Jelajak Qing Ming Site Specific Installation Art Project

Growing up in a family that wasn’t into arts except arts of singing and traditional dance, Ahlan, as a kid, was all by himself experimenting with pencil, marker pen, watercolor, etc. He used to draw on any empty surfaces he could find, on the wall, floor, table, chair, not to mention paper.  “A messy kid” is what he describes his young self as.

In 2012, he gained his Diploma in Graphic Design at Kuala Lumpur Metropolitan University College, where he learned how to use acrylic paint as a medium to express his thoughts. He also learned woodcarving from Pangrok Sulap. Besides, he is als o a self-taught tattoo artist and tie-dye maker.

Ahlan 生长在一个只偏好于歌唱与传统舞蹈的家庭里。小时候的Ahlan自己用着铅笔、马克笔、水彩等等的媒介尝试着各种方式作画。 他经常在任何触手可及的空白面上涂鸦，比如墙壁、地面、桌子和椅子，纸张更是不能放过。“凌乱的小孩”便是他对幼年的自己的形容。

2012年，他从Kuala Lumpur Metropolitan University College（KLMUC）毕业。手持平面设文凭的他已学会使用亚克力媒介表现自己内心的想法。此外，他也在Pangrok Sulap（基在沙巴的本土艺术家组织）那里学会了木刻。 他也自学了刺青与扎染的技术。

Bunyi yang Hilang

When we are asked what is the color of cemetery, it is often associated with grey, black, or any other ash tone colors that is somber and saturated.  With that said, this installation artworks are made out of bright-colored fabrics, strings, upcycled bamboos and metal pipes. The fabrics in bright colors—magenta, green, beige and brown, are to denote and acknowledge that everyone once lived a vibrant and dynamic life before they are being put into a coffin. The visual of bleach-dye on colored fabric is to symbolize a soul, spirit, or energy.

Bleach-dye fabrics are sewn and joined to the bamboo joists together with bamboo logs as well as metal pipes. Artworks are then installed on trees in the dead silent cemetery which occasionally cheered with the sound of dogs barking and birds chirping. When each of the artwork catches the wind, like a wind chime, it creates tintinnabulation that brings a calming ambience to the cemetery as an intention of remembering ancestors and the echoes of ancestors’ voices.

《消失的声音》

当我们被问起义山是什么颜色时，经常想起的颜色是黑色与灰色系，都是暗沉的颜色。此装置应用了颜色鲜艳的布、绳线和升级再造的竹子和铁管。布的颜色包括品红、绿色、浅褐色及褐色，目的是为了致敬这里每个人曾经活过的精彩人生，最后长眠在棺材里。漂白染料则代表了“灵魂”，或者说 “能量“。

被漂染过的布经过缝合，与竹托梁合并，再挂上小竹子和铁管。在寂静的义山里，这个树上的装置与狗吠鸟鸣带来丝丝生气。随着风起而响的装置以他叮叮当当的温柔声音回荡在这个墓园，好让后辈忆起他们。

David Wong has 30 years of experience in stage design and production, with an interest in installation art.

王泰偉，擁有30年舞台劇佈景設計製作的經驗，同時也喜愛裝置藝術。

Dulang

The rise of Klang valley, especially that of Kuala Lumpur, is inextricably tied to its mining industry. This history of mining has been vital in the formation of the city. I came across a small stream in this Chinese cemetery, which called to mind the past profession of dulang-washing in rivers. I wanted to incorporate the flowing water of the river in my installation about dulang-washing. The appearance of a dulang resembles a wok used for cooking, which is a daily appliance in my life, thus I used woks as one of the materials in the creation of this work.

《琉琅》

巴生谷一帶的崛起和采礦業有密不可分的關係特別是吉隆坡這城市。這段採礦史建構了吉隆坡這城市很重要的一個部分。我發現這華人墓園裏有個小溪流，讓我聯想早年這裏的人在溪流洗琉琅的工作。我想用小溪流的流水來創作一個和洗琉琅有關係的作品。琉琅的外型也讓我覺得像一個炒菜的鍋，像我的生活用品所以我想用鍋來製作這次的創作。

We met at the Kuala Lumpur College of Art, and are now based in Kuala Lumpur with two children. Sun Chen Shuen is our 10-year-old son, the creator of this sculpture’s initial idea.

Sun Kang Jye majored in oil painting, with an interest in three-dimensional art. Combined with his adolescent years growing up in a kampung, he has created many carved works using wood as his medium. Gan Sian Wei prefers to work behind the scenes artistically, quietly but surely gathering experience in creating. She now works as graphic designer.

兩人於1978年出生在马六甲，在吉隆坡艺术学院相识，如今在吉隆坡生活和工作至今育有2名孩子。幼儿名为孙晨迅，也是此作品绘图者，今年10岁。

孙康杰主修油画 ，他对 3D 艺术的兴趣，以及他在甘榜的成长经历； 他以木雕媒介实践多样作品。 颜贤慧喜做幕后艺术创作者，默默累積自己创作历练，目前任职设计师。

Man-Eating Flower

The concept was discovered in then 8-year-old Sun Chen Shuen’s sketchbook, titled ‘Man-eating Flower’. Husband and wife then collaborated to make a drawing into a 3D sculpture.

A child’s pure imagination innocently pictures that a man-eating flower could eat away all the harmful things in nature. It was this imagination which encouraged us to produce it as a sculpture, at last becoming a work that inclined towards the childlike. When placed in the cemetery, this installation brings childlike joy and imagination to the place.

《吃人花》

作品概念来源于孙晨迅8岁时期的日常涂画本，题目为吃人花画作，夫妻两人共同携手合作，将绘画制作成立体塑像。

孩子纯粹不做作纯真想像，是想表达吃人花可以把自然界里有害的“生物”被吃人花吞噬，孩子的想像力也引發了我們對將它製作成雕像的動力，藉由這次的展覽也讓“吃人花”這件高度倾向小孩视角带有童趣的雕塑和義山產生連結和想像。

He believes that there are high biodiversity in Kuala Lumpur and that is what makes our urban city really special. But before protecting something far beyond, he believes we should first protect the nature surrounds us.

He wishes to capture all these beautiful creatures in the forests, and build a time capsule before it’s all gone. He wants to make sure a certain place, certain period in time, people, species, event, or location is remembered in the future.

Fiqtriey深信吉隆坡拥有非常高的生物多样性，这就是我们城市的独特之处。在试图保护离自身较远的东西之前，他相信我们应该先重视保护环绕着自己的大自然。他希望能够拍摄下森林里所有美丽的生物，在它们消亡之前完成一个时间胶囊。

他想要确保一个地方、一个时间点、人、物种或事件能在以后被忆起。

A Moment in Time Capsule

Nature is the habitat for the birds. Birds need places where they can hide from predators and inclement weather. Trees, shrubs, meadows, and even rock walls provide such shelter. But they can’t run away from humans.  Forest is where they can build a home and live with their family. It is also their playground where they can play around and live together with other types of birds, living with harmony as a community.

Birds were free until humans take their freedom away. Humans destroy bird homes when they lost their habitat due to growing cities, suburbs and development. Some birds were caught and hunted by bird catchers – either for their feathers, plumes and so on. Deforestation will also destroy their homes. We have seen numerous birds were found dead by mistakenly eating plastics. Some homes are ruined because of climate change. Humans are destroyers. Humans are greedy and selfish – we do that solely for our own pleasure and lusts.

Why do human want to do that to these tiny little creatures? Why can’t we protect them? Why can’t we just watch them live and grow? Why can’t we just stop being greedy and selfish? We need to stop being so full of ourselves. The greed that we have is going to eat us alive.

This earth is a shared home – humans, plants, insects, animals including birds. This is a place where all of us – living organisms, call home. Humans ruined the mother nature, but non of us can get away from the consequences of the actions where it destroys the whole ecosystems. We cannot hide nor run away from the affects of climate change. Climate has changed and we need climate action.

All the birds wish is just to live. Live in peace. Isn’t this what we wish for as well?

Together we will protect mother nature and curb climate change, we must go hand-in-hand.

《一个瞬间的时光胶囊》

大自然是鸟类的生态环境。鸟儿需要一个可以让它们躲避捕食者和风雨的地方。树、灌木、草原，甚至石壁都可以成为他们的庇护所，但是他们逃不过人类。

森林可以成为鸟儿居住的地方，让它们平安搭建家庭。森林亦是它们的游乐园，让它们嬉戏，与其他品种的鸟和睦共处。鸟儿一向享受着自由，直到人类夺走了这份自在。人类的建筑和发展破坏了鸟儿的生态环境。一些鸟类被捕猎，因为人类想夺取他们的羽毛和身体部位。森林的过度砍伐也影响了鸟儿的生存。我们已经目睹了无数因误食塑料而死的鸟。气候的变化更是摧毁了它们的家园。人类是破坏者。人类即自私又贪婪 — 我们所做的一切都是为了满足自己的奢求和欲望。

为什么人类要对这些小生物下狠手？为什么我们不保护它们？为什么我们不能让它们安乐地生长？为什么我们不能终止自己的贪婪和自私？我们不能再过得如此自满。这份贪婪终究将反噬我们自己。

这个地球是一个共同的家 — 人类的、植物的、昆虫的、动物的、鸟类的。人类破坏了大自然，但一旦地球的生态系统被摧毁，没有任何生物能躲过一劫。对于气候转变带来的后果，我们无处可逃。气候已经转变了，我们必须采取补救行动。我们也需要保护鸟儿–多可爱的生物。我们必须保护它们的家园。我们必须保护森林。我们必须保护我们的大自然。

鸟儿希望的只是能够活下去。无恙地活下去。这不也是我们对自己的希望吗？

我们齐心协力能够保护大自然和制止气候转变，但我们必须携手努力。

Poodien originates from Kelantan but is currently based in Kuala Lumpur. He attended the Universiti Teknologi Mara Sri Iskandar, Perak, Malaysia where he received his Diploma in Fine Arts in 2004. Poodien’s work deals with various subjects, medium and form, including painting and drawing, printmaking, installation, participatory happening and performance.

Poodien, 來自吉蘭丹現居住與吉隆坡。他的作品包括了很多的主題，媒介和形式，像是在繪畫和素描，刻板畫，裝置藝術和互動式表演裡都能找得到。

Poodien从各种艺术实践和思想流派以及“普通日常生活”中受到影响，根据公众的反应和社会背景的现实来识别，应用和测试他的开放式实验作品。他的作品主要以代表性，原创性，可复制的现实，象征意义以及政治和经济问题等主题为特色。

Di Sini Pasti

My artwork attempt to take the aspect of site-specificity in the material or form and content of its expression. It means that the work is designed specifically for a particular location and the context of the project. I choose the site of a stream that flow from the nearby spring at the cemetery for the location of my work, to get together the opposite force, of the natural element of a stream water as the beginning of life, valley and hill with the idea of the site where life in this world ends and transitions to the afterlife.

My aim in designing the art installation is not to take the concept of the tradition objectively but to visually express the universal human idea on the idea of afterlife or the otherworldly dimension that we all pondering and projecting into but with the limit of our awareness cannot really able to experience it while existing in this worldly material plane.

I use bamboo with two pieces of bamboo combined with foot stand in both side of the edge of the soil/land in between the stream and the top pointing to the sky like the head of the arrow or a shape of triangles as a symbol of something in between; the land, the existence in this world where the both foot of the bamboo touched and the pointing arrow to the sky like ascending to the other untouchable realm. In its form, it symbolize the transition, the world in between and the cycle of beginning and ending. This shape of bamboo formation in repetition along the stream also shape like a roof suggesting and act of protecting the beginning of the river and the environment at large, which in itself is the spiritual act in not causing damage to the environment and the world. This minimalist work given minimal intervention to the nature site, to emphasize the beauty of the natural form where a stream flow in the valley on the hills.

《此刻明确》

藝術家選擇了墓地附近的溪流地來展示他的作品。

溪流，作为生命的开始，山谷和山丘或是墓地，像是生命的終點然後過度至來世。

他使用了一双双的竹子，綁成三角形的形狀。作品的展現方象征着过渡，介于两者之间的世界以及开始和结束的循环。竹子在溪流中重复形成的形状也像一个屋顶，暗示和保护河流和整个环境的起点和行为。

藝術家設計這個作品的目的不是為了客观地接受传统的概念，而是想在视觉上表达人类对来世或超凡脱俗维度的普遍观念。他也想以极简主义風格的作品來强调自然之美。