Home Authors Posts by Aria Danaparamita
When 12 young graphic designers decided to team up for a recent exhibition, it was less about their art and more about introducing locals to the concept of design.
In its fourth iteration, Phnom Penh Designers Week considers the theme “Now is the Future,” inviting avant-garde experimentation along with ready-to-wear basics from eight local and international labels.
“Open City, Open Mind”—The Asia Foundation Community Art Gallery’s second exhibition—seeks to spark discussion about development in Phnom Penh by showcasing imaginative explorations of what the capital could, one day, look like.
The slender sculptures stand stoically in a row. But their mute metal forms speak volumes: Both modern and primeval, angular and organic, Thang Sothea’s anthropomorphic creations use the simplest shapes to evoke abstract sophistication.
Sitting in his Phnom Penh home surrounded by his writings, Vann Molyvann spoke slowly but poignantly, said film director Christopher Rompre, who began interviewing Cambodia’s most celebrated architect last year.
Sorn Samnang, 26, has worked in the garment industry for nine years, shifting between five factories and barely making enough to survive. The story of her life—and that of some 700,000 garment workers in the country—may be familiar to readers of newspaper and magazine articles on the industry. But now, she and her colleagues are also telling their own stories.
Cambodia and China held their first joint Spring Festival Gala on Phnom Penh’s Koh Pich island on Tuesday as a precursor to ringing in the Chinese New Year, which falls on Thursday. But underneath the sparkle of the extravaganza, China's use of soft power as a tool to cement relations with Cambodia was evident.
Welcome to “Rice, Life and Culture,” a three-day bale art festival that opened Friday and ended Sunday, organized by the Banteay Meanchey provincial government and South Korea’s trade-promotion agency Kotra.
It’s a tale of two cities, though less Dickensian and more like postmodern poetry. The exhibition “Rates of Exchange: Un-Compared” opened last Saturday at the Sa Sa Bassac gallery in Phnom Penh, bringing together six artists from Bangkok and three from the Cambodian capital.
Mak Remissa was 7 years old when he embarked with his family on the grueling exodus from Phnom Penh to Kampot province, a day after the Khmer Rouge took control of the capital in early 1975, and ordered its citizens out.
Architect Pen Sereypagna is leading the new Genealogy of Bassac project, which he launched in October with support from Sa Sa Art Projects and the Parsons New School of Design in New York. Its aim is to collect oral histories about the White Building and its neighborhood, documenting architectural changes in the Tonle Bassac area from the 1920s to the present.
Crouched amid rubble, a 16-year-old boy draws a portrait of the late crooner Sinn Sisamouth on a wall. As the portrait of the 1960s music legend takes shape in black and white paint against a bright red and blue backdrop, it joins a series of tableaux—part of a revival of Phnom Penh’s Boeng Kak neighborhood.
Born in a Thai refugee camp after his family fled the Khmer Rouge, Khiev Kosal found asylum in the U.S. Growing up in Southern California, however, he followed his cousins and joined a street gang, embarking on a life of crime aged just 14.
A stroll through Battambang City’s streets treats one to the decaying grandeur of French colonial buildings, their aged allure giving the riverside town a certain worn-down romance.
Anida Yoeu Ali’s multimedia and performance piece is many things. It’s a caterpillar-like form sheathed in an orange shroud like a Buddhist monk. It’s a woman covered in a long Muslim hijab. It’s an odd addition to an otherwise normal scene, or it’s a natural part of the landscape.
Through his paintings, Mil Chankrim shares his story as experienced by the boy he once was. This haunting—and haunted—private sphere, often represented by either bold or oppressively pallid backgrounds, forms the emotional backdrop to Mr. Chankrim’s troubled childhood.
In the lobby of Phnom Penh’s TeaHouse Hotel, a melange of colors evoke the seasons: a teal-and-indigo panel echoes summer and a gold-tinged white painting whispers winter. But forgoing canvas, the colors glimmer on lotus leaves.
These days, when one thinks of cinema, it’s often in the nostalgic past tense: ticket windows shuttered with wooden clapboards, as the masses switch on their TV, laptops and smartphones. But while in the U.S. and Europe, many lament the dying days of film, in Cambodia, it’s a starkly different scene.
Kim Hak's exhibition "Alive" is among the diverse tales told by photographers taking part in the 2014 Angkor Photo Festival.
Though the capital is no stranger to vendors peddling noodles, soups or snails from carts, a fleet of food trucks offering international fare have rolled into the city.