BMS Symposium 2024 | A Reflection by Amir Amin

The Legacy and Challenges of BMS

BMS, or Bakat Muda Sezaman, is one of the most prestigious art competitions in Malaysia, with a legacy of nurturing emerging talents and celebrating contemporary art practices for over 50 years. However, as it reaches this milestone, questions arise about its relevance, direction, and sustainability in the ever-evolving art world.

Over the decades, BMS has undergone numerous transformations, each aimed at revitalizing its format and significance. These changes have often sparked debates about their impact on artistic expression and the competition’s role in shaping Malaysia's contemporary art scene.

The BMS Symposium 2024 provided an invaluable space to discuss these issues, with insights from prominent artists and academics, including Wong Hoy Cheong (Malaysia), Moelyono (Indonesia), Dr. Tisna Sanjaya (Indonesia), Dr. Roopesh Sitharan (Malaysia), past contestants and winners of BMS. The discourse centered on site specificity, community engagement, and the future trajectory of BMS.

Milestones in the Evolution of BMS

• BMS 1986: Themed Competitions
  In BMS 1986, themes were introduced for the first time, guiding the creation of artworks submitted. However, this approach lasted only seven iterations, as jurors found it restricted contestants’ creativity and exploration. The rigid thematic structure limited the freedom of artistic expression, prompting a major restructuring in BMS 1992 (Omran Zailuddin et al., 2021).

• BMS 1992: Deconstruction and Revival
  By BMS 1992, the competition underwent a significant restructuring and redefinition. The result was a surge in participation, with 223 applicants submitting their works, of which only 66 were selected. This revitalization reaffirmed the competition's relevance and demonstrated its ability to adapt to the needs of Malaysia’s contemporary art landscape.

• BMS 1997: Categorization Criticized
  Another major change occurred in BMS 1997, where the competition was divided into four categories: Painting, Sculpture/Installation, Printmaking/Photography, and Multimedia/Experimental. This categorization aimed to ensure fairness in judging and inclusivity of diverse art forms. However, the idea was met with criticism by the invited jury, Prof. Dr. Setiawan Sabana, who questioned whether categorizing artworks was necessary. He argued that such divisions could undermine the nature of contemporary art, which often resists categorization (Saidon, 2002).

• BMS 2010: Recommendation-Based System
  In BMS 2010, the format underwent another overhaul. Participation required a nomination or recommendation from professionals within the art world, such as curators, art historians, academics, critics, gallery owners, writers, collectors, or fellow artists. 

• BMS 2019: Curator-Led Format
  The Open+Lab introduced in BMS19 was a pivotal moment in BMS’s history. A team of five curators—three guest curators and two in-house curators—took charge of the selection and curation processes, conducting studio visits and carefully shortlisting artists. The Open+Lab ensured that the artwork was developed in line with selected proposals and prepared the artwork so that it was of exhibition quality before the judging process (Bakat Muda Sezaman | Young Contemporaries 19, 2019). The jury, relieved from the burden of selection, focused solely on judging the finalists. This was one of the best formats BMS has ever implemented, as it allowed both curation and judging to be handled with precision and clarity.

• BMS 2021 & 2023: Radical Shift to Seni di Lokasi
  
  Then came the Covid-19 pandemic, which forced the competition to radically shift its approach. Seni di Lokasi (Art on Site) emerged, marking the most significant change in BMS’s history. For the first time, artworks were no longer confined to the white cubes of the National Art Gallery. Artists could now exhibit their works in their chosen spaces, embracing site specificity (Bakat Muda Sezaman | Young Contemporaries 21, 2021). The first iteration of Seni di Lokasi was, understandably, chaotic. Many artists struggled to understand what it truly meant to exhibit on-site. Questions arose—What kinds of spaces should they choose? How should they navigate this unfamiliar territory? To address these challenges, BMS introduced mentors for each district in Malaysia, who guided artists through the process and helped refine their ideas. This mentorship system was an essential support network for younger artists grappling with the new format.

While Seni di Lokasi initially posed challenges, such as educating artists about site-specific practices, it also opened up new possibilities for creative expression and engagement with diverse spaces and audiences. By BMS23, the format had matured, with artists and organizers gaining a deeper understanding of its potential.

Looking at the current state of the NAG, it is evident that decentralization has become a central focus. With this vision, Seni di Lokasi will likely remain the competition’s primary format for years to come, allowing for greater inclusivity and community involvement.

Key Takeaways from the Symposium

The symposium featured panelists renowned for their community-based and site-specific art practices: Moelyono, Dr. Tisna Sanjaya, and Wong Hoy Cheong. Their insights on empowering communities, engaging with local contexts, and rethinking traditional modes of art-making were deeply valuable for the participants.

However, during the Q&A session, Dr. Roopesh Sitharan raised a critical observation: the symposium inadvertently reinforced the notion that Seni di Lokasi = Seni Komuniti (Art on Site = Community Art). While community engagement is vital to site-specific art, it is not the sole focus. As the curatorial team clarified, Seni di Lokasi encompasses much more—it is about the relationship between art, location, and context, which can take many forms beyond just community involvement.

Another important takeaway from the discussion was the potential for the NAG to play a larger role in nurturing site-specific practices. It would be immensely beneficial if NAG were to organize more symposiums, inviting key figures internationally and locally who are well-known for their works in site-specific art. These symposiums would enrich the discourse and help future contestants better understand the essence of Seni di Lokasi. By exposing participants to diverse perspectives and methodologies, such initiatives would significantly strengthen the quality and creativity of their submissions.

With sustained efforts in education and mentorship, it’s not far-fetched to imagine Seni di Lokasi transforming into an international festival akin to Japan’s Setouchi Triennale, where artists from all over the world create works deeply rooted in Malaysian contexts, landscapes, and communities. Such an event could showcase Malaysia’s rich cultural diversity and unique settings, from its urban landscapes to its kampungs, beaches, and rainforests. Like Naoshima or commonly known as Japan's art island, Malaysia could similarly create a flagship site, to champion site-specific and community-driven art.

With long-term government and institutional support, coupled with a strong foundation in education and mentorship, Malaysia could shift Seni di Lokasi from a national competition to a global festival. This transformation would not only spotlight Malaysian artists on the world stage but also attract international artists and audiences, solidifying Malaysia’s role as a key player in contemporary and site-specific art practices globally.

Final Reflection

BMS remains a cornerstone of Malaysia’s contemporary art scene. Its willingness to evolve and adapt has ensured its longevity, but the challenges it faces highlight the importance of ongoing dialogue and critical reflection.

The introduction of Seni di Lokasi represents a promising step toward decentralization, allowing artists to experiment with site-specificity and engage with diverse contexts. However, it also requires sustained support in the form of mentorship, workshops, and education to help participants navigate its complexities.

The symposium was an enriching experience that highlighted the importance of BMS as a platform for nurturing talent, fostering innovation, and sparking critical conversations. Moving forward, it is crucial to ensure that BMS continues to adapt and challenge conventional notions of art-making and exhibition while remaining inclusive and accessible to all.

With the insights and critiques shared during the symposium, I am optimistic about the future of BMS and its potential to shape the Malaysian art landscape for generations to come.

 

Reference

Bakat Muda Sezaman | Young Contemporaries 19. (2019). Balai Seni Negara.

Bakat Muda Sezaman | Young Contemporaries 21. (2021). Balai Seni Negara.

Omran Zailuddin, M. F. N., Datoem, A., Abdillah, N., & Abdullah, M. (2021). DARI PELUKIS MUDA KE BAKAT MUDA: TINJAUAN 45 TAHUN PERTANDINGAN BAKAT MUDA SEZAMAN. Gendang Alam, Jilid II(1).

Saidon, H. J. (2002). Bakat Muda Sezaman 2004.