Rosemainy Buang is a gamelan musician, educator, composer, and sound artist from Singapore. With a decade of training in gamelan, she is dedicated to expanding her creative horizons through collaborative projects with other artists from diverse disciplines.
Approaching art-making with a multidisciplinary and experimental attitude, she attempts to question, build upon and expand the limits of traditional soundscapes, philosophies and aesthetics.
About the Residency
A space is attached with a unique soundscape and Rose has been absorbing not only sounds in Rimbun Dahan but also in the bandar where she visits different spaces accompanied with music and the community. Having conversations with people around allows her to understand the cultural aspects that come with a space.
Apart from gathering conversations and allowing herself to reflect upon them, Rose has been collecting sound samples not only from the beautiful gamelan here in Rimbun Dahan, but also from around the 14-acre site.
With all these elements gathered and other available mediums that she brings and has access to, Rose aims to create and put together a narration of sounds for her Open Day — a Closing Ritual before she ends her residency, in the hopes her sounds and her stories with everyone.
Ms. Choulay MECH (b. 1992, Kandal Province) lives and works in Phnom Penh. She is an artist, documentary filmmaker, and freelance journalist. Her passion for the job, particularly on environmental and animal rights issues, and she has a sensitivity toward human-interest storytelling.
She trained in journalism with the Cambodian Center for Independent Media. Her reporting has been published in Southeast Asia Globe, Voice of Democracy and CamboJA News. She also contributed reporting to a 2020 article about Cambodian mental health facilities for the Washington Post. She did a nice feature about the changing lives of fishing communities living on floating villages around the country’s biggest lake and river system, Tonle Sap.
She has a strong background in photography and video production as well; she’s had photo exhibitions and completed one-year extensive training in documentary film production at Bophana Audiovisual Resources Center, directing a short film “My Home” about elephant conservation in Mondulkiri, Cambodia. In 2020, she received an award from Creative Generation 4 Awards. The following year, she got four grants: one from Angkor Photo Festival, the second from Citizen Engaged in Environmental Justice for all (CEEJA), the third from SUMERNET for media – research partnership for environment reporting, and the last one it from the Mekong Data-Journalism Fellowship. In 2023, she was selected as an Angkor Photo Festival fellow.
I see dead leaves drop from the trees every morning at Rimbun Dahan. These dead leaves really attracted my eyes because of their unique and original form, colours and textures. I started to wonder, what can I do to transform this dead leaf into a work of art that could speak about the forest and water?
In the day time, I hear the sound of birds chirping, I see the monkeys eating bananas and sharing food with their babies. Squirrels jump around freely and peacefully because no one would harm them. At night, some non-human friends visit me — butterflies, grasshoppers, bats.
Yet, such an oasis is a rare occurrence in the urban world!
Only when the last tree has died and the last river has been poisoned and the last fish been caught will we realize we can’t eat money – Alanis Obomsawin.
Cambodia used to be covered by lush green forests but now it is overwhelmed by unhealthy development that is impacting the vulnerable people, animals and nature. When we have air we can’t breathe in, fruits we can’t eat, rain that we can’t play in, and water that is undrinkable, sooner and later we will all die. When we lack understanding and knowledge of forest life, it is very hard for us to love and care for the forest. As the Khmer proverb goes “រក្សាទុកព្រៃឈើ អ្នកនឹងមិនខ្វះអុសដុត”, translated as “save the forest and you will not run out of wood fire” — forest is part of the ecosystems that we can’t live without them, but they can live without us. From the beginning to the end, forests are completely useful even when they are dead, they are still useful as nourishment to the earth.
To understand more about human relationship with nature in urbanity, I went to visit the Mah Meri indigenous community to learn about their history and cultural practices. The warm and hospitable Mah Meri indigenous people shared with me generously and brought me to the sea, river and its surrounding mangrove forests which holds great significance to their culture and ritualistic practices. They gifted me with their traditional handicrafts such as crowns, birds and flowers made from wild palm trees unique to their local forest. Along the way from Mah Meri Village to Rimbun Dahan, there are beautiful mountains and green forests alongside tall buildings. Such landscape made me become wishful for Cambodia’s future development, I hope we will be able to develop in a healthy and sustainable way.
Malaysian illustrator Yunroo has joined us for a 1-month residency from April to May. Born into a family that has its roots in the clay industry, she’s currently exploring the artistic side of ceramics; to practice and experiment with different making techniques, understand the characteristics of different types of clay, and experiment with colour pigments and glazes.
With her background in illustration, she wishes to combine her practice with ceramics, and create pottery pieces that not only look and feel contemporary, but also reflect the character of her works, which is strikingly colourful and always with a dash of humour.
About the Artist
Yunroo is an illustrator from Batu Pahat, Malaysia. Drawing inspiration from her Chinese Malaysian identity and the local culture, she infuses her creations with vibrant charm and playful humour. She enjoys exploring different mediums and materials and finds joy in seeing her illustrations come to life in various forms.
Yunroo views art as a powerful medium to connect with people, and is dedicated to sharing her passion with others. She has organised and curated art festivals and events, and has taught at a local art college to help others experience the joy of making and appreciating art.
Yee Heng Yeh is a writer, and Mandarin-to-English translator. His poetry has been featured in The KITA! Podcast, adda, Malaysian Millennial Voices, Strange Horizons, NutMag, A Wasteland of Malaysian Poetry in English, Apparition Lit, Antithesis Journal, and was shortlisted in the Malaysian Poetry Writing Competition 2021. His translations of poetry have appeared in Mantis and Nashville Review. He also writes plays and occasionally short fiction. You can find him on Twitter @HengYeh42. https://twitter.com/HengYeh42 https://www.facebook.com/yee.hengyeh
About the Residency
During his residency, Heng Yeh has been working on a series of ekphrastic poems—poems written in response to artworks. Though ekphrastic poetry typically focuses on describing a work in detail, Heng Yeh is also interested in the process of art making itself and the role of the artist, exploring the common threads that drive creation. These poems therefore engage in dialogue with the forms and practices of the works in Rimbun Dahan’s gallery, as well as of the other resident artists.
Heng Yeh is also writing poems in response to the wildlife he has encountered during his residency. These poems uncover links between human and non-human perspectives to question the urban notion of Nature as an “Other”. So far, his subjects include mosquitoes, macaques, snails, and the resident cats and dogs.
Current resident visual artists Choulay Mech (Cambodia), Yee Heng Yeh (Malaysia) and Yunroo (Malaysia) will display the works they have made during their residency in their studios.
The Rimbun Dahan Underground Gallery will also be open, showing ‘Menagerie’, a selection of works from our Permanent Collection.
Bilqis Hijjas will give a morning guided tour of our 14-acre site, including a general introduction to the contemporary architecture and our Southeast Asian indigenous garden and arboretum at Rimbun Dahan, as well as the Rumah Uda Manap heritage house.
Free entry, no registration required.
Schedule
9am-11am: Guided tour of Rimbun Dahan, meet in the central plaza. 11am: Live performance by Api Husien in collaboration with Choulay Mech, and video screening by Choulay Mech 11:30am-2pm: Yunroo Tan & Choulay Mech studios open 2-3pm: Lunch, studios closed, visitors can picnic and walk around gardens 3-4:30pm: Workshop by Yee Heng Yeh in the Underground Gallery 3-6pm: Yunroo Tan & Choulay Mech studios open
About the Poetry Workshop
Penang-based poet Yee Heng Yeh will lead a workshop on ekphrastic poetry—poems written in response to artworks. Though ekphrastic poetry typically focuses on describing a work in detail, Heng Yeh will discuss his interest in the process of art making itself and the role of the artist, exploring the common threads that drive creation. Workshop participants will be encouraged to engage in dialogue with the forms and practices of the works in Rimbun Dahan’s gallery, culminating in a simple writing exercise. No registration required, just turn up in the Underground Gallery at 3pm. Writing implements will be provided.
Travelling Directions
Use Waze to drive to Rimbun Dahan: https://waze.com/ul/hw284q6meb Use Google Maps to drive t Rimbun Dahan: https://maps.app.goo.gl/ft5fV9YpGsvciCtU8 Landmarks: Our front gate is opposite Warung Selera Ria and also next to the start of Lorong Belimbing. Do not enter Lorong Belimbing, please enter the front gate from the main road.
Tips for Visitors
We have parking inside the compound, along the driveway. Just drive in the front gate and park anywhere along the drive.
Bring your own mosquito repellent!
The Rimbun Dahan Visual Art Studios are wheelchair accessible, but the guided tour and the Underground Gallery are not, sorry.
Wear practical shoes if you are planning to walk around the garden. Bring an umbrella in case of rain.
Bring your picnic, and enjoy it in the gardens; please clean up all your trash.
Choulay Mech is an artist, documentary filmmaker, and freelance journalist from Phnom Penh, Cambodia. Trained in journalism with the Cambodian Center for Independent Media, Choulay’s reporting has been published in Southeast Asia Globe, Voice of Democracy and CamboJA News. She has a strong background in photography and video production; she completed extensive training in documentary film production at Bophana Audiovisual Resources Center, directing a short film “My Home” about elephant conservation in Mondulkiri, Cambodia. She has been awarded by Creative Generation 4 Awards, and received grants from Angkor Photo Festival, Citizen Engaged in Environmental Justice for All, SUMERNET, and the Mekong Data-Journalism Fellowship.
Yee Heng Yeh is a writer, and Mandarin-to-English translator. His poetry has been featured in The KITA! Podcast, adda, Malaysian Millennial Voices, Strange Horizons, NutMag, A Wasteland of Malaysian Poetry in English, Apparition Lit, Antithesis Journal, and was shortlisted in the Malaysian Poetry Writing Competition 2021. His translations of poetry have appeared in Mantis and Nashville Review. He also writes plays and occasionally short fiction. You can find him on Twitter @HengYeh42.
Yunroo is an illustrator from Batu Pahat, Malaysia. Drawing inspiration from her Chinese Malaysian identity and the local culture, she infuses her creations with vibrant charm and playful humour. She enjoys exploring different mediums and materials and finds joy in seeing her illustrations come to life in various forms. Yunroo views art as a powerful medium to connect with people, and is dedicated to sharing her passion with others. She has organised and curated art festivals and events, and has taught at a local art college to help others experience the joy of making and appreciating art.
About Rimbun Dahan
Rimbun Dahan is the home of Malaysian architect Hijjas Kasturi and his wife Angela. Set on fourteen acres outside Kuala Lumpur, Malaysia, the compound of Rimbun Dahan is a centre for developing traditional and contemporary art forms. It features buildings designed by Hijjas Kasturi, as well as two early 20th century traditional Malay houses from Perak and Penang, in an indigenous Southeast Asian garden environment which has recently been awarded arboretum status.
Fajrina Razak, from Singapore, was in residence at Rimbun Dahan for 6 weeks from mid February to early April 2023.
About the Artist
Fajrina Razak (b.1989) is a Singaporean visual artist, cultural worker, curator and educator.
As a visual artist, her work takes on an analysis-approach practice, using traditional materials and contemporary mediums as conduits for the archival of knowledge and by extension, forming inquiries on historical references related to Nusantara and Southeast Asia. These are entwined with an ongoing interest in issues centred around the dichotomies of ‘secularity and spirituality’ and ‘individuality and collectivity’. Working primarily with batik, her works are also translated across mediums such as image-making, installation and text-based art.
Her projects include hosting a residency programme 405 Art Residency (2020-23) and a curatorial project Between the Living and the Archive (2021). Her works are in the permanent collection of the Singapore Art Museum and private collections. She was the President of Angkatan Pelukis Aneka Daya (APAD, Association of Artists of Various Resources) in the term 2020-22.
During the residency, Fajrina divided her time between pursuing her research interest and art-making.
Fajrina’s research interests focus on (visual) culture as a motivation for understanding multitude forms of knowledge production; these formal and informal knowledge(s) are derived from archives and collections, official and unofficial histories. These interests allowed her to form inquiries on her own art-making practice with traditional mediums and review heritage textiles and cultural objects found in public and private collections.
For her art-making, Fajrina worked on a work-in-progress body creating new abstract motifs depicting flowscapes and bodily movements of spiritual practices and particularly circumambulation, an act of walking around a sacred object that involves human participation. This work is an extension of her installation work ‘after life, reverse rituals’ created in 2020. At the same time, Fajrina recreated the pucuk rebung/tumpal, a motif that has been a recurring image in her past works. The pucuk rebung and tumpal motifs, are commonly found in traditional textiles and interpreted as symbols of divinity, power and knowledge.
Below: exploring the heritage textile collection at Rimbun Dahan with Angela Hijjas. Bottom: visit to the National Textile Museum.
Thanks to Dr Kribanandan G. N. for 2 photos featured on this page.
Burmese photographer and mixed media artist Shwe Wutt Hmon joins us in February 2023 for the first of several 1-month residencies.
About the Artist
Shwe Wutt Hmon (b. 1986) is a Burmese photographer and mixed media artist, living and working in Chiang Mai, Thailand. Shwe’s works focus on collective histories, familial ties, knots and threads of human relationship and exploring the inner psyche through intimate storytelling about people and places dear to her heart. She tells personal stories from which she connects and examines broader social aspects; vice versa, she works on social documentaries reflecting and drawing from her own position within the issue. Shwe uses photography as her main medium and incorporates archives, videos, texts, poems, paintings and drawings of her own or collaborating with others.
Shwe is the recipient of respected art and photography awards including the Objectifs Documentary Award 2020 (Open Category) and the inaugural Julius Baer Next Generation Art Prize in 2021. Her works have been exhibited internationally in art festivals and spaces such as Kochi-Muziris Biennale, Aichi Triennale, Singapore International Photography Festival, Photo Australia International Festival of Photography, ArtScience Museum Singapore, Bangkok Art & Culture Centre and Photoforum Pasquart.
Over these two years, Shwe has been examining her inner feelings of agony and rage towards what is happening around her on the backdrop of contemporary Myanmar politics, and facets of personal stories on how psyche, body, environment and materials are intertwined.
During the first part of her artist residency in Rimbun Dahan, Shwe is expanding her self-portrait series “I Do Miss Hospital Visit” that asks questions and creates metaphor of how one’s body and health would fade away and how one might find outlets out of a confined situation. The images in the series were created from digitally scanning the scars on her body, along with CT scans from previous medical procedures, and juxtaposing these with dried and decaying flowers, as well as old family photographs, that serve as signifiers of mortality, and the inexorable passing of time.
Since Shwe moved to Chiang Mai in November 2022, she has become interested to experiment with printing these scanner-generated self-portrait images on Saa Paper, traditional handmade paper that is very common in Northern Thailand, which is also very similar to Shan Sakku (Shan Paper) in Myanmar. The surface of the Saa Paper with a skin-like feel plus dried flowers and leaves embedded functions as a contemplative material to exhibit a body in a tender way, alongside the popularity of the paper in Thailand and Myanmar as a layer of storytelling for Shwe’s movement through and connection with both countries.
“Eventually this experimental process led me to cut, put tape, sew and stitch as my body is treated in the operation room. At this point, I am mending myself.”
Current resident visual artists Eunice Sanchez (Philippines), Shwe Wutt Hmon (Myanmar), and Fajrina Razak (Singapore) will display the works they have made during their residency in their studios.
The Rimbun Dahan Underground Gallery will also be open, showing ‘Menagerie’, a new selection of works from our Permanent Collection.
Bilqis will give a morning guided tour of our 14-acre site, including a general introduction to the contemporary architecture and our Southeast Asian indigenous garden, as well as the Rumah Uda Manap heritage house.
Free entry, no registration required.
Schedule
9am-11am: Guided tour of Rimbun Dahan, meet in the central plaza. 11am: Visual artist studios open to visitors 2-3pm: Lunch, studios closed, visitors can picnic and walk around gardens 3-6pm: Visual artist studios open to visitors
Travelling Directions
Use Waze to drive to Rimbun Dahan: https://waze.com/ul/hw284q6meb Use Google Maps to drive t Rimbun Dahan: https://maps.app.goo.gl/ft5fV9YpGsvciCtU8 Landmarks: Our front gate is opposite Warung Selera Ria and also next to the start of Lorong Belimbing. Do not enter Lorong Belimbing, please enter the front gate from the main road.
Tips for Visitors
We have parking inside the compound, along the driveway. Just drive in the front gate and park anywhere along the drive.
Bring your own mosquito repellent!
The Rimbun Dahan Visual Art Studios are wheelchair accessible, but the guided tour and the Underground Gallery are not, sorry.
Wear practical shoes if you are planning to walk around the garden. Bring an umbrella in case of rain.
EUNICE SANCHEZ engages with themes related to preservation and perception through photography and alternative photographic processes. She recontextualizes the materiality of her medium to demonstrate the demand for history to be re-examined. She has participated in several exhibitions in the Philippines, Cambodia, Singapore, and UAE, and was selected to participate in Visualizing Histories (2021) and the ASEAN Artists Residency Programme (2022). Sanchez holds a Bachelor’s degree in Photography from De La Salle-College of Saint Benilde (2018) and a Bachelor’s degree in Psychology from De La Salle University (2014). Born in 1993 in La Union, Philippines, Sanchez currently lives and works in Manila.
SHWE WUTT HMON (b. 1986) is a Burmese photographer and artist, based in Chiang Mai, Thailand. Shwe’s works focus on collective histories, familial ties, knots and threads of human relationship and exploring the inner psyche through intimate story telling about people and places close to her heart. She tells personal stories from which she connects and examines broader social aspects; vice versa she works on social documentaries reflecting and drawing from her own position within the issue. Shwe uses photography as her main medium and incorporates archives, videos, texts, poems, paintings and drawings of her own or collaborating with others.
Shwe is the recipient of respected art and photography awards including the Objectifs Documentary Award 2020 (Open Category) and the Julius Baer Next Generation Art Prize. Her works have been exhibited internationally in art festivals and spaces such as Aichi Triennale, Singapore International Photography Festival, Photo Australia International Festival of Photography, Bangkok Art and Culture Centre and Aichi Arts Center.
FAJRINA RAZAK (b. 1989) is a Singaporean visual artist, curator and educator whose practice concerns the notion of individuality and cultural identities while being driven by the aspects of emotions, traditions and spirituality. Working primarily with batik, her works are also translated across mediums such as image-making, installation and text-based art. Her projects include 405 Art Residency programme (2020-23) and Between the Living and the Archive (2021). Her works are in the permanent collection of the Singapore Art Museum and private collections. She was the President of Angkatan Pelukis Aneka Daya (APAD, Association of Artists of Various Resources) in the term 2020-22.
About Rimbun Dahan
Rimbun Dahan is the home of Malaysian architect Hijjas Kasturi and his wife Angela. Set on fourteen acres outside Kuala Lumpur, Malaysia, the compound of Rimbun Dahan is a centre for developing traditional and contemporary art forms. It features buildings designed by Hijjas Kasturi, as well as two early 20th century traditional Malay houses from Perak and Penang, in an indigenous Southeast Asian garden environment. www.rimbundahan.org
Visual artist Eunice Sanchez from the Philippines undertook a 1-month residency at Rimbun Dahan in February 2023.
About the Artist
Eunice Sanchez engages with themes related to preservation and perception through photography and alternative photographic processes. She recontextualizes the materiality of her medium to demonstrate the demand for history to be re-examined. She has participated in several exhibitions in the Philippines, Cambodia, Singapore, and UAE. She was named the Silver Recipient in the book (self-published/documentary) category at the International Photography Awards Philippines (2017) and was a resident at Visualizing Histories, a collaborative project between The Museum Collective, Load Na Dito, and Sa Sa Art Projects, supported by Asian Cultural Council (2021). She was also selected for the ASEAN Artists Residency Programme, a residency project held by ASEAN Secretariat, Maybank Foundation, and Sharjah Art Foundation (2022).
Sanchez holds a Bachelor’s degree in Photography from De La Salle-College of Saint Benilde (2018) and a Bachelor’s degree in Psychology from De La Salle University (2014).
Born in 1993 in La Union, Philippines, Sanchez currently lives and works in Manila.
“In 2021, I created a catalogue consisting of foliage I wish I could grow. Perhaps the catalogue was also formed to resemble and preserve a different reality I wish I could be in; a reality where I have the ability to nurture anything.
“In my residency, I kept finding myself expanding that catalogue and made a project I call sa hardin, may bukas. Rimbun Dahan has allowed me to depict my own garden that champions life – a way of reclaiming. Through cyanotype printing and by mending images of nature and city textures, I went further by finding likeness to humanity’s persistence to exist even in spaces that constantly hinder growth and inflict destruction. I’m referencing from my own narrative and from friends’ common sentiment on surviving Metro Manila. More and more are lost. Like foliage struggling to grow in corners of a city, we learn to look at different forms of death and reflect on what remains. Fear grows because everything seems to be repeating itself and we assume where it is heading.
“But in the garden, deficiencies and weaknesses are forgiven. In the garden, one is capable of nurturing; a permission to create and grant oneself the kind of healing that time can never give. To tend a garden is a consolation giving us everything we’ve ever imagined despite the days being inevitably followed by anything darker and more difficult.
“I’ve learned long enough that I can’t hold things together. But to tend a garden is a conviction: promise of a better tomorrow.”
In December 2022 to January 2023, visual artist Nice Buenaventura from the Philippines undertook a one-month residency at Rimbun Dahan, under the Southeast Asian Arts Residency programme.
About the Artist
Nice Buenaventura is a visual artist and lecturer from Manila. Her methods revolve around the offloading of tensions, often between ethics and aesthetics, through drawing, painting, new media and (lay-)ethnography. This extends to her project called Tropikalye, an online mutual co-learning resource on contemporary visual culture in tropical and postcolonial Philippines.
Nice holds postgraduate degrees in media and arts technology from Queen Mary, University of London and Ateneo de Manila University. She has presented work and participated in art-adjacent projects in Bacolod, Bangkok, London, Manila, Melbourne, Singapore and Zurich. In 2021, she received the Cultural Center of the Philippines – Thirteen Artists Award and the Ateneo Art Awards – Fernando Zóbel Prize for Visual Art.
About the Residency
Aside from making work about the work allowed by simultaneous childcare, as well as immersing oneself in the expansive garden (forest, really) that is Rimbun Dahan, a detailed plan for my residency was not in place. Looking back, this may have been a purposeful action (or non-action) in that I let the needs of my infant daughter shape my productivity — a conscious attempt at welcoming slowness into my process. As it would always turn out for me, the exercise became an embodied reflection on labour, particularly the invisible labour of care that is too often assumed by women. This reflection would also provide me with a loop of a concept about the time in which we live: in profit being contingent on productivity, capitalism and care cannot be farther apart*.
In the kitchen (not the studio), the tension would be momentarily resolved. There, the work took care of itself while I took care of Laia. I found myself trying my hand at making natural inks, leaving pot after pot of plant material foraged from the grounds to cook for hours at a time, only stirring occasionally. Out of the ten different plants I cooked, seven gave me sufficient and effective yield**. I learned surprising things about natural pigments: how green is hard to come by, and how colour changes not only across time but also physical states (one magenta ink from a small, red, fleshy, pitless fruit dries blue-green). Despite being dazzled by the aliveness of the inks, I caught myself describing them as unstable in my notes, and then realised how the language of commodification, wherein consistency is king, was a kind of default. There might be more unlearning to do than learning.
Meanwhile, in the studio, my partner mounted sheets of manila paper on a wall, for Laia to draw on and entertain herself with while I worked. Before long, I noticed that there were accidental closed shapes in her doodles. As I filled them in using her crayons, it occurred to me that closed shapes are formed by two ends meeting or touching, and, more crucially, how touching is very mammalian. I have been thinking a lot about touch lately, ever since coming across the counterintuitive and anti-touch regimens of sleep training infants. Going through the motions of my internal conflict, I decided to catalogue Laia’s closed shapes. No sooner had the inks finished curing than I figured, with some creativity, that I could write “mammal” with her shapes, and test the inks at the same time by doing so. In the end, what I had to show for my time at Rimbun Dahan were works (or non-works (or fun-works)) that represent a range of productivity without having to compromise one’s ability to parent***. Although very outwardly different from the controlled and monochromatic image- and object-making I am used to, the mammal series, from the ink drawings to the existential colour chart, may just be the most meaningful project I have started so far. My paradigm is shifting and collapsing unto itself: the personal is professional, and they should not be far apart.
Natural inks from RD plants.
Plant material and assistant.
Amber ink from tree beside Rumah Balai.
Magenta ink from fallen fruit.
Baby-ready studio.
Mammal ink drawing.
Mammal ink drawings.
Existential pigments.
*I first heard about capitalism being the antithesis of care from Georgina Johnson, editor of The Slow Grind, via Atmos Magazine — incidentally, on the day of my open studio. ⤴️
**This is to flag another example of how the language of commodification slips into my vocabulary. ⤴️
***Acknowledgment and gratitude are due the institutions and individuals that create spaces wherein artistic practice is not sacrificed at the altar of maternal joy: for this time, Rimbun Dahan and Costantino Zicarelli. ⤴️
