ali `Mabuha` rahaMad

Minangkabau
&
Angkor
New
Wat
Series
Works
of
Ali
‘Mabuha’
Rahamad
a
Minangkabau
&
Angkor
New
Wat
Series
Works
of
Ali
‘Mabuha’
Rahamad
P RE V IE W
W e d n e s day, 2 9 J U LY 2 0 1 5
7pm
Public
exhibition
3 0 J U LY – 2 1 AU G U S T, 2 0 1 5
11am – 7pm
(Closed on Mondays and public holidays)
G5-G6, Mont’Kiara Meridin,
19 Jalan Duta Kiara, Mont’Kiara,
50480 Kuala Lumpur
T: +6-03-7721 8188
[email protected] www.theedgegalerie.com
Supported by
b
A r tw o r k d e t a il : K e r b a u / B uff a l o , 2 0 1 5
See page 20
CONTENT S
Foreword 4
I n t r o d ucti o n 6
s ER I ES : m I NAN G K A B A U 2 0 1 4 - 2 0 1 5 9
s ER I ES : AN G K OR E X PER I EN C E 2 0 1 4 63
Biodata 76
Index 79
Ack n o wl e d g m e n t s 80
F ORE W o RD
The World of
Ali ‘ M a buh a’ R a h a m a d
A r tw o r k d e t a il : G o l d e n H o r n , 2 0 1 5
See page 18
V
eteran artist Ali Rahamad is better known to his peers
and the local art community as Ali Mabuha.
Actually, the name “Mabuha” is derived from the
first syllables of the words “Mata”, “Bunga” and “Hati”, which
mean “Eye”, “Flower” and Heart” respectively, alluding to a colourful personality who has seen and experienced the world.
Born in 1952 in Kampung Serom 6 on the outskirts of Muar
town in Johor, Ali has lived an unconventional life by any standards. His father, Rahmat Kassim, was a rubber planter but Ali did
not want to be involved in agriculture. By his late teens, he had
moved to Kuala Lumpur.
Now 63, the globetrotting artist has travelled to and resided
in far-flung places in the span of 40 years. In 1973, at the age of
21, he left for Europe, to see the world and to find himself as an
artist. Ironically, the early 70s was also a time when he teamed
up with like-minded artists such as Latiff Mohidin, Mustapa
Ibrahim and the late Zulkifli Mohd Dahalan. Others in the group
were Yusof ”Volkswagen” Osman and Sharifah Fatimah Zubir
and poet Usman Awang. While Ali was involved with the Angkatan Pelukis Semenanjung (APS), a group of artists who favoured figurative works
of the traditional, academic style as championed by Hoessein
Enas, he was also a member of the Anak Alam group, which was
more influenced by the freedom of working with abstract forms,
such as American Abstract Expressionism.
4
Ali, together with some members of Anak Alam, visited London and Amsterdam. While the others eventually returned to
Malaysia, Ali decided to go farther afield.
That was the start of his wanderlust years, which also included stints in Southeast Asia, the Asia-Pacific as well as the
Americas. The countries he visited included Thailand, Indonesia,
the Philippines, Hong Kong, India, Nepal, Pakistan, Afghanistan,
Iran, Turkey, Greece, Colombia, Denmark, Sweden Switzerland,
Germany, Holland, England, Yugoslavia, France, Italy, Austria,
Egypt, Luxembourg, Canada, Japan, Mexico and the US.
But three destinations stood out on his travel list. Amsterdam was his first base (between 1973 and 1975), followed by
Wasserburg, Germany (between 1975 and 1984). His last base
was Los Angeles, where he lived from 1986 until his return to
Malaysia.
While based in Amsterdam, he held shows at the K. Appel Gallery, Studio de Moor, Fred Beek Gallery and Robert Vyler Gallery. In
Germany and the US, he knocked on doors and exhibited his art in
whichever shows and galleries that would accept and sell his work.
In the 1980s, he also held exhibitions in Japan.
Ali periodically returned to Malaysia for extended visits and
held seven solo exhibitions in Kuala Lumpur. In 2011, the National Art Gallery organised his milestone exhibition, Kembara
di Sarang Seni (Journey Into The World of Art), and published a
260-page, hardcover coffee-table book documenting his art. A r tw o r k d e t a il : B ukit T i n ggi # 2 , 2 0 1 5
See page 31
Perhaps following the saying “no man is an island”, Ali first
got married in Germany. But when the marriage ended, he
moved to the US, where he got married again.
In 2013, he decided to return to Malaysia permanently, as
age was catching up with him and he wanted to live out the rest
of his life in his country of birth. So, he built himself a modern
home with an adjoining art studio on his one-acre parcel in Kampung Serom 4. He is near kith and kin as his sister and her family
live right next door and his second brother lives across the road.
This prolific artist continues to paint and transfer the scenes
and images of his imagination, culled from years of observation,
onto his canvases.
His earlier works, such as the Broken Arrow (2007-2008) and
Aztec (2007) series, focused on Surrealistic figures and Expressionistic landscapes that convey the futility of human conflict
that result in war and destruction.
Other works ponder the dangers of environmental degradation due to human follies. In fact, Ali’s strong sense of indignation extends to many sociopolitical, cultural issues and conflicts
that he feels are senseless. And the only way for him to express
his ideas is through art.
But Ali the painter has mellowed with age, as his recent
works highlight the beautiful aspects of old cultures such as the
Minangkabau of Indonesia and the Angkor Wat of Cambodia.
Having viewed ancient monuments and experienced the
myriad cultural heritage, myths and legendary figures are some
of the elements that occupy Ali’s mind when he produces his
compositions.
Even as a child, Ali was driven by the desire to create art and
he started off with carving and sculpting wooden objects.
Ali’s world view and art have definitely been influenced by
his sojourns and years of living abroad. But it is ironic that Ali, who did not want to be stuck in Kampung
Serom all those years ago, has returned to his village amid oil palm
plantations to re-establish himself on the Malaysian art scene.
H o K ay Tat
Publisher & Chief Executive Officer
The Edge Media Group
5
introduction
T H e w a n d e r lu s t A r ti s t
A r tw o r k d e t a il : L e m a n g M e r a h , 2 0 1 5
See page 32
“I
paint, and I paint and I paint, the paint is me, dancing in
the space with different melodies. The journey holds us
together, we are not apart.”
In this opening line of one of his poems, Ali “Mabuha” Rahamad sums up the intertwining relationship between his art
and years of travelling.
Having been involved in the art world for over 45 years, Ali is
one of the most prolific artists around. Known for his surrealistic
works and landscape paintings with vibrant splashes of colour,
he often tackles social and humanitarian issues.
Despite the grim reality he often portrays, some of Ali’s
works also embrace the enchanting beauty and mystical qualities of Mother Nature and include mythical characters such as
Puteri Gunung Ledang.
In his latest solo exhibition with The Edge Galerie, entitled Minangkabau and Angkor Wat Series: New Works of Ali
6
‘Mabuha’ Rahamad, the artist explores cultural elements much
closer to home.
A total of 33 artworks will be exhibited with prices ranging
from RM6,000 to RM38,000. Comprising two series, they are
entitled Minangkabau and Angkor Experience, respectively.
“I’ve been away from home for so many years and in and out of
the country,” Ali says with reference to his latest paintings. “So, I wanted to draw inspiration from cultures and architecture from this region.”
Minangkabau
In his Minangkabau series, Ali examines the cultural heritage of
this ethnic group of the Minangkabau Highlands of West Sumatra in Indonesia.
The distinctive headdress worn by the Minangkabau women
is a notable part of their attire and is the main factor that inspired this series.
Ali’s characteristic figures are portrayed wearing the unique
headdress against a background of vibrant colours. The acrylic paintings vary in size with the smallest works being 36cm by
51cm and the largest 137cm by 102cm.
Indeed, the artist acknowledges that colours play a key role
in his work and it is often the environment he is in that greatly
influences his choices.
“Whether you realise it or not, your mood and surroundings play
a huge part in how you perceive and select colours,” he explains.
“For example, I find winter in Germany very bleak and dull.
That’s why most of my work gravitates towards darker shades.
Whereas in tropical places like Malaysia and Indonesia, I tend to
go for the red, orange and yellow tones.”
The inspiration for his Minangkabau series came from visiting and observing the Minangkabau people in Indonesia, in order to get a feel of their lifestyle and culture.
Apparently, the literal translation of the word “Minangkabau” can be traced to two words: “menang” and “kerbau”, which
respectively means “win” and “buffalo” in Malay.
The buffalo motif is quite distinct in one of the works in the
series, which comprises 27 paintings.
Such Minangkabau motifs represent not only the artist’s impression of the culture but also how the community left a mark on him. Apsaras
In his other series, Angkor Experience, Ali explores the architecture
and cultural heritage of Cambodia in nine colourful works.
Apart from being awed and inspired by the breath-taking
architecture of Angkor Wat, he was also particularly intrigued by
the motif of “apsaras”, which are celestial nymphs from Hindu
and Buddhist mythology.
However, the artist states that it is not so much the religious
background of these mythical creatures that influences his art
but the femininity they represent.
“I’ve always loved to portray dancing women in my work,” he
says. “To me, it’s not so much about the religious connotations
but more about the elegant and fluid movements that come
through in my art.”
The figures in his Angkor Experience series are deftly executed with fluid lines, interesting shapes and bold colours. With
their elongated earlobes and long, straight noses, the faces take
on a serene, almost Buddha-like appearance.
Measuring only 38cm by 36cm, most of these works are the
smallest in his new series. The two biggest paintings are 122cm
by 102cm.
Kampung Serom
Both the Minangkabau and Angkor Experience series are recent
works — from 2014 and 2015 — but the element of wanderlust
is as discernible in them as it was in some of Ali’s earlier works.
Born and raised in Kampung Serom 6 near Muar in Johor, he
recalls that his interest in art began at an early age.
Despite initially trying to abide by his parents’ wish to have a
permanent career, Ali soon realised that he was only interested
in painting.
This passion led to his involvement in the Anak Alam group
in 1969, two years after he had moved to Kuala Lumpur.
Residing in the federal capital, Ali soon found an affinity with
fellow artists such as Latiff Mohidin, the late Zulkifli Dahalan
and Mustapa Ibrahim to paint, read poetry and immerse themselves in theatre. They met at studios, roadside stalls and even
at Latiff’s house in Klang.
“... we were then so engrossed in art that whatever we did
and thought was largely related to art,” stated Ali in an interview
in 2011 with Nur Hanim Mohamed Khairuddin, the curator of his
retrospective show, Journey into the World of Art, held at the National Visual Arts Gallery in Kuala Lumpur.
His innate desire to travel far and wide can be traced back to
1973 when he decided to visit new places to gain greater exposure to different people and their cultures.
He journeyed to Europe via an overland route across Asia. To
mark this new chapter in his life, he adopted the pseudonym “Ali
Mabuha”, with “Ma-bu-ha” being the acronym for “Mata-Bunga-Hati” or literally, “Eye-Flower-Heart”.
His travels took him through Hong Kong, Thailand, Nepal,
Turkey and Egypt, among other countries.
In India, he boarded a ship to the Netherlands and began his
tour of Europe. It is through these travels that he learnt about
the various ways of life, ethnicities and experiences that define
him as a person and, consequently, his art.
Ali’s early works comprised surrealist themes set against
a backdrop of ruins and a prevalence of motifs such as birds,
snakes and the moon.
This style followed him through his stay in Germany and in
his early days in the US in 1986.
In 1991, Ali switched from oil painting to acrylics. Apart from
the practicality of using acrylic paint, which dries a lot faster, he
explains that it is better suited to his evolving style.
“My artistic style gradually evolved towards a more expressionistic and cubist feel, which gels better with acrylics,” he says.
In recalling his sojourns abroad and his relationships with
people, Ali has become circumspect with age and experience.
“After travelling for 40 years, it is the new chapters that I begin
and the people who I meet that influence me greatly,” he explains.
“You definitely can’t learn this in school!”
Indeed, the artist has never received formal training in art
and much of his development of style and skill was cultivated
during his hitchhiking days in various countries and cities where
he visited art museums and galleries.
Opportunities to exhibit his works arose when he resided in
Amsterdam (1973-75), Rosenheim in Germany (1975-84) and
Los Angeles in 1986 before relocating back to Malaysia in 2013.
For instance, his stint in Amsterdam forged the beginnings
of his art career in Europe.
Boldly, he started by hawking his sketches on the streets
and began mixing with local artists and collectors and attending
exhibitions. Such networking led to solo exhibitions held at the
K. Appel Gallery, Studio de Moor, Fred Beek Gallery and Robert
Vyler Gallery.
Despite his frequent travelling, Ali periodically returned to
7
Malaysia to visit relatives and his Anak Alam friends to hold exhibitions after being persuaded by fellow artist Khalil Ibrahim.
In 1975, after a six-month break in Malaysia where he held a
solo show at Universiti Kebangsaan Malaysia (National University of Malaysia), Ali returned to Europe and resided in Wasserburg, Germany, where he met his first wife, Roswitha.
Three of his works were accepted by the organisers of an art
show at the Wasserburg Town House and one of the works was sold.
However, it didn’t stop there. His works were also selected for
an annual exhibition at the Haus de Kunst in Munich and he held
solos at Studio 14, Rosenheim (1978), Rosenheim Gallery of Art and
Handwork (1980) and the Stad Sparkasse in Wasserburg (1981).
Following the breakdown of his marriage, Ali returned to
Malaysia and travelled around Penang, Kelantan and Terengganu before moving to Los Angeles in 1986. There, he met and
married his second wife, the award-winning Columbian-American filmmaker Maria Raquel Bozzi. It is in the US that he began
another metamorphosis in his art, both in terms of style and
subject matter.
Stylistically, Ali’s art leans towards surrealism and expressionism with forays into abstraction. His transition in style is
largely affected by social and environmental circumstances that
affect the human race and its surroundings. Themes such as war
and humanity took the main stage for series such as Twin Towers
(2008), Gaza (2009) and War (2011). Figures are portrayed with
expressions of shock and fear against dark moody colours in the
deeper shades of red, grey and navy blue. The simple harsh lines
depicted exude a subtle psychological edge to shroud the figures with repulsive and terrifying expressions and actions.
In the Twin Towers series, he examines the horrors of the terrorist attacks in New York on Sept 11, 2001. Bright torrid red is used
to highlight the atrocity of the event but hope is found in the occasional depiction of birds, a recurring theme in his works since the
early days. His war series, which includes Kosovo (1999), Rwanda (2002) and Gaza (2009), confront issues such as violence, injustice and the culture of hate and revenge. His works show zombie-like figures with misshapen heads and elongated limbs, their
mouths open to emit the silent scream of terror.
“We have to say something,” he points out, “Especially if it’s
unjust. I hope my voice can be heard, not just at this present time
but for the sake of future generations too.”
His periodic visits to Malaysia would usually coincide with a
solo show.
His seventh homecoming show, Journey Into The World of
Art, was held at the National Visual Arts Gallery in 2011. It
featured more than 200 paintings and prints that the artist
had produced from the late 1970s to 2011, grouped into 15 different series. The exhibition showcased his stylistic evolution
and his examination of themes related to social, political and
cultural elements.
In 2013, due to personal reasons and a desire to return to his
roots, Ali moved back to his home state of Johor for good.
As enthusiastic as ever to get involved in social issues, he
feels that there is a lot to be done to encourage a better Malaysia
to emerge.
8
Ali Rahamad is also known as Ali Mabuha.
“I think the concept of 1Malaysia is promising but I don’t
think we are quite there yet,” he says. “The way things are done
here, both politically and culturally, requires change for us to
reap the benefits in the long run.”
However, the artist still considers himself somewhat an outsider in Malaysia. And after he has settled into his own life here,
he wants to learn more before speaking up.
“Living abroad for so long has, of course, left a great impact
on who I am today,” he states. “I need time to adjust to living and
working in Malaysia.”
As social, political and humanitarian issues have been prevalent in his past works, it should come as no surprise that he
plans to focus on such themes. Another kind of involvement Ali is keen on is with the local
arts scene. As he is still in touch with fellow Anak Alam members, he is enthusiastic about reconnecting with them.
“As one of the founding members of the Anak Alam
group, reconnecting with the other surviving members is a
no-brainer,” he enthuses. “But I want to move forward on my
own as I have been doing over the years. My mind is still in
the process of settling down, so exactly how I will do this is
still a work in progress.”
Although he acknowledges that the style and quality of
Malaysian art differs from that in Europe and the US, Ali is
confident about the development of the local art scene. He
cites the emergence of exciting young artists with bold ideas
and the increasing number of art galleries that point to an optimistic future.
“It’s encouraging to see bright young talent back in Malaysia. The main thing is that the spirit and creativity shine through
in their works,” he says. The most important thing for an artist to
do is to keep on producing, creating and moving forward, as one
will grow and learn with the art.
Ali’s days of travelling are far from over, although he has
settled down in Kampung Serom 4, next to his kin. Places such
as the Indonesian islands are next on his travel list.
“I want to keep painting around the world!” he exclaimed. “I
still have places to see and themes to explore, even at 63 years old.”
Series
minangkabau
2014 — 2015
9
Blue
Kebaya
2015
122cm x 102cm
Acrylic on canvas
11
Lemang Beauty
2015
122cm x 102cm
Acrylic on canvas
12
Aw a n
Merah
2015
122cm x 102cm
Acrylic on canvas
15
Salam
Inderapura
2015
2015
114cm x 36cm
114cm x 36cm
Acrylic on canvas
Acrylic on canvas
Golden Horn
2015
36cm x 114cm
Acrylic on canvas
18
19
Kerbau
/
B u ff a l o
2015
36cm x 114cm
Acrylic on canvas
20
21
Singing of
the Birds
2015
107cm x 51cm
Acrylic on canvas
22
Sunrise
Inderapura
2015
36cm x 51cm
Acrylic on canvas
25
Ev e n i n g
Cloud
2015
36cm x 51cm
Acrylic on canvas
26
Bukit
Tinggi
#1
2015
36cm x 51cm
Acrylic on canvas
29
Bukit
Tinggi
2015
36cm x 51cm
Acrylic on canvas
30
#2
Lemang
Merah
2015
36cm x 51cm
Acylic on canvas
33
Red Towers
2015
137cm x 102cm
Acrylic on canvas
34
Blue
Pearl
2015
102cm x 122cm
Acrylic on canvas
37
Supreme
2015
102cm x 137cm
Acrylic on canvas
38
Blue
Lapis
2014
102cm x 122cm
Acrylic on canvas
41
Red
Dove
2014
102cm x 122cm
Acrylic on canvas
42
Gelombang
2015
102cm x 122cm
Acrylic on canvas
45
Golden
Plumeria
2015
102cm x 122cm
Acrylic on canvas
46
Birds
of
the
Flame
2015
102cm x 122cm
Acrylic on canvas
49
Autumn Towers
2015
137cm x 102cm
Acrylic on canvas
50
Lady
of
Minangkabau
2014
102cm x 122cm
Acrylic on canvas
53
A
little
Smile
2014
102cm x 122cm
Acrylic on canvas
54
Gadis
Permata
2014
102cm x 122cm
Acrylic on canvas
57
Red
Plumeria
2015
102cm x 137cm
Arylic on canvas
58
Mountain
Warrior
2015
102cm x 137cm
Acrylic on canvas
61
Series
Angkor
Experience
2015
62
63
Aps a r a
#1
2014
122cm x 102cm
Acrylic on canvas
64
65
Aps a r a # 2
2014
122cm x 102cm
Acrylic on canvas
66
67
Aps a r a
#3
2014
38cm x 36cm
Acrylic on canvas
68
69
Aps a r a
#4
2014
38cm x 36cm
Acrylic on canvas
70
71
Angkor
2014
38cm x 36cm
Acrylic on canvas
72
73
Smile
Buddha
2014
38cm x 36cm
Acrylic on canvas
74
75
BIODATA
A l i ‘ M a b u h a’ R a h a m a d
B. Kampung Serom, Johor, 1952
The artist is greatly influenced by his journeys and experimentation. Since 1973, he has visited
Singapore, India, Nepal, Pakistan, Afghanistan, Iran, Turkey, Greece, Switzerland, Germany,
Holland, England, Yugoslavia, France, Italy, Austria, Egypt, United States, Hong Kong, Japan,
Luxembourg, Thailand, Philippines, Canada, Indonesia, Mexico, Colombia, Denmark and Sweden.
1973 – 1975Resided in Amsterdam, Holland
1975 – 1984Resided in Rosenheim, Germany
1985 – 2013Resided in Los Angeles, USA
Art Movement Membership
1969 – 1973Angkatan Pelukis Semenanjung (APS),
Kuala Lumpur, Malaysia
1974Anak Alam, Kuala Lumpur, Malaysia
1981
Wasserburg Artists Group, Germany
1981Rosenheim Artists Group, Germany
1981Salzburg Artists Group, Austria
1981Professional Artists of Germany International Association, Unisco (Paris)
1982Persatuan Pelukis Malaysia (PPM) Artists Association, Malaysia
1982
Los Angeles Visual Artists Association, USA
2006Darling Muse Art Gallery, Kuala Lumpur, Malaysia
2008
The MICRA Art Group
2009Malibu Artists Group, Los Angeles, USA
2009
Wall for Peace-Worldwide Artist
Selected Solo Exhibitions
2011 – 2012 Journey Into The World of Art, National Visual Arts Gallery, Kuala Lumpur, Malaysia
2006
US Bank, Malibu California, Los Angeles
1984Museum and Gallery, Universiti Sains
Malaysia, Penang, Malaysia
1984
Hotel Equatorial, Kuala Lumpur, Malaysia
1981Stad Sparkasse, Wasserburg, Germany
1981
Gallery Kato, Kyoto, Japan
1981
Gallery Shibuya, Tokyo, Japan
1981Regent Hotel, Kuala Lumpur, Malaysia
1979
Goethe Institute, Kuala Lumpur, Malaysia
1977
Gallery Robert Vyler, Amsterdam, Holland
76
1975
Universiti Kebangsaan (National University), Kuala Lumpur, Malaysia
1975Studio De Moor, Amsterdam, Holland
1975
Gallery Fred V. Beek, Amsterdam, Holland
1974
Gallery K. Appel, Amsterdam, Holland
Selected Group Exhibitions
2013Art For Peace-W-AFPIAAP-India 2013, Interational Sustainable, Travelling Art Project for World Peace
2013
Global Village Visual Poetry, Denmark
2013
The Museum and Art Gallery, National Bank of Malaysia
2013Portrait Gallery, National Visual Arts Gallery, Kuala Lumpur, Malaysia
2012Art Collection of Universiti Malaya,
Kuala Lumpur, Malaysia
2012Muslim Artists Exhibition, Marin Community Foundation, 5 Hamilton Landing, Novato,
CA, USA
2012
100 Artworks from the World for Fukushima, Japan
2010South Asian American Art Festival,
Los Angeles, USA
2010Sulkin/Secant Gallery, “Look Inside”, Bergamot Station Arts Centre, Los Angeles, USA
2010
Levantine Centre Gallery, Los Angeles, USA
2010South Asian American Art Festival, Arena 1 Gallery, Santa Monica Airport, Los Angeles, USA
2009South Asian American Art Festival, Arena 1 Gallery, Santa Monica Airport, Los Angeles, USA
2009
ZonPerfect lounge, LA Film Festival, USA
2009
Freedom & Art, Mount Beacon Fine Art Gallery, New York, USA
2009
Barnsdall Art Centre, The Department of Cultural Affairs, Los Angeles
2008
“My Collection: Rahime Harun”, National Art Gallery, Kuala Lumpur, Malaysia
2007
Los Angeles Municipal Art Gallery, Barnsdall Park, Los Angeles, USA
2007
Hamilton & Tracy Park Gallery, Los Angeles, USA
2007
“V-Day”, Vagina Monologues, Directors Guild of America, Los Angeles, USA
2006
James Gray Gallery, Malibu Arts Association Juried Exhibition, Bergamot Station Arts Centre, Los Angeles, USA
2006
“XL Art Show”, XOAS Gallery, Kuala Lumpur, Malaysia
2006Darling Muse Art Gallery, Kuala Lumpur, Malaysia
2006
“A Beautiful Mind”, Gallery Tangsi, Kuala Lumpur, Malaysia
2005
“50th Anniversary Gala and Art Show”, Title & Graphic Artists Local 816, IATSE, Academy of Television Arts and Sciences, Los Angeles, USA
1992
“Mixed Media and Sculpture”, Los Angeles Art Association, Los Angeles, USA
1991
“Art and Poetry”, Consulate General of Indonesia, Los Angeles, USA
1985
“Grosse Kunstaustellung”, Stadt Gallery, Ebersberg, Germany
1985
“Anak Alam: Panorama”, City Hall, Kuala Lumpur, Malaysia
1984
“Fourth Asean Exhibition of Painting and Photography”, Travelling Show to Singapore, the Philippines, Malaysia, Brunei, Thailand and Indonesia
1984
“10 Tahun Anak Alam”, Kuala Lumpur, Malaysia
1984
“Pameran Terbuka”, National Art Gallery,
Kuala Lumpur, Malaysia
1982
“Fabulous Fig”, Los Angeles Contemporary Exhibitions (L.A.C.E.), Los Angeles, USA
1982Asean Mobile Art Show, National Art Gallery,
Kuala Lumpur, Malaysia
1982
“Pameran 25 Tahun”, National Art Gallery,
Kuala Lumpur, Malaysia
1980Annual Art Show, Salzburg, Austria
1980Annual Art Show, Rosenheim, Germany
1980Annual Art Show, Bad Aibling, Germany
1980
“Grosse Kunstaustellung”, Wasserburg, Germany
1980
“Grosse Kunstaustellung”, Haus de Kunst, Munich, Germany
1979
“Salon Malaysia”, National Art Gallery,
Kuala Lumpur, Malaysia
1977
“Grosse Kunstaustellung”, Wasserburg, Germany
1976
“Grosse Kunstaustellung”, Wasserburg, Germany
1975Anak Alam, Kuala Lumpur, Malaysia
1973Dewan Bahasa & Pustaka, Kuala Lumpur, Malaysia
1972Angkatan Pelukis Semenanjung, Kuala Lumpur, Malaysia
1972Samat Art Gallery, Kuala Lumpur, Malaysia
Reviews, Interviews & Articles
Radio and Television
Dec 1991
May 1984
June 1981
“Ali Mabuha: Our Artist in America”, Interview by
Noraini, Malaysian Independence Day broadcast,
Radio & Television Malaysia (RTM), Malaysia
“Ali Mabuha”, Interview by Dinsman Mohamad, Focus, Radio & Television Malaysia (RTM), Kuala
Lumpur, Malaysia
“Ali Rahamad”, Interview by Yoneno, N.H.K. Radio Japan, Tokyo, Japan
Print Media
Sept 2006Eike Schluter “Out of Rosenheim”, Der Maler Ali Rahamad wirkte lange zeit in unserer Region heute
en in LA, Rosenheim, Germany
Sept 2006Eike Schluter “Out of Wasserburg”, Der Maler Ali
Rahamad wirkte lange zeit in unserer Region,
heute en in LA, Rosenheim, Germany
Mar 1989A.K. “Reifeprozess Vollzogen”, Offenlicer Anzieger,
Kreisstadt Kreuznach, Germany
Dec 1988A.K. “Ankunft in Deutscheland, In Bildern
Festgenhalten”, Offenlicher Anzieger, Kreisstadt
Kreuznach, Germany.
1986A.K. “Reifeprozess Vollzigen”, Kreisstadt Bad
Kreuznach, Germany
1985
ISA. “Verganglichkeit in Pastell”, Kreisstadt Bad
Kreuznach, Germany
Feb 1985
Lam Seng Fatt, “Child of Nature”, New Straits
Times, Kuala Lumpur, Malaysia
1985
Foo May Lyn, “Where the Sun Smiles Benignly”,
The Malay Mail, Kuala Lumpur, Malaysia
1985Raja Zahabuddin Raja Yaacob “Anak Alam-Satu
Renungan”, Dewan Budaya, Malaysia
Jan 1985Reudi Mahmood, “Pembaziran Bakat Seniman
Malaysia Bahasa Dan Sastera”, Berita Harian,
Kuala Lumpur, Malaysia
1984
Jacqueline Tow, “The Fantasy World of Ali
Rahamad”, The Star Penang Platter, Malaysia
1984Siti Zaleha Hasim, “Warna Hidup Seorang
Pengembara”, Dewan Budaya, Malaysia
1984
Thean Lee Cheng, “Living from Moment to
Moment”, The Star, Kuala Lumpur, Malaysia
May 1984E.M. Joseph, “Painter in Search of Himself”, The
Star, Kuala Lumpur, Malaysia
June 1984 Zaittun Ahmad, “Ada Rahsia Dalam Lukisannya”,
Keluarga Magazine Kuala Lumpur, Malaysia.
Sept 1981
Tetsuo Sakiya, “Ali Rahamad”, Asahi Journal
Magazine, Tokyo, Japan
Sept 1981DH. “Unterwegs”, Wasserberger Zaitung,
Wasserburg, German
Oct 1981
WR. “Neue Gaste und Verse in Malaysisch”,
Wasserberger Zaitung, Wasserburg, Germany
77
BIODATA
Heck, “Portrat Komposition”, Wasserberger
Zaitung, Wasserburg, Germany
July 1980Reinhard Muller, “Das Heute Akzeptable
Mittelmass der Moderne”, Rosenheimer Zaitung,
Rosenheim, Germany
1980Reinhard Muller-Mehlis, “Das heute ubliche,
akzeptable Mittelmass der Moderne”, Rosenheimer
Zaitung, Germany
1980
Klaus J. Schonmetzler, “Revolution auf Raten”,
Resenheimer Zaitung, Germany
June 1980 Klaus J. Schonmmetzler, “Am Wendepunk”, Bad
Aibling Zaitung, Germany
1980
TR. “Ironie des Schicksals”, Resenheimer Zaitung,
Germany
1979Siti Zainon, “On the Journey”, Dewan Budaya
Magazine, Kuala Lumpur, Malaysia
Nov 1979
“Wanderer Ali Seeks and Finds”, Asia Week
Magazine, Hong Kong
Jun 1974
Latiff Mohidin, “Seni Lukis Sebagai Titian
Perjalanan Rohani”, Dewan Sastra Magazine,
Kuala Lumpur, Malaysia
Feb 1973
Latiff Mohidin, “Di Sekitar Malam Pengambara
Seni”, Dewan Sastra Magazine, Kuala Lumpur,
Malaysia
Feb 1973
ZA, “Pertemuan Seniman Pamerkan Karya
Pelukis”, Mingguan Malaysia
INDEX
Oct 1981
78
A Little Smile 55
Golden Horn 18
Angkor 72
Golden Plumeria 47
Apsara #1 64
Inderapura 17
Apsara #2 67
Kerbau / Buffalo 20
Apsara #3 68
Lady of Minangkabau 52
Apsara #4 71
Lemang Beauty 13
Autumn Towers 51
Lemang Merah 32
Awan Merah 14
Mountain Warrior 60
Birds of the Flame 48
Red Dove 43
Blue Kebaya 10
Red Plumeria 59
Blue Lapis 40
Red Towers 35
Blue Pearl 36
Salam 16
Bukit Tinggi #1 28
Singing of the Birds 23
Bukit Tinggi #2 31
Smile Buddha 75
Evening Cloud 27
Sunrise Inderapura 24
Gadis Permata 56
Supreme 39
Gelombang 44
79
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50480 Kuala Lumpur
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Photography by
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Haris Fadzillah bin Hassan
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Golden Plumeria, 2015, 102cm x 122cm, Acrylic on canvas
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