforms. For instance, if we have a KL arts festival, then we should also have a fringe section for the more experimental works," he said. The panellists wanted the government to lead the way, although everyone should be proactive in making things happen. "The government should have a little bit more courage and vision in its funding," said Lee. "It can identify a few key projects and key individuals that deserve long-term investment." He believes this will lead to the development of leadership in the arts community, which will then be empowered to speak for itself. On whether there are models to emulate, Bilqis said: "If you look at any country or city now – Seoul, Singapore, Melbourne, Berlin – they all have enabling policies in place. But we also have to remove the disenablers, the disincentives. "Obviously, censorship is a big issue here. Malaysian artists would feel much happier if we knew very clearly where the lines are drawn, what is allowed and what is not." Zulkifli added that dance also has problems with censorship, citing the recent case of Singapore Dance Theatre's (SDT) permit being denied because, reportedly, the dancers had to wear tutus. (Earlier this year, the Kuala Lumpur Performing Arts Centre claimed it was told, verbally, by a ministry official that the SDT's application to perform in KL had been rejected because of "costumes and foreign performers". Information, Communication and Culture Minister Datuk Seri Rais Yatim later denied that the dancers' tutus were a problem, and approved the permit, by which time it was too late for the group to come.) Lee cited the government-commissioned censorship review committees in Singapore as an example of how the arts community was mobilised to take a stand for a more regulatory position instead of censorship, even though the community had initially accepted that censorship is necessary. On whether an arts council is needed, Low said: "A few years ago, we tried to have an arts council but it didn't happen. We are putting together something almost similar and will be moving towards a proper structure soon." Lee said the arts needs a public figure in a high position who thinks the arts is important and will "defend" it. For example, The Substation worked really closely with the Arts Council in Singapore, but the latter "couldn't really defend us against the higher-ups in government. That's what you really need – a really strong supporter." Should the government should be a leader or a partner? "The government can't be leading in everything," Nor Asmah said. "The right role for the government is that of a facilitator. Of course it would like to see the (arts scene) united and provide constructive feedback. "We need a list of projects on a long-term basis. But this has to come from the (arts scene) itself. The government can't be expected to fund the projects 100%. We need to come up with more reliable business models. "Matching grants would be good. At least, you can see the commitment from the private sector to make it happen. And we can tell the public, 'Look, the government is very serious about making this city a lively arts centre.'" But is the arts community united? Bilqis replied: "Is there a community? Yes. Is there a single voice? No." Zulkifli thought it is difficult to get everyone together. "I think that's why we have MyDance, the ballet society – all dance people but in different societies. I suppose, for the good of the arts and its future, people should get together." The Boh Cameronian Awards is a good example of getting artists together to celebrate as a single community. But does it want to develop a voice? "I think a lot of people will (want to work with the government)," said Bilqis. "Obviously, there will be those who are suspicious. But judging by the effort it took to set up the previous version of the arts council, a lot of people came together ... it takes a lot of work, but it's not impossible." Said Lee: "You have so many great individuals moving in different directions. Occasionally, you get very strong leadership at a particular time, because there's an issue, opportunity or occasion. It's like history. Who knows why things happen?" Finally, on what the focus should be to make KL a vibrant arts city, Low said discussions should be encouraged and everyone should act on whatever plans that result from that. "This country is still in its infancy in terms of the growth of the performing arts," she added. "The growth is minimal and it needs a little push from all sectors." Zulkifli felt the capacity of those who work behind the scenes should also be built up. "The leaders in the arts scene are not just the artists themselves but also the producers, fund-raisers, managers and technical people." Bilqis called for greater transparency, more discussions, and more information from the government about what it is trying to do. "Sometimes there are opportunities that no one knows about, and the government doesn't get any response to what it's trying to promote," she said. Nor Asmah said come November, the government will hold a Kuala Lumpur Creative Content and Information Mart. "We're trying to get all the players in the creative scene to participate and promote what they do," she said. "(We hope to have) people from the performing arts, music, film and other genres. "There have been a series of discussions. I hope those in the arts community will take proactive steps to be involved." |
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