Malaysia-poland Residency Program Booklet

CARIMASAJALANTUKAR KUALA LUMPUR

CULTURAL EXCHANGE AND ART RESIDENCY PROGRAM BOOK JUL-AUG 2009 WWW.ARTCHORE.ORG

INTRODUCTION

PROGRAM BACKGROUND The Cultural Exchange and Art Residency Program was initiated by the Malaysian-Poland Business Association, with support from the Poland Embassy in Malaysia in April 2009. From the first meeting, a new group of visionary artists and architects were formed to be part of the participants for the proposed Art Residency Program in Poland. This cross-disciplinary team of participants is seen as the most relevant and beneficial for the emergence and development of the creative industry for both Malaysia and Poland. This program will function as an international laboratory for research, education and development in art, architecture and urbanism. Bridging fine arts and architecture through the academic education and research with professional acuity, it is hoped that this proposed program will help in the production and development of innovative knowledge that is applicable to fine arts and architectural practice as part of a transnational discourse and culture interaction. The Team June 2009, Kuala Lumpur

SUPPORTS & ACKNOWLEDGEMENT

Government of Malaysia

Government of Poland

Poland Embassy in Malaysia Malaysia-Poland Business Association Academy of Fine Arts in Poznan National Art Gallery, Malaysia Antamax Sdn Bhd Woods Baggot Sdn Bhd Gerbang Perdana Sdn Bhd Shalini Ganendra Fine Art: The Private Gallery Architecture Department, Universiti Teknologi MARA Architecture Department, Universiti Putra Malaysia KW Institute for Contemporary Art, Berlin Malaysia Embassy in Warsaw, Poland Malaysia Embassy in Berlin, Germany Malaysia Embassy in Vienna, Austria Malaysia Embassy in Prague, Czech Republic MERCY Malaysia Renaissance Hotel Kuala Lumpur Collectors and friends

INTRODUCTION

PROGRAM OBJECTIVES Participants for this proposed Residency Program in Poland will pursue extensive research into the processes of understanding the socialcultural-economic context of Poland, seen from the eyes of Malaysians. Through investigative, experimental and speculative research process, the aim of this intensive program is to advance research related to arts, architecture and urbanism of Poland and Malaysia by connecting participants to the real conditions of both worlds. These experience and understanding are soon to be shared with public and others through progressive post-residency activities.

understanding through the production of artworks, research papers, reports and others.

This proposed Residency Program is a uniquely designed intensive and intimate environment and experience that aims to expand formal and intellectual resources from both Poland and Malaysia. Based within the city of Warsaw, and other towns of Poland, the Residency Program’s studios will creatively utilize the city and towns’ surroundings as its focus of research, innovation and new methodologies in the pursue of understanding its context. The participants will work closely with local community, artists, architects, The participants which consists of two curators, and third-party collaborators (2) fine artists from various discipline to broaden and deepen the scope of and experience, joined together with one understanding, which hopefully will (1) architect and one (1) art manager, provide a critical global outlook while who share the same vision towards simultaneously producing locally a progressive art, architecture and informed knowledge. urbanism sees this Residency Program in Poland as a platform towards defining what art and architecture can contribute towards the social and cultural advancement of Malaysia. This Residency Program also aspires to initiate a transformative impact on the art and built environment by producing polemical art and architectural research

INTRODUCTION

CARIMASAJALANTUKAR

CARIMASAJALANTUKAR is a concept to push forward the boundary of creativity and research in the world of arts, architecture and the built environment. The program will function as a platform to encourage bilateral partnership between both Malaysia and Poland. The program will take place in Poland, starting from July 3 until August 18, 2009. It will consist of an Art Exchange/ Residency Summer Program in Pyzdry, which starts from July 4 until July 15, 2009. Pyzdry is a small town, located 300 km to the west side of Warsaw. A small final exhibition will be conducted in the museum of Pyzdry. Alongside this proposed program, the participating artists and architect will also conduct formal research trips around Poland in preparation to produce a more comprehensive and in-depth body of works that will be part of the bigger exhibition to be held back in Malaysia. From July 16 until July 20, 2009, the The Academy of Fine Arts in Poznan will be hosting the team members in a Cultural Exchange program with the faculty members of the institution. This program will be an intellectual discourse agenda to promote the rich culture of both countries, as well as a platform for experience sharing.

Poland was chosen as the platform for this program for an establishment of cultural exchange within the two countries. As a progressively developed country, the participants see the opportunity to learn the wide phenomenological progression of arts and the built environment in Poland to bridge cultural and intellectual belongings of both countries. We see this as an opportunity to export the rich cultural diversity of both countries in the form of knowledge expression through arts and architecture. Study, research and observation will be supported by regular discussion with local artists, curators and related parties of the public. During the three weeks program, all findings will be produced in the kind of artworks, research papers (essay) and other form of body of work (i.e. multimedia production, desktop publishing, etc.).

PARTICIPANTS

SABRI IDRUS

NASIR BAHARUDDIN

Sabri Idrus (b. 1971, Kedah, Malaysia) is an award-winning Malaysia’s visionary young contemporary artist, exploring experimental approaches in combining painting, graphic design and industrial materials to achieve a liberated socio-cultural dogma towards reinventing a new form of symbol in art. Sabri’s interest lies in his development of body of works that tries to unfold his critical notion towards the social condition and the parody against institutions that secures the definition between painting and crafting painting. Sabri has also produced an extensive amount of portfolio ranging not only from painting works, but also publication and graphic design, multimedia and video production, installation and other new forms of media.

Nasir Baharuddin (b. 1960, Perak Malaysia) is a practicing artist and educator. A Masters of Fine Art graduate from Savannah College of Art and Design, Georgia, U.S.A.(1993), Nasir has involved in many exhibitions either at the national or international level. He has taught art and design at various colleges and universities in Malaysia, and as an art director for the Gallery Shah Alam, Selangor 1997-98, before joining Universiti Putra Malaysia (UPM). A writer for an art magazine (SENTAP) and art journals in Malaysia, currently he is a senior lecturer at the Architecture Department, UPM, where his major interest is on socio-culture environment and visual culture study. Nasir received many awards in art competitions and collaborative art projects. His current research interests focused on Malaysian visual art thinking, questioning the position of Malaysian visual artist in terms of their intellectual’s contribution, including the process of developing new theories.

[email protected] www.sabriidrus.blogspot.com

[email protected] www.visualcrackers.blogspot.com

PARTICIPANTS

HAFIZ AMIRROL

NORHANA YUNOS

Hafiz Amirrol (b. 1983, Kuala Lumpur, Malaysia) is an architect working in the field of humanitarian works and academic research. Received his early architectural education from Universiti Teknologi MARA (UiTM), Malaysia between 2001 to 2005 before spending two years in Aceh, Nias and Jogjakarta, Indonesia to help in the name of humanitarian with MERCY Malaysia. He was also involved in humanitarian works in Bangladesh and Myanmar. He then declared that architecture as a very powerful tool for humanity. Fascinated by the aesthetics of visual encounters and the personal radiance of human beings, Hafiz has placed the main focus of his works on social and contextual issues, humanity and everyday life. He also sees design as being sexy, playful and provocative as an effective way to respond to social change.

Norhana Yunos (b.1971, Singapore) has about 17 years of working experience. Currently an independent curator and specializes in art management, cataloguing, archiving and art history. Previously with the Olympic Council of Malaysia (2005-2007) as the Centre Director to oversee the operations and management of the OCM Indoor Sports Centre, and to curate and administer the on-going exhibitions and activities for the OCM Sports Museum & Hall of Fame. Other significant post held was as a Senior Executive ( 2002-2005), heading the Corporate Communications and Knowledge Management Unit for Professional Services Development Corporation Sdn Bhd. From 1990 – 1997, served as a production manager for several television commercials such as Petronas (Festive series), McDonalds (promo), F & N, Yellow Pages, Glucolin, Wrigley’s, Yomeishu, and Sharp (local consumers). Currently, in the midst of completing her assignment with Maybank for their audit purpose the art evaluation on Maybank’s Art Collection.

[email protected] www.hafizamirrol.blogspot.com

[email protected]

HOSTING COUNTRY

POLAND

The Republic of Poland (Rzeczpospolita Polska), is a country in Central Europe. Poland is bordered by Germany to the west; the Czech Republic and Slovakia to the south; Ukraine, Belarus and Lithuania to the east; and the Baltic Sea and Kaliningrad Oblast, a Russian exclave, to the north. The total area of Poland is 312,679 square kilometres, making it the 69th largest country in the world and the 9th largest in Europe. Poland has a population of over 38 million people, which makes it the 34th most populous country in the world and the most populous Eastern European Member State of the EU. The establishment of a Polish state is often identified with the adoption of Christianity by its ruler Mieszko I, in 966 when the state covered territory similar to that of present-day Poland. In 1025, Poland became a kingdom and in 1569, it cemented a long association with the Grand Duchy of Lithuania, by signing the Union of Lublin, forming the Polish–Lithuanian Commonwealth. The Commonwealth collapsed in 1795 and Poland’s territory was partitioned among Kingdom of Prussia, Russian Empire and Austria.

Poland regained its independence as the Second Polish Republic in 1918, after World War I, but lost it again in World War II, then occupied by Nazi Germany and the Soviet Union. Poland lost over six million citizens in World War II, emerging several years later as the socialist People’s Republic of Poland within the Eastern Bloc, under strong Soviet influence. During the Revolutions of 1989, communist rule was overthrown and Poland became what is constitutionally known as the “Third Polish Republic”. Poland is a unitary state, made up of sixteen voivodeships. Poland is also a member of the EU, NATO and the Organisation for Economic Co-operation and Development. Historians have postulated that throughout Late Antiquity, many distinct ethnic groups populated the regions of what is now known as Poland. The exact ethnicity and linguistic affiliation of these groups has been debated; in particular the time and route of the original settlement of Slavic peoples in these regions.

HOSTING COUNTRY

Poland historically contained many languages, cultures and religions on its soil. The country had a particularly large Jewish population prior to World War II, when the Nazi Holocaust caused Poland’s Jewish population, estimated at 3 million before the war, to drop to just 300,000. The outcome of the war, particularly the westward shift of Poland’s borders to the area between the Curzon Line and the Oder-Neisse line, coupled with post-war expulsion of minorities, significantly reduced the country’s ethnic diversity.

FACTS Capital Government Currency Area Population Language Electricity Calling Code Internet TLD Time Zone

Warsaw Republic Złoty (PLN) 312,685 km² 38,636,000 Polish 230V/50Hz (EU plug) +48 .pl UTC+1

VISITING COUNTRY

MALAYSIA

Malaysia is a country that consists of thirteen states and three federal territories in Southeast Asia with a total landmass of 329,847 square kilometres. The capital city is Kuala Lumpur, while Putrajaya is the seat of the federal government. The population stands at over 27 million. The country is separated into two regions — Peninsular Malaysia and Malaysian Borneo — by the South China Sea. Malaysia borders Thailand, Indonesia, Singapore, Brunei and the Philippines. The country is located near the equator and experiences a tropical climate. Malaysia’s head of state is the Yang di-Pertuan Agong and the government is headed by a Prime Minister. The government is closely modeled after the Westminster parliamentary system.

Due to widespread opposition, it was reorganized again as the Federation of Malaya in 1948 and later gained independence on 31 August 1957. Singapore, Sarawak, British North Borneo and the Federation of Malaya joined to form Malaysia on 16 September 1963. The Southeast Asian nation experienced an economic boom and underwent rapid development during the late-20th century. Rapid growth during the 1980s and 1990s, has transformed Malaysia into a newly industrialised country. Because Malaysia is one of three countries that control the Strait of Malacca, international trade plays a large role in its economy. At one time, it was the largest producer of tin, rubber and palm oil in the world.Manufacturing has a large influence in the country’s Malaysia as a unified state did not exist economy. Malaysia has a biodiverse until 1963. Previously, a set of colonies range of flora and fauna, and is also were established by the United Kingdom considered one of the 18 megadiverse from the late-18th century, and the countries. Malaysia is a founding western half of modern Malaysia was member of the Association of Southeast composed of several separate kingdoms. Asian Nations and is a member of the This group of colonies was known as United Nations. As a former British British Malaya until its dissolution in colony, is also a member of the 1946, when it was reorganized as the Commonwealth of Nations. It is also a Malayan Union. member of the Developing 8 Countries.

VISITING COUNTRY

Malaysia is a multi-ethnic, multi cultural and multilingual society. Malaysia’s population comprises many ethnic groups, with the Malays at 50.4% making up the majority and other bumiputra/indigenous (Aborigine) groups in Sabah and Sarawak at 11% of the population. There also exist aboriginal groups in much smaller numbers on the Peninsula, where they are collectively known as Orang Asli.

FACTS Capital Government Currency Area Population Language Electricity Calling Code Internet TLD Time Zone

Kuala Lumpur Constitutional monarchy Ringgit Malaysia (RM) 329,750 km² 26,600,00 Bahasa Malaysia, English, Chinese, Tamil 230V/50Hz +60 .my UTC+8



PREVIEW SHOW, 18.06.09, KUALA LUMPUR

KERONCONG SERIES (REVISITED) SABRI IDRUS

01.

Since the beginning of his career, for Sabri, art is a way of life, along with all its complexities. His belief in art making, especially paintings as an inherent social process that submerged him in technical and material advancement through experiments. By this, increases his sensitivity in the visual language and other artistic possibilities. Initially trained as a graphic designer, Sabri embarked on a life long search in his creative direction, and had experienced a very significant change in his journey of self-discovery. What he usually regarded as his secondary interests, i.e. graphic design and digital prints, have significantly

contributed to his process in mastering his own visual language. The elements of balance and surprises, discovered through the exploration of contrasts, an aesthetic strategy he often used with his digital sketches merged into a kind of extrasensory mechanism that usually works efficiently for his later development of works on canvas. One thing that attracted Sabri were the experiments in basic elements; playing around with lines, space, volumes and colors. These basic elements were always being put into tests in his works; considering the notion that meaning within those elements are complex, slippery, multifaceted and indeterminate.

PREVIEW SHOW, 18.06.09, KUALA LUMPUR

02.

03.

04.

Parallel to this, Sabri also often uses paint as paint, colors as colors and forms as forms. Most revealing about his approach in creating his progressive body of works is the fostering inscrutability for aesthetic reasons. From his vantage point of view on aesthetic obscurantism, missing or indefinable knowledge is seen as simply another aspect of his works’ inherent “incompleteness”; an open-ended approach that allows him to flexibly take them to another level for further development. Sabri’s interests in those obscurantism lies in his details of creating marks and prints of in-between spaces, tension voids, jagged edges, the tension of the transition during the process of making and moments that are frozen and captured within different strategic operations. His anxiety in experiencing surprises during his process holds both excitement and also danger. This risk had cost him a lot in the production of his works, but at the same time making Sabri being more ready and open towards the inevitable consequences. It is a bittersweet comfort in his tendency in liberating painting from cliché narrative and forced meanings. He always argues on the relevancy of making artwork in today’s unprecedented flow and amount of information available through

PREVIEW SHOW, 18.06.09, KUALA LUMPUR

05.

globalised media and the internet. What he sees as a redundancy in reproducing information and critiques readily available from various sources into the form of artwork is, for him, a notion to be challenge by all artists, academics and thinkers in order to make art relevant again. This argument always put Sabri in a situation where he faces conflict within himself, thus trapping him in the race with time, resulting in his sedated mode in working on his paintings. Sometime, his other commissions, i.e. desktop publishing, graphic designs and photography keeps him away from his canvasses, but during these sojournic moment is where Sabri discover his experimental and explorative methods towards further discovery in his questions and arguments.

06.

07.

08.

PREVIEW SHOW, 18.06.09, KUALA LUMPUR

09.

This series of digital prints are sets of revisited works from his previous paintings, captured and manipulated digitally into fragments of repetitive patterns. This series of ‘seductively’ composed patterns are his exploration in making marks through the process of layering, embedding, contrasting and so on in order to produce something that is almost impossible to achieve in conventional paintings. In the process of producing works that are regarded as contemporary, Sabri uses digital technology, combined with skillful photography and painting works to celebrate the existentialism of his development of work through the acts of exploration, research, finding and data recording.

10.

01. Masa Satu 02. Masa Dua 03. Masa Tiga 04. Masa Empat 05. Masa Lima 06. Masa Enam 07. Masa Tujuh 08. Masa Lapan 09. Masa Sembilan 10. Masa Sepuluh 2009 Digitally manipulated photographs 76.2cm x 76.2cm

PREVIEW SHOW, 18.06.09, KUALA LUMPUR

ART+TECTURE(S) NASIR BAHARUDDIN

01.

Nasir strongly believes in discovery of living systems theory, which he derived from exploring the world of philosophy, literature and the sciences. His purpose in this journey is to structure the law of natural systems through their scientific decoding into works of art. His previous paintings often try to discover a minimalist form-world of signs as distinct shapes and points, as they are enigmatic in their content. In addition to his ideas are proposals on the advancement of language on visual systems and its content using geometrical rules and methodologies. His studies put forth the idea of natural and living systems, which are constructed based on abstracting

calculation and matrix of knowledge as a visual phenomenon or object. Derived from the theory of the occurrence of objects, a psychological approach that includes human anxiety, eccentricity, imagination, reality and between conscious and subconscious phenomenon were constructed. These analyses indicate the process of natural and living systems - the self organizing systems, consisting nature abstraction that transform into basic knowledge and law of existence to all the visual phenomena and human creation.

PREVIEW SHOW, 18.06.09, KUALA LUMPUR

02.

03.

04.

His belief in perennial knowledge and truth is his guiding strength to further embark and produce works that challenge conventional means of making painting. This challenge, etiologically, are his visual representation derived from a schematic nature and ordering of objects that caused systems of visual phenomena. By discovering these, he can structure the law of natural systems through images and abstract paintings as characteristics of needs and mystical ambiguity. His philosophical attitudes that are inattentive to the values and needs for spirituality have paved alternative scientific approaches to visual interpretation. The intent of all of these acts in the production of his works is actually an act of obedience, purification, improvement and enlightenment to the heart. “Prosperous is he who purifies it” (Quran, 91:9). These acts are to achieve the illumination of faith in what he is doing, which means the shining of the light of knowledge. His mind has always been attracted to the mathematical sciences in accordance with the “abstract” character of the doctrine of Oneness (Tawhid), which lies from the law of natural systems, where uniformity within multiplicity is the characteristic in regard to time and space.

PREVIEW SHOW, 18.06.09, KUALA LUMPUR

05.

Art+Tecture(s) are photographic works that communicate the architectural representation of beauty - holistically and mystically. The dynamism and provocative moment of the architectural pieces are captured in a dynamic perspective convention. Spatial interaction, either visible or not, as Rudolph Arnheim says: “the world of images does not simply imprint itself upon a faithfully sensitive organ”. Rather, in looking at an object, we try to reach out on it. We move through space around us, go out to distant places where things are found, touch them, catch them, scan their surfaces, trace their borders, measure their lines and so on. It is an eminently active occupation. The work of lenses and filters emphasize on angles that create their exterior monologue of the living

06.

space and meaning - a visual paradox within the emptiness and natural objects. The architectural structure describes underlying cognitive processes, influencing human perception on natural environment. Though these photographs could not easily have envisaged outside the parameters of images, the parameters of the frozen moments are results of operations that provoke to elucidate his intention on this series of works. 01. After Image 02. Enfilade Dissolution 03. Ludic Tension 04. Monastic Odyssey 05. Only Halfway Escape 06. Threshold of Invisible 2009 Photography 76.2cm x 76.2cm

PREVIEW SHOW, 18.06.09, KUALA LUMPUR

MEASURING SERIES HAFIZ AMIRROL

01.

The Measuring Series are attempts to communicate architectural visual encounters within a certain journey through the process which involve gathering historical, strategic, political or other datasets and redefining the territory through particular terms, expanded upon specific themes based on findings from his earlier investigations. These investigations through his earlier works were testimonies against the conventional techniques of drawings, diagrams, models, collage and photography at differing scales. These representations combined planometric, sectional and three-dimensional drawings as temporal techniques – which are represented in a more innovative and provocative manner.

Throughout his journey in the world of architecture and creative design, humanitarian approaches have played important roles in molding his criteria for a new reflexive kind of architecture. His interest in every day’s banality in today’s context of life often forced him to mix multidisciplinary task, i.e. art, graphic, writing, social works, film making, etc. with architecture to keep his mind stimulated in order to keep on producing new works. Hafiz believes that these approaches would some day tear down the wall between the elitist culture in design and the majority poor community.

PREVIEW SHOW, 18.06.09, KUALA LUMPUR

02.

03.

01. Measures of Control 02. Measures of Cut 03. Measures of in Between 04. Measures of Balance

04.

2009 Digitally manipulated drawings, models, collage and photographs 76.2cm x 76.2cm

TRAVEL ITINERARY

POLAND WARSAW

CENTRE FOR CONTEMPORARY ART Ujazdowski Castle
ul. Jazdów 2,
00-467 Warsaw, Poland, PL T: +48 22 628 12 71-3, 
+48 22 628 76 83
 F: +48 22 628 95 50
 E: [email protected] Opening Hours: Open every day except Monday from 12 pm to 7 pm Friday from 12 pm to 9 pm Admissions: Regular 12 Zloty, Discounted 6 Zloty; Families 20 Zloty Last visitors admitted one half hour before galleries close The Centre for Contemporary Art is a place for the creation and documentation of art in all its forms. The Centre achieves its goals through exhibitions, performances, presentations of visual theatre, concerts of contemporary music, showings of experimental films, video art, shows and creative workshops, as well as various interdisciplinary events.

Twelve years have passed since the Centre for Contemporary Art began its systematic and comprehensive activity in the public domain. That creation of the Centre is still in process. A unique feature of this process is the way the developing art. programme is correlated with the reconsruction and organization of the architectural spaces of the Castle in which the Centre is housed.


TRAVEL ITINERARY

POLAND LODZ

MODERN ART MUSEUM, LODZ MUZEUM SZTUKI

HISTORICAL MUSEUM OF LODZ MUZEUM HISTORII MIASTA LODZI

Ulica Wieckowskiego 36, Lodz, Poland, Ulica Ogrodowa 15, Lodz, Poland, PL
 PL
 T: +48 42 654 0323
 T:+48 42 633 9790
 Opening Hours: Opening Hours: Tue 10:00 to 17:00 Tuesday and Thursday - 10:00 to 16:00 Wed and Fri 11:00 to 17:00 Friday to Sunday - 10:00 to 14:00 Thur 12:00 to 19:00 Wednesday - 14:00 to 18:00
 Sat and Sun 10:00 to 16:00
 Admissions: Admissions: Free on Wednesdays

 Free on Thursdays Sited on the corner of Ulica Gdanska and just a couple of blocks to the west of the Ulica Piotrkowska, the Lodz Modern Art Museum boasts a large and impressive collection of 20th-century art works and was amongst the very first gallery of its kind in the whole of Europe. Filled with colourful and stylish sculptures, paintings, drawings, sketches and even photographs, this contemporary art gallery features works by a number of world-famous artists, such as Marc Chagall, Max Ernst and Pablo Picasso. Close by, the Music Academy may also be of interest.

Located on the far northern side of the Ulica Piotrkowska, the Historical Museum of Lodz can be found within the glorious palace once owned by the affluent Poznanski family. The elaborate decorated interior is a particular highlight and features a wealth of exhibitions about the city’s history and ghetto, with some displays remembering famous citizens, such as the pianist Artur Rubinstein and the Polish writer of Jerzy Kosinski

TRAVEL ITINERARY

POLAND LODZ

MUSEUM OF ETHNOGRAPHY AND ARCHEOLOGY (MUZEUM ARCHEOLOGICZNE I ETHOGRAFICNE

CITY ART GALLERY MIEJSKA GALERIA SZTUKI

Plac Wolnosci 14, Lodz, Poland, PL
 T: +48 42 632 8440


Ulica Wólczanska 31 / 33, Lodz, Poland, PL T: +48 42 632 7995


Opening Hours: Tuesday, Thursday and Friday - 10:00 to 17:00 Wednesday - 09:00 to 16:00 Saturday - 09:00 to 15:00
 Admissions: Free on Tuesdays

 Close to the Historical Museum of Lodz and located on the Plac Wolnosci, a former market place also known as Liberty Square, the Museum of Ethnography and Archaeology contains an exceptional collection of ancient treasures and archaeological artefacts from all around this part of Poland. Many of the exhibits date from as long ago as the Stone Age, and cover the various periods right up to the Middle Ages.

Opening Hours: Tuesday to Friday - 12:00 to 17:00 Saturday and Sunday - 12:00 to 16:00
 Admissions: Unknown The City Art Gallery enjoys an appealing setting, being housed within a beautiful Art Nouveau style villa, which was built at the very start of the 20th century. Many visiting art exhibitions are regularly staged here and are often rather contemporary in their style, attracting modernist artists from all over Poland and beyond.

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POLAND

GERMANY

POZNAN

BERLIN

ACADEMY OF FINE ARTS IN POZNAN AKADEMIA SZTUK PIEKNYCH w POZNANIU

KUNST-WERKE BERLIN e.V. KW INSTITUTE FOR CONTEMPORARY ART

Skrytka Pocztowa 191 60-967 Poznan, Poland, PL

Auguststr. 69, 10117 Berlin T: +49 (0)30 24 34 59-0 F: +49 (0)30 24 34 59-99 E: [email protected]

T: +48 61 855 25 21 F: (+48 61) 852 80 91 www.asp.poznan.pl Contact Person: Marek Boruczkowski International Relations / Wspolpraca Zagraniczna Akademia Sztuk Pieknych w Poznaniu Academy of Fine Arts in Poznan T: +48/ 61/ 8552521 F: +48/ 61/ 8528091 M: +48/605244394

Opening Hours: Tue - Sun 12 - 19 Thur 12 - 21 Admission: 6 euro, 4 euro concessions

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GERMANY BERLIN

JEWISH MUSEUM BERLIN

HOLOCAUST MEMORIAL

Lindenstraße 9-14, 10969 Berlin T: +49 (0)30 259 93 300 F: +49 (0)30 259 93 409 E: [email protected] E: [email protected]

Cora-Berliner-Straße 10117 Mitte, Berlin, Germany T: +49 30 26394311 W: www.stiftung-denkmal.de

Opening Hours: Monday from 10 a.m. to 10 p.m. Tuesday-Sunday from 10 a.m. to 8 p.m. Admittance will be granted until 7 p.m. Tuesdays-Sundays, 9 p.m. on Mondays. Admissions: Regular charge: 5 euros Reduced charge (pupils, students, apprentices, welfare-recipients): 2.50 euros Children under the age of six: free of charge Family ticket (2 adults and up to 4 children): 10 euros Audio guide: 2 euros (plus ID as deposit)

CHECKPOINT CHARLIE Friedrichstraße 43-45, 10969 Berlin, Germany

TRAVEL ITINERARY

AUSTRIA VIENNA

ARCHITECTURE CENTER VIENNA (ARCHITEKTURZENTRUM WIEN) 7, Museumsplatz 1 
U2: Museumsquartier, 
U3: Volkstheater 
 T: 522 31 15 W: www.azw.at

MUSEUM MODERNER KUNST STIFTUNG LUDWIG (MUMOK) Wien
MuseumsQuartier
Museumsplatz 1, A-1070 Vienna
 T: +43-1-525 00


Opening Hours: Daily 10 a.m. to 7 p.m.

Opening Hours: Daily: 10.00 a.m.–6.00 p.m.
Thu: 10.00 a.m. –9.00 p.m.

MUSEUM OF ART HISTORY (KUNSTHISTORISCHES MUSEUM)

Admissions: Adults: 9 euros Reduced rates: 7.50 euros

Auguststr. 69, 10117 Berlin T: +49 (0)30 24 34 59-0 F: +49 (0)30 24 34 59-99 E: [email protected] Opening Hours: Tue - Sun 12 - 19 Thur 12 - 21 Admission: 6 euro, 4 euro concessions

TRAVEL ITINERARY

JULY 3 Arrive to Warsaw Visit to the Embassy of Malaysia in Poland Introduction to the city of Warsaw JULY 4 Travel from Warsaw to Pyzdry Introduction to the town of Pyzdry JULY 4 – JULY 17 Art Exchange/ Residency Program in Pyzdry The organizer of Art Residency Program in Pyzdry: Marek Haładuda H/P +48 663 484 769 Office: +48 61 663 63 87 Address: Gospodarstwo Agroturystyczne Pod Kogutem Włodzimierz Urbaniak Dłuski 72, 62 -310 Pyzdry

JULY17 Travel from Pyzdry to Poznan JULY 17 – JULY 23 Visit to the Academy of Fine Arts, Poznan – meeting with academicians Contact: Marek Boruczkowski International Relations Academy of Fine Arts in Poznan Skrytka Pocztowa 191 60-967 Poznan Poland Office: +48 61 8552521 Fax: +48 61 8528091 Website :www.asp.poznan.pl Production of research materials – works execution Finalize research materials and presentations – research finding and analysis

Malaysia – Poland Cultural Exchange • Local cultural studies - an observation Program at the Academy of Fine Arts, within tacit knowledge methodologies Poznan • Art and architectural excursion • Artwork showcase • Museums and galleries visit – visual • Research presentations interpretations and works determination • Round table discussion with faculty • Visits to villages and small towns for members and students local socio-cultural studies – interview and interaction JULY 23 • Production of artworks – finding Poznan - Paris process (Nasir and Hafiz) • Final exhibition at the local museum/ gallery in Pyzdry – the end result and inter-dialogue

TRAVEL ITINERARY

JULY 23 – JULY 29 Sabri and Ana in Poznan JULY 29 – AUGUST 2 Sabri and Ana in Lagow on the 2nd August as expected AUGUST 3 – AUGUST 17 Art Exchange/ Residency Program in Łagów The organizer of Art Residency Program in Łagów: Alla Trafimenkowa -Herman Mobile: +48 514 94 66 14 [email protected] Address: Łagów ul.Lipowa 1 66-220 Łagów Lubuski AUGUST 17 Travel from Łagów to Warsaw You can go by train from Wiebodzin AUGUST 18 Farewell visit to the Embassy of Malaysia in Poland AUGUST 19 Return flight from Warsaw

MALAYSIAN EMBASSIES

POLAND

FRANCE

No. 3, Gruzinska Str., Saska Kepa, 03-902, Warsaw Republic of Poland

2bis rue Bénouville, 75116 Paris, France

T: (+4822) 617 4413/ 617 3144 F: (+4822) 617 6256 / 616 0590 E: [email protected] [email protected]

T: 00 331 45 53 11 85 F: 00 331 47 27 34 60 E: [email protected]

Embassy of Malaysia, Warsaw

Work day: Monday to Friday 0830 - 1630 Holiday: Saturday and Sunday

GERMANY

Embassy of Malaysia, Berlin Klingelhoeferstr. 6 10785 Berlin Federal Republic of Germany T: F: E:

+49-(0)30-88 57 49 0 +49-(0)30-88 57 49 50/55 [email protected]

Work day: Monday to Friday 0900 - 1700 hrs Holiday: Saturday and Sunday

Embassy of Malaysia, Paris

Work day: Monday to Friday 0900 - 1700 hrs Holiday: Saturday and Sunday

AUSTRIA

Embassy of Malaysia, Vienna & Permanent Mission of Malaysia to the United Nations Vienna T: +43-1-5051042 Ext. 17 or 18 F: +43-1-5031390 E: [email protected] Officer: Dr. Noor Hasnah Mohamed Khairullah (Scientific Attache) Siti Hawa Idris (Personal Assistant to the Scientific Attache) Work day: Monday to Friday 0900 - 1700 hrs Holiday: Saturday and Sunday

CARIMASAJALANTUKAR WARSAW

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