Upon closer study of Latiff Mohidin’s Berlin years, one notices a significant transition in his mode of working. 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. May 19, 2014 - Konrad Witz, Miraculous Drought of Fishes (Christ Walking on Water), ca. His Pago-Pago expressionist paintings have been his signature series which have already been seen across the world. Latiff Mohidin’s Pago Pago series is made up of sketches, paintings, sculptures, prints and poetry. 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. 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. By 1964, independence from colonial rule was no longer just an aspiration, but inevitable. There, he studied the German language and focused on typical art school subjects such as still life, landscapes and printmaking. your own Pins on Pinterest 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. 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. 1964. The Pago-Pago is an artwork produced by Abdul Latiff Mohidin in 1964, a prolific abstract painter and poet from Negeri Sembilan. Latiff Mohidin returned to Southeast Asia in 1964 with the hope of reengaging with the region. Discover (and save!) 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. Latiff is also a highly accomplished literary translator. He is generally known for his Pago Pago expressionist paintings produced between 1963 and 1969. As a painter, Latiff has redefined Malaysian visual arts with series such as “Pago-Pago”, “Mindscape” and “Langkawi”. Throughout the 1960s, Latiff Mohidin engaged individuals of his generation (who identified as the “avant-garde” of Southeast Asia) from Goenawan Mohamad in Jakarta to Thawan Duchanee in Bangkok and later Salleh Ben Joned in Kuala Lumpur. Pago Pago, 1966, Ink and wash on paper, 13.6 x 21.5 cm. Pago-Pago. Latiff Mohidin’s artistic practice is often linked to his literary activities He first became recognised as a poet when he published his collection of poems Sungai Mekong in 1971, which has since been translated into multiple languages. In literature, he won the pinnacle SEA … She has a soft spot for the visual and literary arts and can be found at the latest exhibition openings. But Singaporeans too enjoy a link with the artist who had once called … Nov 18, 2014 - Pago-Pago, Bangkok (2); Artist: Latiff Mohidin; Year: 1964; Country: Malaysia; Medium: acrylic on brown paper; Dimensions: 26 x 19 cm The artist became increasingly enigmatic, activating a Minangkabau sensibility encountered during his rural upbringing in British Malaya. Latiff Mohidin journeyed through these shifting political configurations, as he travelled extensively in the region rom 1964 to 1969. 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. Latiff Mohidin (5th from R) at Laos’ school of fine arts during his travels around Southeast Asia. Whilst he acknowledged the potency of ideological formations at the height of the Cold War, Pago Pago stood in opposition to overt doctrinal write. 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. 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). “I was asked to write something magical,” … 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 … 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. They have remained central to Malaysian art ever since. 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. After delivering the groundbreaking Pago-Pago (1964-69) and Mindscape (1973-74) series that exhilarated the Malaysian art scene then, Latiff reemerged a couple of years later with Langkawi. 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. 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. In some cases, these manifestations blend into one another, highlighting how all forms carry an element of interdependence. 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. Latiff Mohidin’s life work has been discussed extensively within national and, to some extent, regional frameworks, yet his contribution to global modernism remains understudied. Latiff met no such opposition when his Pago Pago paintings first hit the market. 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 (1941), born in Negeri Sembilan, Malaysia completed his primary education in Singapore. View Pago-Pago Series (1968) By Latiff Mohidin; Oil on canvas; 35 1/2 x 27 3/4 inches (90.2 x 70.5 cm); Signed; . These finance apps can help you manage your money better, How Latiff Mohidin’s ‘Pago Pago’ paintings bridge European and Southeast Asian modernism. 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. 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. 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. 1941) is Malaysia’s leading modernist painter and poet. ALL RIGHTS RESERVED. It’s an in-depth, biographical approach that immerses viewers in Mohidin’s spirited life, astute worldview, and vivid visual and written works. Embodying the merantau 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 film and jazz. 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. Apr 8, 2016 - Abdul Latiff Mohidin. For Malaysians, it is easy to see why. This moment, which he evokes through the phrase “Pago Pago,” has found a significant place in writings on Southeast Asian art. The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. 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. 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. Latiff Mohidin lives and works in Penang Island, Malaysia. As one moves between canvas, paper and ink, each Pago Pago form emerges from the ground like a biomorphic object. Painted in 1969 Provenance. 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. Sign up for our newsletters to have the latest stories delivered straight to your inbox every week. 1938) Pago-Pago signed and dated 'Abdul Latiff 1969' (on the reverse) oil on canvas 84 x 110.5 cm. 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. Latiff Mohidin ’s Pago Pago series was hailed as unique and exemplary the moment it appeared in public. 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. 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. ABDUL LATIFF MOHIDIN (Malaysian, B. ‘Latiff Mohidin: Pago Pago’ will be open to the public at National Gallery Singapore from 27 March to 27 September 2020. Access more artwork lots and estimated & realized auction prices on MutualArt. Emblematic of these formative times is his hand-drawn map of Kampong Glam, which is exclusive to the Singapore leg of the exhibition. 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. The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. Latiff is not just Malaysia’s first artist at this venue; he’s the first from Southeast Asia. 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. Even at … From Wikipedia, the free encyclopedia. Still Life 62, 1962, Acrylic on board, 37.8 x 67.7 cm. Pago-Pago, Bangkok (1), a production of a split between a sketch and a painting of extraordinary vitality and force, exhibits Latiff's urgent and rapid brushstrokes. ‘Latiff Mohidin: Pago Pago’ is productive in using networks as one way of situating the artist in relation to the history of global modernism. Malaysian National Art Gallery Collection. 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. A way of thinking and working that sought to challenge the dominance of Western modernism at the time, Pago Pago led Latiff Mohidin … 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. Nov 9, 2013 - This Pin was discovered by Shahril Kharib. It grapples with the position of vernacular cosmopolitanism within the story of global modernism, which still defaults to Europe. 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. 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. WEB DESIGN BY TOMMY NG, Kuala Lumpur International Photoawards 2019. In each, a vertical shape rises and looms—a plant arrested mid-bloom, or a shrine caught on the horizon. 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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. View PAGO-PAGO (1965) By Latiff Mohidin; Ink and watercolour on paper; 19cm x 27cm; Signed; . 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 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. What is skinimalism and why should you get on it? 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. 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. The map even playfully marks Mohidin’s personal landmarks and favourite eateries. His artworks have been exhibited worldwide in over 30 solo exhibitions, including in Berlin, New York, London, Osaka, Sydney and Sao Paulo. LATIFF MOHIDIN (Malaysian, B. PROVOKE, 1965, Acrylic on board, 90 x 120 cm. 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. 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. 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. Mohidin’s time in Kampong Glam is particularly notable as that was where he was discovered as an artist at age 12 in 1953. Abdul Latiff Mohidin or simply Latiff Mohidin (born 1941) is a Malaysian modernist painter, sculptor and poet. 100cm x 100.3cm. 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. The sketches of phenomenal entities, from the temples of Angkor to the bamboo rhizome and heteromorphic barnacle, offer insights into Latiff Mohidin’s cosmic perspective. To understand Pago Pago is also to understand Latiff Mohidin. Jump to navigation Jump to search. What makes good restaurant design and why is it so important? Prior to showing in Singapore, the exhibition previously travelled to the Centre Pompidou in Paris and ILHAM Gallery in Kuala Lumpur. When he departed for Europe, various nationalist movements had begun to prevail across Southeast Asia. (43 3/4 x 48 in.) Pagoda II, Pago Pago Series, 1964, Oil on canvas, 100 x 102.5 cm. 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. 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. The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. 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. 1444, oil on wood, 4’3” x 5’1”, Cathedral of Saint Peter, Geneva, Switzerland. (33 1/8 x 43 1/2 in.) Provenance Anon. olo painting exhibition that year at the Kota Raja Malay School. Though this is beyond the control of the show’s curators, I wonder how the artist was perceived through the Pompidou presentation. 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. It includes an entirely new section with works he made during the 1950s in Singapore. This exhibition invites visitors to observe the formation of a regional avant-garde, via the microhistory of an individual in Southeast Asia. Share your experience at the exhibition using the hashtag #ilhamkl. 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. 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. And the fact that it is Latiff makes it all the sweeter. 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. How does one advance the mediums of painting, drawing and writing to suit local milieus? The city offered Latiff Mohidin access to expressions of a progressive ethos from the ground-breaking movements of Cubism, Futurism, Dadaism, Constructivism and Surrealism, while allowing him to examine the linkages between this progressive ethos and his own ancestral imaginary. 6 timeless bags for men that will never go out of style. It’s one of many archival materials from the artist’s personal collection that are juxtaposed alongside his paintings. The crowd at the Pompidou Centre is not as huge as some of the exhibitions but the excitement is still there. Access more artwork lots and estimated & realized auction prices on MutualArt. 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. Pago Pago Kelam, 1967, Acrylic on canvas, 95.5 x 152 cm. Oil on canvas. 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. SABAPATHY (Editor). 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. 2015-2021 © ILHAM GALLERY. The challenge was to formulate an aesthetic sensibility that charted the inner world of the artist amidst immense ideological and conceptual flux. Curves mimic the upswept eaves of a Minangkabau house. 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 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. 1965 was both a formative and disruptive year, as Singapore separated from the Malaysian Federation, whilst Indonesia and the Philippines contested the very logic of segregating Peninsular Malaysia and North Borneo from its historical host, the Nusantara, the Malay world. Acquired directly from the artist by Graham McManaman Acquired from the above by the present owner. He was accorded a major Retrospective by Malaysia’s National Art Gallery, Kuala Lumpur, in 2012-2013. The phrase in its title, “Pago Pago,” was coined by the artist to evoke the consciousness that emerged through these travels. Currently, she's on a quest to devour as much SingLit as possible. Most notably, it features Mohidin’s hand-drawn map of Kampong Glam as he experienced it, which he produced specially for this show. Stephanie writes about food and culture. Painted in 1997 . Pago Pago: Latiff Mohidin (1960-1969) opens on February 28 at its In-Focus Gallery. (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. Lovell then adds found objects in an intuitive process that varies from piece to piece to create three-dimensional tableaux. 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