CC Kua

CC Kua

CC Kua (b. 1991, Malaysia) is a Kuala Lumpur based artist who focuses on contemporary drawing or painting. Sometimes, she just walks around. Born in Sungai Petani, Kedah, CC obtained her BA (Hons) in Graphic Design and Illustration, The One Academy (degree conferred by the University of Hertfordshire). She then pursued her MFA from the Graduate Institute of Plastic Arts, Tainan National University of the Arts, Taiwan.

Through her works, she attempts to make people ‘see’; often like a peeping hole, the viewing experience can be quite exciting, intimate or nothing. Most of the time, she is inspired by daily life happenings including her dreams. She creates casual mise-en-scène by laying out characters, shapes, colors, lines… which is merely to please the eyes and sometimes herself ­– the story comes later, or no story at all. However, when she is very sure of a picture or concept, she transfers it from her mind to a surface precisely. CC Kua views society as a big loaf of bread, while the majority is heading towards totality or meta-narrative (the big bread), her passion as an artist is to pick up the bread crumbs (fragments or values that have been left behind). Of course, it is just a metaphor, she doesn’t eat the bread crumbs…

‘I wander, I wonder.
I observe, I execute.
Sometimes, I just observe and record.’

CC Kua will be our Southeast Asian Arts Residency artist for 3 months starting in January. To learn more about her works, visit her website and her Instagram. You can also read these articles written about her and her works :

 

https://www.thestar.com.my/lifestyle/culture/2019/06/14/artist-cc-kua-exhibition-painting-lostgens

https://www.thestar.com.my/lifestyle/people/2016/08/09/artists-work-to-sting-like-a-mosquito-bite

Deborah Augustin

Deborah Augustin

Deborah Germaine Augustin is a writer trained in narrative fiction. During her MFA in creative writing, she discovered an affinity with the lyric essay and has been experimenting with the form ever since. She draws inspiration from Hilton Als, Leslie Jamison and Alexander Chee. Her work engages with migration, otherness, hybrid and postcolonial identity, the fantastic, and Southeast Asian myth.

In 2018, her lyric essay about immigration and racism in the United States was shortlisted for the Chautauqua Janus Prize and the Writers at Work competition in the nonfiction category. In 2019, she was admitted to the Orchids Without Attached Thighs writing workshop.

Since returning to Malaysia from the United States, she has taught creative writing and creative nonfiction at the university level. She has also taught and facilitated creative writing outside of academia.

During her 2-month residency, she will be working on creative nonfiction essays about family, truth, and monstrous femininity.

You can find out more about her works here or follow her on Twitter.

Afi Noor

Afi Noor

Afi Noor (b. 1990) is a poet based in Kuala Lumpur. She has read and performed in Singapore, London, and participated in 2016 Edinburgh Festival Fringe as part of KCL’s King’s Players. She ran Spill the Ink Poetry Lab, a monthly poetry workshop as part of SpeakCityAsia’s initiative, connecting established local and international writers with budding homegrown poets. Her poems are published in a chapbook called Ten Poems (2012) and featured in Kisah Journal by PUSAKA, Asian Centre Anthology of Malaysian Poetry in English, Rambutan Literary and When I Say Spoken, You Say Word Anthology.

Her current project, She Brings Monsoon aims to explore ways to capture the multifaceted essence of a Kelantanese Malay woman. By taking on the journey to dig through her own personal and shared narratives, rediscovering the vocabulary of the region, and grappling with the twists and turns between tradition and modernity, her poems took on the role to inform undocumented stories of hijabi and Kelantanese. These poems also try to investigate the possibilities – and limitations – constructed within the two languages: English and Kelantanese. These limitations will be further explored through body articulations as a performance poet. Her choice to don the hijab further enforces her artist statement – how much power does this cloth has, and can that power be depatriarchalized through unconventional states of the body?

Afi Noor is here for 2 weeks as a resident writer in our Southeast Asian Arts Residency program. She intends to use the time away from the city and familiar faces at Rimbun Dahan to write new writings related to her personal history. The natural surroundings and the visceral experience of staying in an actual kampung house may help her to be more aware of her senses and body as a Kelantanese Malay woman.

You may find more of her updates at her Instagram or the hashtag #afinoorwrites

 

Works: 

Sambal in Rambutan Literary (2017) https://www.rambutanliterary.com/issue-three-afi-noor—sambal.html

Mother Prepares the Ritual in Rambutan Literary (2017) https://www.rambutanliterary.com/issue-three-afi-noor—mother-prepares-the-ritual.html

 

 

 

Florian Borstlap

Florian Borstlap

Florian Borstlap is a visual artist, performer and chief officer on large commercial vessels. He also produces costumes, decor and music for theatre shows.

Florian’s work develops itself around its umbrella project ‘The Entity of ZOON’, mythology fabricated by himself. Driven by a utopian desire, he enters a relationship between reality and fantasy. Reflecting playfully on religion, rituals, hegemony and social structures. The so-called ‘ZOON’ is the central figure in this mythology. It acts as a self-referencing symbol by which meanings change or new ones emerge. Florian’s creations are very detailed and executed with fine precision. They find their roots in various disciplines including ceramics, drawing, architecture, installations and performance art.

In 2014, together with Daniel van den Broeke, he founded The Performance Bar, a bar that can transform into a stage, where he performs, curates and hosts. Every weekend, a seemingly normal evening out suddenly becomes an adventure when performers jump on the bar and present everything, from the low-brow to the profound.

Florian is our Open Residency artist in December 2019. You can check out his works at his Instagram.

New Dipterocarp Species Planted in the Garden

New Dipterocarp Species Planted in the Garden

There are new Dipterocarp plants in the garden.

Here are some information about them:

Dipterocarpus rigidis is a large emergent tree to 50m tall; local name is keruing cogan, the shape of the leaf suggests the broad spear head (cogan) seen on Malay crests. It is found on the east coast of the peninsula, in particular on hills around Kemaman.  It also occurs in Riau, Linggi, Borneo and the Anambas Islands.

Hopea apiculata, locally known as resak melukut, is a species endemic in the Kenas and Manong valleys in Perak, and on Bukit Long, Kelantan.  The leaf is very like Neobalanocarpus heimii, and can be distinguished only by the ripple marks in the wood of H. apiculata.

Hopea helferi, locally called lintah bukit, is found in Langkawi and the northwest of the peninsula, and in Cambodia, Thailand, Burma and the Andamans.

Shorea leptoderma, a synonym for Shorea scrobiculata, or balau sengkawang, is a species of the Malay peninsula and Borneo, now critically endangered by habitat conversion (think oil palm) and logging.

Shorea peltata, known locally as meranti telepok because the leaves are peltate like the lotus, is found in eastern Sumatra, Borneo, and only in Johor in the peninsula in the Mersing Forest Reserve.  It is classified as critically endangered by habitat conversion.

Shorea resinosa, meranti belang, referring to the stripes of the laminated inner bark.  It is widely distributed but rare through Sumatra, the peninsula, and Borneo.  This is another species critically endangered by habitat conversion.

Shorea siamensis, is known as temak batu, and occurs only in Langkawi in Semenanjung.  Elsewhere it is found in Burma, Indochina and Thailand.  It is common in the dry deciduous Dipterocarp forests of Myanmar.  The species is well adapted to adverse conditions and may do well with climate change.  It establishes a long tap root on germination and is deciduous in dry periods.

Shorea superba or selangan batu, is endemic to Borneo and is a vast emergent tree up to 75m tall with a bole 3m in diameter!  It is preserved in some national parks, but elsewhere is endangered by land conversion.

Vatica cinerea, or resak laut, is usually a small tree on rocky headlands and exposed ridges, only occurring in Semenanjung in Kedah, Perlis and Langkawi.  Elsewhere it occurs in southern Vietnam and Cambodia, and peninsular Thailand.  It is one of the few Dipterocarps that thrive in an exposed location.

Kim Ng

Kim Ng

Kim Ng is an artist and art educator based in Kuala Lumpur.  He works with a variety of media and art forms such as mixed media painting, printmaking, sculpture, ceramics, drawing, and installation work.  Kim Ng did his Diploma in Fine Art from Kuala Lumpur College of Art, and then pursued his Fine Art BA honours degree at London Guildhall University, London.  He further completed his MA in Design and Media Art from the University of Westminster and MA by Project from London Metropolitan University, both in London, UK.  He has exhibited locally and abroad and taking part in the International art workshop in Southeast Asia countries like Taiwan and Thailand, and also local artist’s residency. Kim Ng currently teaches Printmaking and Sculpture at Dasein Academy of Art, and he is also the Head of the Fine Art department.

Working as a multidisciplinary artist, Kim Ng explores his concern on memory, relocation and dislocation, social phenomenon and human conducts through various materials, methods and artistic style. Through collecting information and material from the place we live, Kim Ng works with the direct fact that happens around us through various resources to define who we are and projecting the issues and questions in the course of the visual language that associates with each individual’s experience. His practice reflects the subjective way of seeing and thinking in the process of art-making, building up a vocabulary of feelings through materials and its visual representation.  Kim Ng’s works never settled into one way making, the variation in materials, art forms and methods of making keeps him stimulated and engaged with his art-making.

Kim Ng is here on a 3-month residency under our Southeast Asian Arts Residencies program. You can find out more about his works at his Instagram.

Lada Dedić

Lada Dedić

Lada Dedić is a maker from Australia; a slow art practitioner who utilises the intricate, almost surgical process of repetitive stitching which documents the passage of time while she explores themes of neuroanthropology, meditative contemplation and the interplay of science and art.

She is best known for her series titled Self Portrait; Artist’s Brain, a collection of hand-stitched images of her own brain. Lada will use her time as an Open Residency Artist at Rimbun Dahan to develop new work while contemplating gut/brain-biochemistry and its relationship with psycho-pathology, furthering her recent examination of neuro-anatomy.

Her ritualistic practice takes time, it is meditative, methodical and rhythmic which supports an ongoing investigation of the brain/mind conundrum through an act of discipline which requires the maker to remain in the moment while performing a feat of endurance where every stitch is purposeful and calculated. Also, she just really likes brains…

Check out her website and Instagram for more of her info and works. You can also read a journal article about Lada in The Lancet Neurology.

Linh Valerie Pham

Linh Valerie Pham

Linh Valerie Pham is an interdisciplinary storyteller based in Hanoi, Vietnam. She is interested in movement, puppetry, breath, pretty words, ugly words and all things magical. Her aim as an artist is to tell stories in a way that disrupts and destabilizes order. Valerie believes in the power of narrative, the tremendous impact of representation and lipsticks. Her works have been showcased at AgoHub (Hanoi), VCCA (Hanoi), The Factory (HCMC), Soul Live Project (HCMC), Center for Performance Research – CPR (New York), Dixon Place (New York). Valerie is the founder and artistic director of Mat Tran Ensemble – an inclusive performing arts collective. She and her ensemble have received support from SIF. Prince Claus, Frida – the Young Feminist Fund and more.

At Rimbun Dahan, Valerie will continue her development of burn/city – a solo project which comprises of semi-autobiographical accounts, forlorn wishes, and dreams and nightmares. The first phase of the project was completed at A Space for Experimental Arts, Vietnam this July. She is our resident artist in our Southeast Asian Arts Residencies Program.

You can find out more about her and her works at her website and facebook.

 

 

Open Call: Southeast Asian Arts Residency 2020 – CLOSED

Open Call: Southeast Asian Arts Residency 2020 – CLOSED

Rimbun Dahan is committed to investing in emerging/developing artistic talents in the region and furthering artistic exchange with our neighbours. We invite visual artists, writers, arts managers, and researchers/curators from Southeast Asian countries to submit applications for residencies in 2020. Rimbun Dahan residencies provide a quiet, green and peaceful space for artists and arts workers to commit themselves deeply to their own artistic practice, within a warm and supportive community.

https://bit.ly/2z0imca

Residencies can be minimum 1 month and maximum 3 months. Places are limited. Priority will be given to artists who are applying for longer residencies of 3 months duration, but please read details on immigration below.

All applications must be received by Monday, 30 September 2019.

Eligibility criteria

  • Artists must be nationals of these listed countries only: Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, Philippines, Singapore, Thailand, and Vietnam
  • Former Rimbun Dahan and Hotel Penaga resident artists are not eligible to apply

Expectations of the residency

  • Resident artists must stay and work on-site full time in the accommodation and workspace provided
  • Friendly engagement with the other resident artists is encouraged
  • Resident artists should make themselves available (to the best of their ability) for occasional student group visits, general visitors, and other outreach events (artist talks, showcases, etc) organized by Rimbun Dahan throughout the year
  • For visual artists: at the end of a residency, one item of visual art work is provided for the Rimbun Dahan Permanent Collection. The selection is made by Rimbun Dahan with guidance from the artist.
  • For non-visual artists: acknowledgement of Rimbun Dahan’s support in the final product (publication, presentation, etc) is appreciated.

What’s provided by the residency

  • Individual accommodation and workspace, including utilities
  • Monthly allowance of RM1000
  • Access to washing machine, exercise equipment, swimming pool, and our library and artist lounge (WiFi equipped)
  • Weekly transportation for grocery shopping
  • Basic administrative support

Please note that the following is not provided: visa and immigration compliance, travel funds (including money for airfare), travel insurance, airport pickup and dropoff, meals, or materials.

About residency duration & immigration

We are aware that it is challenging for ASEAN nationals to be able to stay in Malaysia for 3 months in one trip, as Rimbun Dahan does not provide a special visa for your residency, and ASEAN nationals are usually given only 30 days’ stay per visit (as an automatic short term social visit pass, not a visa) when they arrive in Malaysia.

If you wish to apply for a residency more than 30 days long, you will need to exit the country and return later. We are happy to facilitate multiple visits to Rimbun Dahan during the calendar year of 2020 (for example, a residency of 90 days, with 3 visits x 30 days per visit, and at least 1 week between visits).

The 30 days of the automatic social visit pass does not always equal one month, so be mindful of days and dates when booking flights. In our experience, Malaysian immigration prefers that ASEAN nationals have at least one week between their most recent departure date from Malaysia and their next re-entry date.

You can apply for an additional 30 day extension to your visa while in Malaysia, before your initial visa ends, by visiting an immigration office. Approval of extension is not always guaranteed. Processing can take anywhere from 2 days to a week, and it may require you to change the date of your original return ticket. So if you are planning to extend your stay, do be ready and make arrangements during your residency to go to the immigration office and go through the necessary processes OR to book multiple flights to renew your visa every 30 days during your residency.

How to apply

Please submit an application containing:

  • Biodata/CV
  • A selection of images/samples of recent work (Please provide a curated selection and context for the works where applicable/necessary)
  • A statement of why a stay at Rimbun Dahan would benefit your art practice and/or a project proposal for your time in residency
  • Dates for which you are seeking accommodation and the proposed duration of your residency. Please provide multiple options, if possible

Please send in COMPLETE applications only. You can choose to send either an electronic application OR a hard copy application, please do not send both. All applications are due by Monday, 30 September 2019.

 

Send electronic applications to:

 

Ms Xeem Noor, Arts Manager
arts@rimbundahan.org

 

Send hard copy applications to:

Ms Xeem Noor, Arts Manager
Rimbun Dahan
c/ Hijjas Kasturi Associates Sdn.,
23rd floor Menara Promet,
Jalan Sultan Ismail,
50250 Kuala Lumpur
Malaysia

Please indicate if you’d like hard copy application material to be returned after selections are made.

 

Annalouise Paul

Annalouise Paul

Annalouise Paul is a contemporary-flamenco choreographer and performer from Australia whose works explore identity and transformation through the intersection of contemporary and traditional forms.

Annalouise has been working in the field of intercultural dance in Australia and internationally for over thirty years. More recently she has developed choreographic tools to push dance hybridity. There is no established ‘method’ for creating cross-cultural movement or for practitioners to model from, so there has been slow but constant emergence of process and vocabulary, evolving out of a pool of processes for various works. ‘Hidden Rhythms’ is one process that employs traditional rhythms for shifting the dynamic of dance movement. ‘Dance DNA’ is the most recent method Annalouise has been investigating largely through workshops internationally and in Australia. She has held cross cultural workshops in Singapore, France, India, Melbourne and Sydney supported by World Dance Alliance, Create NSW and Critical Path.

Developing cross-cultural and hybrid processes with local dance artists at Rimbun Dahan, Annalouise will research and create material for new interdisciplinary works, Mother Tongue and Self Portrait exploring the existence of multiple cultural affinities, histories and languages in the single body.

Annalouise is the recipient of the Australian Arts in Asia Award in Dance. Creative Exchange at Rimbun Dahan is supported by Asialink Arts and the NSW Government through Create NSW.

You can view more of her works at her website.