Sembang Santai: Mimie Baharuddin

 

Mimie Baharuddin stands at the forefront of Malaysian art events and management. Since 2008, she has worked under the label of HOM Art Trans (previously known as House of MATAHATI), specializing in personnel management as well as group-based curatorial and management efforts. Active throughout Southeast Asia, Mimie has extensive experience in handling international exhibitions and residency programs, including projects in the United Kingdom (UK) and the United States of America (USA).

Born in the southern parts of the Malay Peninsula, Mimie is situated at the cultural crossroads within the Asian region. Despite graduating with a degree in Administration and Marketing, her passion lies in the field of Fine Arts. Within her chosen arena, she infuses her enthusiasm into the management and advancement of the Fine Arts field.

Among the artists and projects that have benefited under her management are Bayu Utomo Radjikin (HOM Director), the MATAHATI Collective, HOM Residency (SAGE Residency (SAGER), International Residency (INTERes), & Artists Residency (A-Res)), Matahati Art Award (Malaysia Emerging Artist Award), and Matahati Art Fund (Artriangle).

We are thrilled to share her world and inspiration with you!

ARTO Movement (AM): Ms. Mimie, could you please share a bit about your background?

Mimie Baharuddin (MB): I chose to pursue my studies in the arts from my secondary years until my undergraduate studies. I graduated with a Bachelor of Studies in Management, Majoring in Marketing from the Faculty of Economics and Management, UPM.

Immediately after graduation, I was hired as an outsource Assistant Advisor for a finance company. There, I utilized my management skills while juggling several jobs in a week. A typical week for me involved working for a security company in Cheras on Monday, managing a multi-branch restaurant at Wisma Central on Tuesday, and collaborating with an insurance company in Shah Alam on Wednesday. Can you believe that I had to handle and manage three companies in a week? (Laughs)

I continued in the economic field but shifted my focus more towards management and administration. During this period, I became actively involved in the Women's Development Collective, a non-government organization (NGO) focusing on women's and children's issues and rights. This initiative also engaged with Rukun Tetangga (Community Mediation) and addressed social, educational, health, environmental, welfare, art, culture, economic, and public safety concerns. In this period, I also managed the administration of an event advocating for clean and fair elections called BERSIH.

Aside from management and administration, I freelanced in the art industry, engaging as a traditional Malay dancer, a florist, and an event coordinator for weddings. Before venturing into the creative industry, I had a brief stint in a factory.

Through this array of work experiences, I developed a strong passion for the arts, thanks to my sister, an artist herself, who initially guided me in this field. Subsequently, I began attending exhibitions, meeting artists, and participating in workshops and art sharing sessions.

I consider my involvement in managing projects and supervising a gallery as part of my professional achievements. Since 2008, I have been managing and working closely with curators, writers, and artists. From these encounters, I have gained practical skills in administration, handling artworks, marketing, promotion, etc. HOM Art Trans (previously known as Galeri Matahati to House of Matahati) was where it all began.

After the time, effort, blood, sweat, and tears that I invested, I realized that this is it… this is my career.

AM: Who influenced you to become part of the Malaysian art scene?

MB: I owe it to Aisyah Baharuddin. She is the one who influenced and guided me on my journey in the arts. By the way, Aisyah Baharuddin is my sister. With her help and guidance, I started visiting galleries, attending opening receptions and art talks, meeting artists, and participating in several art workshops locally and internationally.

AM: Why did you choose to become an art manager?

MB: I have always had a particular interest and a strong passion for both arts and management. Leadership is crucial in any field, especially in the art field, as it is essential for keeping track and organizing.

AM: What is your opinion on art management in Malaysia?

 

MB: Art and management are two different realms requiring distinct skills. With a management background, I can easily understand art people, but that may not be the case for most in the art community. Some may perceive management as unimportant and may 

AM: What do you think of art management in Malaysia?

MB: Art and management are two different realms requiring distinct skills. With a management background, I can easily understand art people, but that may not be the case for most in the art community. Some may perceive management as unimportant and may not grasp its significance. We need more individuals capable of managing and organizing art events and exhibitions properly and efficiently. It is crucial to establish a robust support system (comprising management personnel) capable of planning and overseeing the art scene.

AM: How interested (exposed) are Malaysians (artists) in art management?

MB: It is challenging for me to generalize about Malaysians as a whole, but from my perspective, I can say that some are quite interested in management, particularly those who have experienced handling art exhibitions or events. However, Malaysians, especially young artists, are not adequately exposed to it in terms of opportunities. 

AM: What are the challenges an art manager faces, and how do you overcome them?

MB: As an art manager, among the challenges we face are the lack of clear guidelines to follow and limited opportunities for learning and improvement (in Malaysia). We have very few universities offering art management as a course or subject.

To surmount these obstacles, one must familiarize themselves with the industry, engage with the local art community (including artists, galleries, art collectives, etc.), pursue internships with local art galleries or organizations (profit-based or otherwise), and connect with art managers working in art galleries or museums. These are excellent ways to network and immerse oneself in the local art community. Additionally, besides interning with local art galleries, one can seek mentoring and apprenticeships with senior artists to learn from the best and excel in the field.

Most importantly, communication and relationship-building are vital. Our visual art scene thrives on relationships, which take time to cultivate, so it is wise to start cultivating them early. Trust me!

AM: What are your thoughts on neighboring art scenes?

MB: We are like 70 years apart. (Laughs) Indonesia has been progressing for quite some time. The visual art culture there is very different from here. In Yogyakarta alone, they have an art opening almost every night.

AM: Do you believe the government supports the art industry?

MB: The government provides considerable support, particularly in films and music. However, concerning the visual arts, I think the government needs to step up its efforts. Collaborating with the National Visual Art Gallery (NVAG) to organize, consult, and collaborate on events, policies, etc., would significantly benefit the Malaysian art scene.

AM: Before we conclude, could you offer some encouragement, especially to future artists and readers of the #Borak-Borak Session?

MB: I would like to extend my best wishes to your team. Continue engaging with other collectives and activists; listening to and interacting with people from different perspectives is invaluable. To future artists, it's time to break out of your cocoon; don't let your ego control you, and always keep your artistic