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Posts Tagged ‘Erin Gleeson’

5 80s born contemporary Cambodian artists featured in historic show Forever Until Now

Posted by artradar on March 17, 2009


 CAMBODIAN ART SHOW REVIEWS

This post features introductory profiles of 5 Cambodian contemporary artists born in the 1980s in the 14 artist historic group show Forever Until Now curated by Cambodia-based Erin Gleeson.  The show which can be seen at Chancery Lane Gallery Hong Kong until April 29 2009, aims to document the development of Cambodian contemporary art. 

This is the third post of a three part series; see the related posts section below to read more about artists born earlier.

Chan Dany, Kback Phni Tes, pencil shavings

Chan Dany, Kback Phni Tes, pencil shavings

 

CHAN Dany (1984) – Chan Dany is one of the few emerging artists in Cambodia creating contemporary work that employs a flexible knowledge of kbach rachana or Khmer decorative forms – an ancient code of organic shapes and patterns applied in diffferent styles. In this show he exhibits part of a series of meticulous and delicate works made with pencil shavings which from a distance appear to be embroidery.

 

Ouk Sochivy, The Band, oil on canvas

Ouk Sochivy, The Band, oil on canvas

 

OUK Sochivy (1984) – It is common in Cambodia for elders to pass on their trade to the next generation. Before his death in December 2008 Say Ken commonly known as the grandfather of contemporary art in Cambodia – instructed his granddaughter how to paint with his self-taught flair.

Vandy Rattana, Fire of the Year 6, C-print photo

Vandy Rattana, Fire of the Year 6, C-print photo

VANDY Rattana (1980) In Fire of the Year 2008 photographer Vandy Rattana captures a hopeless story common in today’s Cambodia. With few fire trucks and bribes required for protection, a sense of chaos and resignation reigns in this series of photographs taken in the destroyed district called Dteuk Tlah or ”clear water’ (a site where 300 hundred families lived in stilted homes above a floating blanket of plastic waste). Vandy is a catalyst for creating community among photographers and artists in Cambodia and is the founder of Steiv Salapak, an art collective and gallery in Phnomh Penh.

Than Sok, Ktome Neak Ta, Incense sticks glue

Than Sok, Ktome Neak Ta, Incense sticks glue

THANN Sok (1984) – Thann Sok graduated from Reyum Art School in 2005. His current practice is an extension of his second year study of architecture. The work in this exhibition is called Ktome Neak Ta. It is a wall installation of 15 miniature houses made of incense sticks. Found in the majority of rural Cambodian homes and in the northeast corners of Buddhist temple grounds, the Neak Ta shrines serve as a site for communication with Neak Ta one of the most omnipresent divinities which populate the supernatural world of the Cambodian countryside. Incense and prayer is offered in a time of need but after the crisis has passed, the shrine is thrown away and a new one built representing a clearing of the old and a chance to begin anew. This is a multi-layered work which is also a comment on the political evolution of Cambodia since Pol Pot.

 

Sorn Setpheap, Naga, Wall installation paper

Sorn Setpheap, Naga, Wall installation paper

 

 

 

 

 

SORN Setpheap (1988) – As a graduate of Reyum Art School in 2005 and Reyum Workshop in 2007, Sorn has been exposed to a range of contemporary practices from visiting artists. Since 2006 this artist and dancer  has been training in the US with the New York-based Japanese dance group Eiko+Koma. In this show, Sorn exhibits a sculpture of a Naga – a serpent believe to be the mythical origin of the Khmer people – made of hundreds of pieces of folded paper creating an undulating form – a new form for a new generation.

 

Reviews and related links

A Coming of Age for Cambodian artists – IHT – March 2009 – The show 10 Chancery Lane Gallery, along with several other events, marks a turning point for Cambodian artistic life today. In December Cambodian artists will be represented for the first time at the sixth Asia Pacific Triennial in Brisbane, Australia, and a few weeks before, the Fukuoka Asian Art Triennial in Japan will again showcase the Southeast Asian nation.

A Haunting Exhibition in Hong Kong – Asia Sentinel – 17 Feb 2009 – this review was published on the eve of the long delayed trial of Tuol Sleng prison director, Kaing Guek Eav – aka \”Duch\” – the first of four Khmer Rouge leaders to be brought before the UN-backed war crime court. 12,000 people died at Tuol Sleng, known as S-21, now the Genocide Museum. This review discusses the effect the Cambodian genocide which saw the death of 1.7 million people has had on art.

Cambodian Art: Past to Present – 17 Feb 2009 – CNN – Miranda Leitsinger – As well as reviewing the works, this piece documents the hardships and challenges of producing art in Cambodia.

After a troubled past, new expressions in Cambodian art – IHT – July 2006 – this covers the role Sopheap Pich is has played in catalysing the art scene in Cambodia

Related categories: Cambodian art, religious art, reports from Hong Kong, emerging artists

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Historic show documents development of Cambodian art – Forever Until Now

Posted by artradar on March 9, 2009


CAMBODIAN ART SHOW

In a unique documentary and historic show, Cambodian-based curator Erin Gleeson brings the works of  14 Cambodian modern and contemporary artists  to 10 Chancery Lane Gallery in Hong Kong. This post is the first in a three part series.

 Sopheap Pich, Cycle 2008

Forever Until Now – 10 Chancery Lane, Hong Kong to 25 April 2009

The ground-breaking show aims to provide an overview of the evolution of experimental and contemporary art in Cambodia and covers 3 generations of artists born between 1933 and 1988.

What prompted the exhibition? 

Dealer Katie de Tilly began planning the exhibition last summer when she took an exploratory trip to Cambodia  and was shown around by bamboo sculptor Sopheap Pich and  US- born curator Erin Gleeson who has been based in Cambodia for the last 5 years. Whereas Thailand and Vietnam have been receiving international exposure for some time, Cambodian contemporary artists are on the cusp of  interntional recognition. The work of Cambodian artists will be shown for the first time at the up-coming Asia Pacific Triennial 2009.

 Why is Cambodian art getting attention now?

Until a decade ago contemporary art in Cambodia simply did not exist but after the opening of the Reyum Institute of Art and Culture in 1998 and other galleries such as Java Cafe, more cutting-edge works began to emerge among the traditional works of silk weavings, silver and stone sculptures.

It has been over 30 years since the 1979 toppling of the Khmer Rouge and Pol Pot’s totalitarian regime. During the last decade Cambodia has enjoyed a period of political stability which has allowed an opening up to external cultural influences and a gradual blooming of the art scene.

During the Khmer Rouge from 1975-1979 a dozen or so artists left the country to study abroad  but when they returned there was little art infrastructure to support their practice.

Despite an absence of government funding for the arts, international collectors are beginning to become aware of the significant changes in Cambodian art practice thanks to the activities of private galleries (from Thailand in particular), curators ( like Erin Gleeson who established the artist resoure centre Bassac in Phnom Penh last year) and artists themselves such as Sopheap Pich who was selected for the Best of Discovery section at Shanghai Art Fair in 2008.

The artists

The artists fall into three groups. The first group only – artists born in the 1950s or before –  are covered in this post.

The following artists born from 1930s – 1950s  were formative in the development of today’s Cambodian contemporary art because each in different ways appropriated new sources of inspiration. Grandfather of art, Svay Ken focuses on the immediate and everyday instead of the sublime whereas Vann Nath’s dark  heavy work reflects the experiences of terror and torture which Cambodia suffered during Pol Pot. Stylistic development is apparent in the comic art and illustration work of Em Satya while Duang Saree is influential for innovating the traditional motifs and representations in temple art into new forms which better reflect contemporary society.

 Svay Ken, Flood at the Wedding, oil

  • SVAY Ken (1933-2008) – painter – Known locally by the respectful title Lok Ta (grandfather), Svay was remarkable for turning away from traditional art practice glorifying ancient monuments and rural landscapes and depicting in his rough self-taught style the every day moments and objects of Cambodian life. His work as a porter at the lavish Raffles hotel led to sales of his art to tourists which in time evolved into international recognition. He is collected by Fukuoka Asian Art Musuem, the Singapore Art Museum and the Queensland Art Gallery. He will represent Cambodia in the 6th Asia Pacific Art Triennial 2009.

Vann Nath, Pray for Peace, oil 

 

  • VANN Nath (1946) – one of the most honoured figures in Cambodia he is one of 7 survivors of the Khmer Rouge’s secret prison known as S-21 where 14,000 people were tortured and executed during the 1975-79 Pol Pot regime. His jailors spared his life so that he could be put to work painting and sculpting portraits of Pol Pot. Vann Nath typically paints the dark and violent events he has witnessed.

 

Duong Saree, Kbach Tonle Sap 2, watercolour

Duong Saree, Kbach Tonle Sap 2, watercolour

  • DUONG Saree (1957) – Duong Saree is a renowned teacher and innovator of Cambodian Traditional Painting. Over 6 months in 2007 she completed the largest traditional painting in Cambodia (outside the Royal Palace Walls). What is interesting about Duong Saree’s practice is that she is evolving the traditional motifs of temple painting  – usually strictly adhered to – in order to better represent the contemporary world. In this show she innovates new forms for water to complement the five surviving representations of water found in temples.

 

Em Satya, Deadly Curse of the Diamond, Watercolour

Em Satya, Deadly Curse of the Diamond, Watercolour

  • EM Satya (1952) – a comic artist – Cambodian comics first appeared in the 1960s taking inspiration from the style of French and the colour of Indian comics. He is best known as “Nono” the pseudonym under which he drew caricatures and political cartoons for newspapers in the 1990s. His newest graphic novel Flower of Battambang (2006) is already seen as a contemporary classic.

This is the first of a three-part series on this show.

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