pago pago painting by latiff mohidin historical background

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LATIFF MOHIDIN (Malaysian, B. With his prolific work, Mohidin’s works continue to forge a distinct regional aesthetic while offering a unique perspective into how an artist considers his place in the world. Pago-Pago. Painted in 1969 Provenance. 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. Latiff Mohidin remains connected to leading figures in the discussion about Southeast Asian aesthetics through his conversations with other avant-garde thinkers from the region. Termed “merantau”, this sensibility is defined as voluntarily leaving one’s home and the familiar. 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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. It includes an entirely new section with works he made during the 1950s in Singapore. PROVOKE, 1965, Acrylic on board, 90 x 120 cm. It was his scholarship to study the DAAD or Deutscher Akademischer Austrauschdienst at Berlin’s Academy of Arts that pushed him to become what he is today. Acquired directly from the artist by Graham McManaman Acquired from the above by the present owner. 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. This moment, which he evokes through the phrase “Pago Pago,” has found a significant place in writings on Southeast Asian art. To understand Pago Pago is also to understand Latiff Mohidin. 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. They have remained central to Malaysian art ever since. ABDUL LATIFF MOHIDIN (Malaysian, B. 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. When he departed for Europe, various nationalist movements had begun to prevail across Southeast Asia. His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. Most notably, it features Mohidin’s hand-drawn map of Kampong Glam as he experienced it, which he produced specially for this show. Whilst he acknowledged the potency of ideological formations at the height of the Cold War, Pago Pago stood in opposition to overt doctrinal write. May 19, 2014 - Konrad Witz, Miraculous Drought of Fishes (Christ Walking on Water), ca. Latiff is not just Malaysia’s first artist at this venue; he’s the first from Southeast Asia. Latiff Mohidin: Pago Pago (1960–1969) is presented by ILHAM Gallery in collaboration with National Gallery Singapore and Musée National d'Art Moderne – Centre Pompidou. 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. 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. 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. The binary of East and West typically dominates the study of modern art, 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. 2015-2021 © ILHAM GALLERY. The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. Share your experience at the exhibition using the hashtag #ilhamkl. 1444, oil on wood, 4’3” x 5’1”, Cathedral of Saint Peter, Geneva, Switzerland. These finance apps can help you manage your money better, How Latiff Mohidin’s ‘Pago Pago’ paintings bridge European and Southeast Asian modernism. 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. 1964. 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. 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. The historical backdrop for this exhibition is the early 1960s, when Latiff Mohidin began his formal art training at the Hochschule für Bildende Künste in West Berlin. 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. Provenance Anon. 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. View PAGO-PAGO (1965) By Latiff Mohidin; Ink and watercolour on paper; 19cm x 27cm; Signed; . (Source; T.K. Latiff Mohidin journeyed through these shifting political configurations, as he travelled extensively in the region rom 1964 to 1969. (33 1/8 x 43 1/2 in.) SABAPATHY (Editor). Latiff Mohidin returned to Southeast Asia in 1964 with the hope of reengaging with the region. ‘Latiff Mohidin: Pago Pago’ is productive in using networks as one way of situating the artist in relation to the history of global modernism. A way of thinking and working that sought to challenge the dominance of Western modernism at the time, Pago Pago led Latiff Mohidin … Like his art, his poetry is a methodological wandering that resists ideological systems and structures, offering an extended interrogation of the artist’s interior world. 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. As a painter, Latiff has redefined Malaysian visual arts with series such as “Pago-Pago”, “Mindscape” and “Langkawi”. What makes good restaurant design and why is it so important? What is skinimalism and why should you get on it? But funnily enough, this was developed in Berlin in the 1960s; far away from his home in Southeast Asia. Latiff Mohidin (5th from R) at Laos’ school of fine arts during his travels around Southeast Asia. Apr 8, 2016 - Abdul Latiff Mohidin. Latiff Mohidin sought out a different enterprise: to open a new sphere in what he calls the “region-intellectual” could find form. Oil on canvas. The aim was to invert the previous generation’s initial response to European modernism, which had been largely premised upon resisting the colonial. He found himself in the German capital after applying for an art scholarship and arrived without knowing a smidgen of the language. 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 … How to stop using animal products in your skincare regime this Veganuary, 9 of the most exciting beauty launches we love this January 2021, Optimise your liver’s health with Swisse’s Ultiboost Liver Detox, Art meets furniture in Roche Bobois’ collection with Joana Vasconcelos, How to adopt the Pantone 2021 colours for your home, Samsung has finally unveiled its latest Galaxy S21 flagship series, Review: MINI Electric offers city driving sensibilities without compromising on fun, Have a shopping problem? 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. Abdul Latiff Mohidin or simply Latiff Mohidin (born 1941) is a Malaysian modernist painter, sculptor and poet. 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. Pagoda II, Pago Pago Series, 1964, Oil on canvas, 100 x 102.5 cm. Pago Pago: Latiff Mohidin (1960-1969) opens on February 28 at its In-Focus Gallery. In each, a vertical shape rises and looms—a plant arrested mid-bloom, or a shrine caught on the horizon. 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. Though this is beyond the control of the show’s curators, I wonder how the artist was perceived through the Pompidou presentation. 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. Sign up for our newsletters to have the latest stories delivered straight to your inbox every week. 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). It’s an in-depth, biographical approach that immerses viewers in Mohidin’s spirited life, astute worldview, and vivid visual and written works. Latiff Mohidin comes from Negeri Sembilan in Lenggeng but he actually started his education in Singapore. Lovell gives careful thought to the grain and texture of each surface as well as to any remnants of color from paint or wallpaper, making the background for each drawing as unique as the person depicted. olo painting exhibition that year at the Kota Raja Malay School. 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. Emblematic of these formative times is his hand-drawn map of Kampong Glam, which is exclusive to the Singapore leg of the exhibition. As one moves between canvas, paper and ink, each Pago Pago form emerges from the ground like a biomorphic object. Seen as a step toward addressing this gap, this catalogue seeks to position Mohidin within Berlin art circles of the 1960s, and unravel what could be contingently described as painting from within the tradition. 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. Prior to showing in Singapore, the exhibition previously travelled to the Centre Pompidou in Paris and ILHAM Gallery in Kuala Lumpur. 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. 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. Concentrating on pieces created during a particularly memorable decade in his life, Latiff Mohidin: Pago Pago (1960-1969) is also the culmination of the National Gallery Singapore’s long-standing efforts in promoting Southeast Asian art globally. 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. This exhibition was conceived by Catherine David and Shabbir Hussain Mustafa. He is generally known for his Pago Pago expressionist paintings produced between 1963 and 1969. (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. Strong contrasting colours and inverted pyramid heads feature in the other Pago-pago landscapes, all beautiful oil paintings in its own right. From Wikipedia, the free encyclopedia. Latiff Mohidin (1941), born in Negeri Sembilan, Malaysia completed his primary education in Singapore. Stephanie writes about food and culture. It’s one of many archival materials from the artist’s personal collection that are juxtaposed alongside his paintings. 6 timeless bags for men that will never go out of style. Curves mimic the upswept eaves of a Minangkabau house. Lovell then adds found objects in an intuitive process that varies from piece to piece to create three-dimensional tableaux. 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. This exhibition invites visitors to observe the formation of a regional avant-garde, via the microhistory of an individual in Southeast Asia. Latiff Mohidin: Pago Pago (1960–1969) features over 70 paintings, drawings and prints, supplemented with archival documents, and situates him in dialogue with his European peers. 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. His Pago-Pago expressionist paintings have been his signature series which have already been seen across the world. 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. Latiff Mohidin catapulted onto the world stage when his Pago-Pago was celebrated in a landmark exhibition from February-May 2018 at the Pompidou Centre in Paris (In-Focus Gallery), making him the first artist from Southeast Asia to be featured there. 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. Access more artwork lots and estimated & realized auction prices on MutualArt. For Malaysians, it is easy to see why. Latiff Mohidin ’s Pago Pago series was hailed as unique and exemplary the moment it appeared in public. Mohidin’s time in Kampong Glam is particularly notable as that was where he was discovered as an artist at age 12 in 1953. Currently, she's on a quest to devour as much SingLit as possible. Latiff Mohidin lives and works in Penang Island, Malaysia. 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. 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