Iliaeb Duo

Iliaeb Duo

The Iliaeb duo was founded by a choreographer, performer and visual artist, Ilia Gilbertas, and Etienne Bernardot, a visual artist using the digital tool. They gathered around the idea of confronting the body with the digital, to appropriate this tool through art, to get it out of an exclusively virtual world through the body. It is in this sense that the duo invests in a reflection on this medium to ultimately build a digital education. In addition to the performances of their creations, the duo hosts workshops around them. They also participate in Open Workshops. The duo believes in the need to develop a critical thinking about digital and its evolution, both on the side of Big Data and the commercialization of data, than on the side of the body and what it may involve.

The duo comes to Rimbun Dahan as Open Residency artists in October 2018 to work on the first stage of their project, [Substrat]. It is a performance in situ, visual and evolving, directly related to the geographical environment and the proposals of the musician / s, and performer / s. The essence of this project is the meeting of various artistic and cultural worlds. It is a piece destined to travel, to evolve, to grow as and when meetings and places. Beyond performance, [Substrat] is thought of as a means of exchange. Each city visited, each artist met, will leave a trace, a testimony for the following. That’s why the basic devices—one  computer, one camera, two video projectors and to pairs of hands—are so lightweight. Visual creation is done live by manipulating objects, materials, light and images generated by the computer. The camera captures this manipulation and projects it on screen, or video mapping on building.

You can check out more about their works on their website, Facebook or Vimeo.

Melanie Gritzka del Villar

Melanie Gritzka del Villar

Melanie Gritzka del Villar (b. 1982) is a transnational visual artist, born of German-Philippine parents, currently based on Boracay Island in the Philippines. Her practice is shaped by an ongoing exploration of ways in which disparate cultural, geographical and environmental elements can coexist. The artist is particularly concerned with the state of living in an increasingly fragmented and vulnerable world. This translates into a sensibility towards cast away objects, forgotten (hi)stories and overlooked surfaces as poetic portals and holders of latent possibilities for alternative narratives. Gritzka del Villar’s mixed media works are palimpsests traced from a dialogue with the stranded materials and the environments of which they are a product. The materials she uses include driftwood found on the shores of Philippine islands, collage, photography and maps.

This past year the artist has been working intensely with the theme of the Spanish galleon trade of the 16th to 19th century, which marked the birth of globalisation. During her 2-month residency at Rimbun Dahan she wants to expand this project and do research on the Asian spice trade in Pre-European era whilst at the same time looking at current waves of migration in Southeast Asia.

Her projects can be found on her website. You can also follow her works on her Facebook page and Instragam.

Open Call: Yearlong Visual Arts Residency 2019 [CLOSED]

Open Call: Yearlong Visual Arts Residency 2019 [CLOSED]

Applications are CLOSED for Rimbun Dahan’s Yearlong Visual Arts Residency for 2018. We are currently reviewing the applications and will endeavor to be in touch with all applicants by end-October.

Rimbun Dahan has hosted year-long residencies for more than 20 years, and we have seen Malaysian artists use their time with us to further their practice and become illustrious names in the local art scene like our most recent year-long resident artists — Wong Xiang Yi (2018), Zulkifli Lee (2017) and Azliza Ayob (2016).

 

We’re looking for artists interested in expanding their art practice, exploring new ideas/themes in their work, producing a new body of work, establishing themselves even further in the field of art, or all of the above. We’re looking for engaged and motivated artists who are looking to commit themselves to investing the time and resources provided by this residency into pushing themselves somewhere they couldn’t otherwise go. The year-long residency will culminate in an exhibition held at Rimbun Dahan’s underground gallery in November/December 2019.* Malaysian visual artists who are interested for a short-term residency of three months can apply to our Southeast Asian Arts Residencies program.**

* This exhibition could be a solo or could feature work by other artists in residency at Rimbun Dahan

** This short-term residency will not end with an exhibition but artists are encouraged to participate in Open Studio Days which are open to the public.

All applications are due by Monday, 1 October 2018

Eligibility criteria

  • Artists must be Malaysian
  • It is preferred that applicants have tertiary education in art from a certified institution and some studio experience
  • Former Rimbun Dahan resident artists are not eligible to apply
  • Applications from the former Hotel Penaga residency artists will be reviewed on a case by case basis

Expectations of the residency

  • The resident artist must stay and work on-site full time in the accommodation and workspace provided and are expected to engage with other resident artists
  • The resident artist should be available (to the best of their ability) for student groups visits, general visitors, and other outreach events (artist talks, showcases, etc) organized by Rimbun Dahan throughout the year
  • The resident artist must produce work for the exhibition and work together with Rimbun Dahan’s administrative and groundskeeping staff in putting together the show
  • The resident artist must leave behind 1-2 works at the end of their residency for the Rimbun Dahan permanent collection, chosen by Rimbun Dahan in consultation with the artist.

What’s provided by the residency

  • Private accommodation with access to a kitchen and private bathroom
  • A private studio
  • Monthly living and materials allowance of RM1000
  • Access to washing machine, exercise equipment, and our library and artist lounge (WiFi equipped)
  • Weekly grocery shopping trips
  • Administrative support

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 residency proposal (maximum 1 page) telling us:
    • Who you are as an artist
    • How a year-long residency at Rimbun Dahan will benefit your art practice
    • Why we should consider you an appropriate choice as a resident artist

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, 1 October 2018

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.

 

 

Open Call: Southeast Asian Arts Residency 2019 [CLOSED]

Open Call: Southeast Asian Arts Residency 2019 [CLOSED]

Applications are CLOSED for Rimbun Dahan’s Southeast Asian Arts Residency for 2018. We are currently reviewing the applications and will endeavor to be in touch with all applicants by end-October. Artists who are NOT from Southeast Asia may apply to our Open Residency program which has rolling applications.

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 (of all disciplines), writers, arts managers, and researchers/curators from Southeast Asian countries to submit applications for residencies in 2019. Residencies can be minimum 1 month and maximum 3 months*. Spots will be limited as we are on a set budget for these residencies. Generally it is difficult to secure more than 30 days for a residency due to immigration restrictions over which we have no control;  however for strong applicants we would consider staggering a residency for a longer period. However, the artist is responsible for air fares and immigration compliance. It is best to plan ahead with our confirmation about longer periods.

All applications must be received by Monday, 1 October 2018.

*ASEAN nationals are given 30 days stay in Malaysia per visit – 30 days 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 a 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.

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 and engage with the other resident artists
  • Resident artists should make themselves available (to the best of their ability) for student group visits, general visitors, and other outreach events (artist talks, showcases, etc) organized by Rimbun Dahan throughout the year
  • At the end of a residency, a visual work is provided for Rimbun Dahan permanent collection, the selection is made by Rimbun Dahan with guidance from the artist.

What’s provided by the residency

  • Accommodation and workspace is provided for all residents, including utilities
  • Monthly allowance of RM1000
  • Access to washing machine, exercise equipment, swimming pool, and our library and artist lounge (WiFi equipped)
  • Weekly grocery shopping trips
  • Basic administrative support

Please note that the following is not provided: travel funds, airport pickup and dropoff, meals, or materials.

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, 1 October 2018.

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.

Ulrike Johannsen

Ulrike Johannsen

Ulrike Johannsen is from Vienna and our resident artist under the Open Residency Program for August 2018. She graduated from the Academy of Fine Arts, Vienna and have been actively creating and exhibiting works as well as receiving awards, grants and residencies all over the world. Ulrike is currently teaching in KunstModeDesign Herbststrasse and was a guest teacher and artist in several schools around the world.

In my installations, objects and paper works I question the promises of happiness and tempting offerings of our consumer oriented lifestyle. Quoting, processing and manipulating the language of our popular media and culture industry, I try to make the gap visible between our needs and desires and the seduction of consumer-capitalist promises. I am interested in how the collective construction of society and culture functions and how we negotiate and communicate these different perceptions.

Ulrike’s current work is a series of sculptures and small installations which are dealing with Love and Erotics in times of capitalism. Eva Illouz’s notion of sexual capital understandable as part of the economical capital as well as Pierre Bourdieu’s notion of Habitus and Byung Chul Han’s considerations about the idea of beauty do inform her work.

Ulrike runs her own art space called Clubclub and you can check out her website and instagram to learn more about her and her work.

Nadhir Nor

Nadhir Nor

Nadhir Nor (b. 1994) is an illustrator based in Sungai Buloh, Selangor. Graduated from The One Academy, Sunway he aspires to dabble in as many media he can try on from a mural commission for Urbanscapes (2016), to designing journals and sketchbooks for Journalife (2017). He is also interested in all things otherworldly. Mythology, ancient cultures and its relationship with modern society are some of the major subjects explored in his works. He believes that there’s something about finding the otherworldly in the mundane and vice versa, and this makes a story worth told. He strives to share as much magical body of work as he can with the world.

Nadhir is our resident artist for August – September 2018. For his stay at Rimbun Dahan, he will be exploring ways to bridge his works back to traditional media. He wants to try to reconnect with the physicality and textures that traditional work has to offer while also exploring world-building fictional folklores in local cultures.

You can follow more of his work at his tumblr and facebook page.

 

Barred Eagle Owl

Barred Eagle Owl

Yesterday, our staff found this dying Barred Eagle Owl on the ground near the front compound.

“The barred eagle-owl (Bubo sumatranus), also called the Malay eagle-owl, is a species of owl in the family Strigidae. It is a member of the large genus Bubo which is distributed on most of the world’s continents. This relatively little-known species is found from the southern Malay Peninsula down a string of several of the larger southeast Asian islands to as far as Borneo.” – wikipedia

It looked like it ate a poisonous or poisoned animal and subsequently poisoned itself. We at Rimbun Dahan are against poisoning rodents (we choose to catch and humanely kill them) to avoid affecting their natural predators like the owl or other animals in the vicinity. It is also possible that this one accidentally ate a poisonous animal or snake.

We do have several Barred Eagle Owl nests in Rimbun Dahan but they seldom hatch more than a couple of chicks at one time and they can be quite frail and vulnerable creatures growing up.

“This species probably pairs for life. Barred eagle-owls seems to be very attached to a particular nesting site. If not disturbed, they will occupy the same territory for several years and, if one partner dies, the surviving mate will maintain the same territory with another owl parent. This species nests either in large tree cavities or, in Java and Sumatra, on top of the large fern Asplenium nidus.” – wikipedia

This beautiful female was buried yesterday after it died but we hope nothing tragic happens to its family.

Chuah Shu Ruei

Chuah Shu Ruei

Chuah Shu Ruei is an emerging contemporary artist based in Kuala Lumpur, Malaysia. Having graduated from ASWARA (National Academy of Arts, Heritage and Culture) in 2013, and also having done apprenticeships with Long Thien Shih and Studio TERUSI (a Malaysian artist collective), her educational exposure to traditional Malaysian heritage strongly informs her practice, which is primarily ephemeral community art installation projects. Her practice also includes mixed media collages that play with perceptual change and interaction with time, space, light and shadow, and an actively engaged/included viewer. The categories of installation and collage work often combine into/overlap each other in her practice, as her overall body of work branches into themes of multi-culturalism, inclusivity, assimilation and validation of the collective mindset, to be further explored  during her Rimbun Dahan residency.

Since 2011, her installation works have been exhibited in Kuala Lumpur, Langkawi and Penang, and most recently in 2017 as part of her solo residencies in Reunion Island (France) and Cebu (Philippines). In Malaysia, her object based artworks have been exhibited in group shows at Core Design Gallery, Hin Bus Art Depot, the 8thInternational Art Expo Malaysia, Pelitahati Gallery, the National Visual Art Gallery, Richard Koh Fine Art,  as well as in group exhibitions in Thailand, Singapore, and most recently Turkey. Her artwork is also part of the art collection featured in ‘Rumah Malaysia’(the Malaysian Embassy) in Beijing.

Shu Ruei is our resident artist for six months and will be exhibiting her work at our gallery in January 2019 along with Wong Xiang Yi. You can find out more about her at her facebook page and her website.

Hings Lim

Hings Lim

Hings Lim (b. 1989, Malaysia) studied Fine Art at the Universiti Malaysia Sarawak, Malaysia. He was awarded the Chair of P. Ramlee from Petronas Award in 2012. He is a multidisciplinary artist based in Kuala Lumpur. Working with a wide range of materials including situations, videos, objects and paintings, Hings is interested in intricating art and life by exploring experiences and relations of reality.

Hings will be at Rimbun Dahan as a resident artist from mid July to end of August 2018, via a collaboration with Richard Koh Fine Art. Through this residency program, Hings wishes to integrate the encounters of things and beings in the surrounding of nature and the everyday life around Rimbun Dahan, while exploring their relations.

 

 

Lauren Lee

Lauren Lee

Lauren Jeyoon Lee was born in Maryland, USA and moved to South Korea when she as four. She spent most of her teenage years in Singapore and returned to USA to receive her education in Fine Arts. Lauren is currently a grad student from Yale University and is spending three weeks in Rimbun Dahan as an Open Residency artist. Lauren’s a sculptor who works with found objects and clay. Her working process heavily involves writing that are often reduced as titles to inform and create narratives for visual elements.

A pair of large plastic breasts labeled “Super Droopers.”
A two feet long rubber chew toy with orange bulbs on both ends.
A red SOLO cup full of half-thawed chicken feet.
A bag full of Joshua Nelson’s beard.
A petri dish with mice fetuses.
A burnt-out glue gun with strands of blonde hair around it.
Aqua beads soaked in black vinegar.
A picture of my five-year-old-self crying with chewing gum glued over my boobs. A plastic bag of flesh toned cosmetic sponges.

A bag of make-up sponges sold for $1.29. I opened it and took a sniff. It smelled like my mother’s pillow. My mother spent every Sunday night with me. She would leave my grandparents’ house the next morning for work. I always believed I could cling on to her. It never worked. My grandfather would wake me up instead in his bright blue sweatpants that smelled like his medicine cabinet. So I would bury my face in my mother’s pillowcase to smell her instead. My grandfather would then carry me to the living room and lay me down on a leather sofa. It felt cold even on summer days. That was my Monday morning until I grew tall enough to realize how childish it is to feel that empty.

I have been reliving my childhood since then. Hiding behind the weight of cultural and religious issues, I laughed at traditional values imposed on me and unresolved resentment the Korean War had left on my grandparents. When I moved to Singapore in sixth grade, I witnessed my mother’s loneliness as a woman away from her lover. When I came to America, I witnessed middle-aged adults, self-proclaimed children of God, be possessed with petty jealousy over the death of a family member. I now maliciously poke fun at the emotional conflicts and complex feelings adults engaged in, with different materials, from a glamorous piece of bronze to a cheap clump of fake hair.

So I started collecting. I collect cheap things that trigger feelings of shame; humiliation; regret; disgust; and sometimes humor. I frequent local dollar stores, beauty supplies, pet shops and sex shops to rummage through things. Some give me immediate answers and others have eldritch noise. I spend time with them. I wrestle with them. Most of them are willing to work with me at first. They would bend, squish, tear and bond themselves, as I demand. Soon they start to rebel. They straighten themselves up, separate from the others and refuse to be put back together. Like a frustrated, demented child, I angrily pierce, nail, shove and tighten them. Some give in, others refuse. They are awkwardly and precariously put together. I see myself in them, insignificant and small, yet screaming to validate my existence to someone.

During her stay in Rimbun Dahan, Lauren plans to create assemblages and drawings specific to this place, informed by the interactions with people, locals and expats that she’ll meet. Lauren will be with us throughout July 2018.