Home Authors Posts by Aria Danaparamita
At the edge of this expanse of barren land, a house lies buried, filled almost to its roof with sand. This is the Khin family home, the last in their village after more than 3,000 families were evicted from the area to make way for development.
Decades after her mother died, Orn Bottumrasmey was finally reunited with her ashes three days ago. Ms. Bottumrasmey, 43, is the latest person to have discovered the lost ashes of an ancestor among 464 urns unearthed from a vault below Phnom Penh’s Wat Langka pagoda in February.
On the roof of Phnom Penh’s White Building, the iconic apartment complex on Sothearos Boulevard, Yan Jun will set up a portable digital recorder and headphone amplifiers. Then, the Chinese sound artist will invite people to don earphones or plug in their own—and just listen.
On a sweltering afternoon at Phnom Penh’s Choam Chao market this week, people on motorbikes crowded around a bright green tuk-tuk. Surrounded by stalls offering mobile phones and other electronics, Phe Sophon was selling iced coffee, fruit sodas and ice cream.
“No taste, hard on the teeth... and it smells very strong,” artist Svay Sareth said of the shoes he chewed for his upcoming exhibition, “I, Svay Sareth, eat rubber sandals.”
Cambodia has selected “The Last Reel” as its entry to the 88th Academy Awards Foreign Language Film category, making debut director Kulikar Sotho the first female filmmaker forwarded as the country’s contender at the Oscars.
The contestants are alone in the jungle, fighting to be the last one standing. But even the survivor eventually leaves the island. And when that happens, well, an entire village remains. Sok San, a fishing community of some 360 residents on this 7,800-hectare island, boasts an unusual business. For the past four years, it has served as a production base camp for various iterations of the global reality television franchise “Survivor.”
Over the seven minutes of Polen Ly’s short film “Colorful Knots,” the characters begin a friendship—moments stolen at red lights and cut off once the window rolls up as the car drives away.
Perched on stilts 2 meters off the ground, a bamboo hut stands out amid homes of unpainted wood. A sarong, a belt and a pair of boxer shorts hang out to dry over the porch railings. This isn’t your average bachelor pad. In these hills of Ratanakkiri, indigenous Kreung tribes traditionally build a girl or boy their own hut when they come of age.
Through a side alley and up a flight of stairs, the open, airy room of Romeet Contemporary Art Space is a rare nexus of Cambodian art, having brought the work of some of Battambang’s finest talents to Phnom Penh since it opened in 2011.
In a world oversaturated with mass-produced images, print artist Marine Ky rekindles a love for the tactile.
In his mid-twenties, Kan Chhum left his home in Phnom Penh for war. His destination: the far, fatal Western Front in Europe.
A fundraiser for Nepal earthquake relief will take place tonight at The Plantation hotel in Phnom Penh, featuring an exhibition and sale of Nepali photographer NayanTara Gurung Kakshapati’s series, “Being Nepali.”
Cambodian-Americans Chanravy Proeung and Mia-lia Kiernan flew to Geneva this past week on a mission: stopping the U.S. practice of deporting Cambodians with criminal convictions.
The U.S. Holocaust Memorial Museum in Washington is hosting two exhibitions on atrocities under the Khmer Rouge regime.
When Haryatin returned to her village in Indonesia after working in Saudi Arabia as a maid, she was blind. Her employer had hit her with a metal pipe, causing her to lose sight in both eyes. And when Nining, another Indonesian maid, was groped while cleaning windows in Jordan, the shock made her fall several stories to the concrete below. She was confined to a wheelchair.
The swirls of color in water make for images of subtle beauty. But photographer Mak Remissa’s series “Water Is Life” is also a plea to address Cambodia’s environmental degradation.
On streets, alleyways and rooftops, look out: Nine street artists have unleashed their paintbrushes and spray cans for the first Cambodia Urban Art Festival, covering walls with art at various sites around the capital.
Through the streets of Paris, a woman clad in a glimmering red chador walked amid bewildered passersby, photo-bombing tourists at the Eiffel Tower and inadvertently joining protesters demanding conflict resolution in Yemen.
When Charles Fox began documenting old Cambodian family photographs, his initial aim was to capture the country’s social transition through the lens of these intimate snapshots.