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.

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.

Kelvin Atmadibrata

Kelvin Atmadibrata

Kelvin Atmadibrata (b.1988, Jakarta, Indonesia) recruits superpowers awakened by puberty and adolescent fantasy to assemble formidable armies of outlaws. Equipped by shōnen characters and macho ero-kawaii, his antiheroes contest the masculine and erotic in Southeast Asia. He works primarily through performances, often accompanied by and translated into drawings, mixed media collages and objects compiled as installations.

During his residency in Rimbun Dahan, he plans to expand a narrative that is triggered by a Malayan historical figure, Laksamana Cheng Ho. He seeks to learn the Admiral’s influence in today’s society, in particular in regards to his masculine identity and how it has potentially structured the perception of power, race and religion in modern politics. This will also be motivated by cultural findings during his stay in Malaysia, discussions and exchanges with locals as well as his constant interest in virtual RPG elements.

The resulting project is described and photographed below (performance photos by Nazir Azhari). Kelvin updated his progress in weekly blog-like entries on his website.

Tidal Bulge is the rise and fall of masculinity caused by the combined effects of gravitational forces exerted by one’s racial and economic status and the self conflicts.

Initiated by the interest towards Laksamana Cheng Ho’s treasure fleet, the project navigates around Malaysian Chinese masculine identities by figuring various struggles faced. Approached through RPG game theories, the visual aspects of the works are designed to be decided by the participants in forms of paper collages and their performed elements.

The participants are imagined as crews or sailors of a treasure fleet in voyage. Sea travels utilize lunar navigation as compass which also becomes the underlying historical prescriptions of the Chinese ethnicity throughout Malaya Peninsula. Apart from that, other game characters-based visual decisions are motivated by Malaysian cultural elements that suggest close proximity and relevance to astrology and the science of gravity.   Within social context, this participatory work is a plea towards racial and ethnic representation, their potential of indigeneity as well as its masculine connotation within Malaysia.


Veronika Neukirch

Veronika Neukirch

Veronika Neukirch is a German artist born in 1986 in Duesseldorf. She completed her Art & Design Foundation in 2010 and graduated with a BA (Honours) Fine Art from Central Saint Martins in 2013. She has been based in Kuala Lumpur since 2014 and has been exhibiting across Malaysia as well as abroad.

As an object-based artist concerned with developing new roles for pre-designed objects, Veronika creates compositions that strive to represent and utilise the pluralistic nature of contemporary art and contemporary life. The combining and finding of a new balance between various selected and handmade components run through her entire practice, consisting predominantly of sculpture, assemblage, collage, installation. The tension between artificial, functional, and ready-made elements and the organic shapes of intuitive material experimentation offers wide haptic diversity.

The rich local flora and fauna will be the starting point of her collaborative residency with local artist Haffendi Anuar. Veronika will be in residency at Rimbun Dahan for four months starting in February.

Sterile Jungle (2014) – published in Make8elieve #8, Horror Plants, USA/Switzerland

Granny Smith’s Table (2015)  and Apples & Pineapples (2015) – exhibited at:

  • 2015: ‘RIPEN AT HOME’ (solo), Minut Init, Petaling Jaya, Malaysia
  • 2016: ‘Extending Ideas’ (group show kindly supported by Goethe Institute Malaysia), Feeka, Kuala Lumpur & Museum Negeri Pulau Pinang, USM, Penang, Malaysia



Doni Maulistya

Doni Maulistya

Doni Maulistya (b. 1987 in Yogyakarta, Indonesia) is an artist with an educational background in photography. He studied documentary photography through workshops such as Angkor Photography Workshop in Siem Reap, Cambodia (2009) and Foundry Photo Workshop in Istanbul, Turkey (2010). He’s also made works using installation and film.

As I live my life as an artist, I started to question my position in a society that is continuously in a dynamic negotiation between ‘the old’ and ‘the new’. I see the negotiation as an identity formation process that will always happen in human history. Thus, in making artworks, I am always interested in exploring the themes of history, tradition, and other dialectic dimensions that happens within society, an intermingling of culture.

Through my artistic research, I realize that no one medium should be considered a sole artistic language that can convey messages. Therefore, I expand my exploration on photography as well as on other media beyond photography.

Within the past four years, my artistic exploration has mostly been of the elements of performing and motion. My interests in that exploration started when I worked on performing art projects with Papermoon Puppet Theatre and Migrating Troop Theatre. Those events have enriched my experience to develop my body of work. One of the biggest challenges I have gone through is how to make objects that can cover all the different elements in performing art, such as movement, sound, interactivity, storytelling, etc. Afterwards, I decided to explore kinetic, video, sound, installation, and any other medium that I can learn about and apply to my artistic works. Besides learning the intermingled elements of any medium I use, I also always aim to learn how to discuss the local aspects in global context.

During the residency at Rimbun Dahan I hope to work on developing my current project called Still Praying. This project is about exploring the ‘Believing Practice’ that happens in contemporary society. But still, I always keep a vacant room on every project to allow new ideas to further develop.

To find out more about Doni and his work, you can find him on Instagram, Facebook, Issuu, Youtube, or check out his website. He will be in residency in Rimbun Dahan until the end of July 2016.

Pitchaya Ngamcharoen

Pitchaya Ngamcharoen

Pitchaya Ngamcharoen is Thai artist based in Chiang Mai and Bangkok. As an animal spirit, Pitchaya has always been drawn to her own species — non-human. Her artistic process usually involves animals and human participants to create a form of transparent overlap which is then transformed into an art event or object. The outcomes are often shown in interactive installation, sculpture and online sites.

Her last experimental project, “Calling Lost Brothers”, is a project which aims to visualize an animal as an unnoticed and unperceived territory. Conversations between the artist and other species are easily made when we share one thing in common — energy resources.

Pitchaya is interested in the overlapping layers of human living space and that of animals. In the city, a small amount of people realize or care about animate creatures living underneath or above us unless they bother them. In this project, sugar is used to track ants which live in the same building with the artist. The ants’ trails are marked and preserved. The audience is presented with a map showing these ants’ trails and invited to explore the building through the ants’ eyes.

Pitchaya will be in residency at Rimbun Dahan for the months of April and May 2016.

For more information, you can visit her blog and Facebook page.

Chan Aye & Phyu Mon

Chan Aye & Phyu Mon

Chan Aye (b. 1954) is a sculptor, installation artist, painter, and writer from Myanmar. He was self taught before going on to study traditional Myanmar painting between 1986 and 1989. He has developed a unique pictorial language that is inventive and at the same time inherits the iconography of Myanmar cave painting and mural paintings, as found in the temples at Bagan, Sitkaing, and Po Win Taung in North Myanmar, as well as his studied interest in Western art, which the artist has studied in magazine and book reproductions through the years. His art is rooted in physicalizing the various states of life’s existence and spirituality, and engages with the dualities of material and immaterial forms: color, time, and the dimensions of human emotions, of anger, love, hate, and greed, with diverse materials such as paint, wood, marble, glass, sandstone, and paper from Myanmar Shan State, silk, motor equipment, lighting, bronze, and steel. Searching for new ways to merge traditions with the contemporary condition, he continues to create art through periods of political turmoil and change, and in the aftermath of the devastating Cyclone Nargis in 2008. Chan Aye has exhibited in Singapore, Germany, Finland, France, Hong Kong, India, Thailand, China, New York, and London.

Phyu Mon (b. 1960), writer, photographer, performance artist, and painter, grew up in an environment distinguished by strong tradition and rich culture. Since her teens she has written poetry, short stories and also painted. Now, her recent work is writing articles about art in Myanmar Magazine and Journal, as well as other international publications. Her work expanded beyond writing when she was introduced to video and film production through a program at the University of Finland, and also when she accepted a Diploma of Photography from Myanmar Photography Association. She is one of the very few women artists in Myanmar who currently works with digital photography and visual art. She is also the first female performance artist in Myanmar and has participated in several local and international exhibitions and festivals. She currently runs the Blue Wind Art project in Myanmar.

In her art, she presents the contentment and peace even of a hard life, the need for progress but at the same time the need to care for the environment. She is at present witnessing the cultural changes taking place in the urban areas through globalisation but she feels confident that the rural people, the true representatives of Myanmar, will not be overly swayed by western culture. Having struggled to break out of a restrictive and traditionalistic society, she knows how strong the culture’s values are. Her hope, presumed in her art, is that the best of these values will be kept intact for the sake of future generations. Phyu Mon has exhibited her works in Japan, Thailand, Hong Kong, Malaysia, Cambodia, Singapore, Korea, Denmark, Spain, UK, France and the US.

Chan Aye and Phyu Mon will be undergoing a two month residency at Rimbun Dahan. For more information on their work, visit Chan Aye’s website, and Blue Wind Art’s website.




Azliza Ayob

Azliza Ayob

Azliza Ayob (b. 1975) is an artist who works in many mediums, such as painting, collage, and installation. Her most recent solo show was in 2014, titled All That Glitters, at Wei-Ling Contemporary in KL. She’s been working as an artist, facilitator, and educator for 15 years now (and counting), exhibiting both locally and internationally in Japan, Australia, Sweden, Madrid, and Barcelona. Azliza has also been part of Rimbun Dahan’s collaborative exhibitions with WWF, Art For Nature, multiple times in past years. Nature plays a strong part in her work and her inspirations, as seen in her initial statement of intent below:

I am preparing for the first of my autobiographical paintings in one show. I had started my ‘Adventures of Azliza Ayob’ series in 2009, while building Art History (Eastern Art) modules in a local university. While developing my research on manuscript and miniature paintings from great masters, I discovered that the missing link is to incorporate local elements which I believe can be solved if I photograph, sketch, interview and paint local plants and anything related on the function, purpose and local stories (medicinal). I want to change the function of plants from my previous paintings into a selection of the right flower/plant for the right meaning. Rimbun Dahan’s landscape is perfect for anything creative, it’s fresh, private and acts as a data bank for many leaves, plants and flowers.

Victoria Cattoni

Victoria Cattoni

tree – Victoria Cattoni (in collaboration with Masnoramli Mahmud).

Victoria Cattoni spent an Asialink residency at Rimbun Dahan in 2005. She is a visual artist working in the mediums of video, installation and multimedia. Cattoni’s practice during the residency focused on dress and its cultural interpretations. The first half of the residency took place at Rimbun Dahan and culminated in the presentation of a collaborative video work TREE, at Art for Nature 2005.

TREE is a montage of image, sound, text and performance structured around a simple question: ‘if you were a tree, what kind would you be?’ The video acts as an imaginative trigger, inviting the viewer to identify with a tree that becomes a metaphor for human existence, an embodiment of ourselves in relation to others.

During this time her work was also screened at the not that balai festival and she presented a public lecture at Galeri Petronas. In the second half of her residency Cattoni completed works for a growing list of exhibition commitments in Malaysia and Indonesia. Since completing the residency Cattoni has participated in the Bali Biennale 2005 with a digital media work titled White Onion:Bali Bride and exhibited new work entitled Kedai Kebaya.

Anne Neil

Anne Neil is a Perth based artist who works in the fields of sculpture, design and public art. Together with her partner Steve Tepper, Neil travelled to Malaysia to undertake a residency based at Rimbun Dahan in 1997. During this time Neil produced several series of ephemeral works that she exhibited there and as a collaborative team, Neil and Tepper made significant contacts with Malaysian architects resulting in a commission to produce lights and signage for a new golf course and residential development. In 1999 Neil participated in the critically acclaimed exhibition and residency project, Sekali Lagi: Australian artists revisit Malaysia, with seven other past residents.