Within the climate-controlled halls of Malaysia's National Art Gallery, known locally as Balai Seni Negara, centuries-old paintings hang in carefully maintained silence. Young Malaysians and visitors from around the world move thoughtfully from piece to piece, absorbing the visual stories displayed on the walls, largely unaware of the intensive behind-the-scenes work required to keep these cultural treasures alive for future generations.
Each artwork on display carries multiple layers of history – not only in its visual narrative but also in the meticulous processes of preservation, interpretation, and presentation that bring it to public view. For the National Art Gallery, exhibitions serve as more than aesthetic showcases; they function as comprehensive narratives that reflect Malaysia's social, cultural, and political evolution throughout different historical periods.
"It's not just about aesthetics alone," explained Amerrudin Ahmad, the 55-year-old Director-General of the National Art Gallery, in a recent interview. "We examine the social context, how the artwork contributed to nation-building, and what historical events were occurring during the time of creation." This approach transforms the gallery from a simple display space into an educational institution that uses visual knowledge to teach unity and shared memory to younger generations.
Amerrudin illustrated this philosophy by referencing a batik painting created by renowned artist Datuk Chuah Thean Teng in 1968. The piece depicts seemingly simple scenes of tropical life – farmers working their fields and people harvesting fruit – but its creation coincided with a period of significant social unrest in Penang. "In 1968, it was a turbulent year. There was a hartal, which means strike," Amerrudin noted. "Artists could have expressed their anger and caused more tension, but Chuah Thean Teng calmly painted about commodities, the economy and social life."
This artistic approach, which Amerrudin describes as "counter-environment," had profound social implications. "Without realizing it, he did not push people to be angry together. The impact was huge. He showed, at that time, what our economy was like and why it was important, so why do we want to fight each other?" The gallery's curators use such examples to educate new generations about the importance of unity, togetherness, and avoiding racial tensions through visual storytelling.
The institution categorizes visual knowledge into five distinct functions: artistic expression, narrative, functional, ritual or magical, and persuasive. The persuasive category often provides the most immediate impact on viewers. Amerrudin recalled posters from the gallery's collection spanning 1979 to 1989, where audiences could instantly identify rock concerts from the imagery alone. "People just look and say 'oh, this is a rock concert,' but we didn't label it," he explained. "Curators highlight that at the time, there was a clash of values between conservative groups and the new generation."
This cultural tension was particularly evident in the music scene of that era. "Perhaps traditional music was dominant, and suddenly foreign music came in, and the term 'yellow culture' emerged," Amerrudin said. "People would see long hair, and the conservatives would say, 'No, you can't appear on TV like that, cut your hair,' which actually happened at the time." These historical artifacts serve as teaching tools about cultural evolution and generational change in Malaysian society.
Behind the public-facing exhibitions, curators fulfill two primary roles: administrative and conceptual. They manage the complex logistics and technical requirements while simultaneously constructing curatorial narratives that bring historical and social contexts to life for contemporary audiences. "The word curator comes from the Latin 'cura,' or in English 'cure,' to take care of and keep," Amerrudin explained. This responsibility extends far beyond the simple arrangement of paintings on walls.
Curators must possess comprehensive knowledge of conservation and preservation techniques, including understanding how artworks react to ultraviolet and infrared light, the various materials used in different pieces, and determining appropriate display durations before deterioration occurs. "They must have both skills, because they manage collections of treasures. They need to know about UV exposure, radiation, infrared, types of material, not just think aesthetically," Amerrudin emphasized. "They need to understand fabric, canvas, wood, metal, whether paper is organic or non-organic, how long it can be exposed before it's damaged. There's a lifespan."
Supporting the curatorial team is the gallery's conservation department, informally known as the "Art Hospital." Officially called the National Art Conservation Repository Centre (Pusat Repositori Konservasi Seni Negara), this facility was established in 2019 by the gallery's board and represents the first institution of its kind in Southeast Asia. The center oversees the management and conservation of creative works to ensure Malaysia's art ecosystem can be preserved and transmitted to future generations.
The National Art Gallery houses an impressive collection of more than 5,000 works of local visual art, with some pieces dating back over a century. Before any artwork is prepared for exhibition, conservators conduct detailed measurements and calculations to determine appropriate light levels and safe exposure times. The conservation center, located on the ground floor of the gallery building, features a public viewing area that allows visitors to observe conservators at work, providing rare insight into the preservation process.
"They will tell the curators that certain artworks can only be displayed for three months," Amerrudin explained. "If it's very fragile, we discuss making a reproduction for display and keeping the original safe. This is common practice worldwide. We label it clearly as a reproduction." These decisions involve careful collaboration between curators, conservators, and the director-general, particularly when dealing with delicate works on paper.
The gallery employs various protective measures during exhibitions, including strategic placement of furniture and barriers. "Sometimes the public comes from far away and asks why the original is not on display. But we must protect the artwork's lifespan," Amerrudin noted. "That's part of the curator's technical considerations – safety, and so on." This includes positioning sofas or railings in front of artworks to prevent visitors from touching the pieces.
Permanent exhibitions typically operate on three-year cycles, allowing both local and international visitors adequate opportunity to view the nation's most significant works. The gallery is currently in the process of changing its permanent exhibition following the completion of the previous cycle. One current project focuses on economic themes, inspired by the Indonesia-Malaysia-Thailand Growth Triangle established in 1993.
"Before that, it was hard to find tom yum here. After it started, you can also find tom yum in any Felda villages," Amerrudin observed, noting that the same phenomenon applied to Nasi Padang, a popular Indonesian dish. "That was all structured by our government to boost the regional economy. So that's a special project of artistic expression based on that region."
As visitors navigate through the gallery's carefully curated spaces, these curatorial decisions – from historical framing to scientific preservation methods – quietly shape how national memory is experienced and understood. The National Art Gallery's mission extends beyond mere display; it encompasses interpretation, protection, and the vital transmission of cultural heritage to ensure Malaysia's artistic legacy continues to educate and inspire future generations.
