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.
Just across the street from the Sangke River in the heart of Battambang city, a small building of traditional Khmer style stands in the shade of tall trees.
Krin Sopheap says the most difficult part of his transformation into Gaga Rainbow is applying his makeup. “I’m not yet an expert at putting on makeup,” the 22-year-old native of Pursat province admitted. “I only know [how] to do about 50 percent of it.”
The magic starts from the very first note of traditional music and, during the next 80 minutes, the Khmer classical dancers in the ballet “Pamina Devi” transport the audience into a saga punctuated by conflicts, fierce battles and, also, love.
Prom Vichet’s painting entitled “Braised Beef and Bread” depicts a table with barely touched bread, a nearly full bowl of beef stew, a plate of rice paddy herb called “ma’am” and a half-full glass of water: a typical Cambodian breakfast.
Circus companies from five countries performing in three Cambodian cities over 10 days. This is what the Tini Tinou International Circus Festival is offering this month starting Thursday in Phnom Penh and ending May 16 in Battambang City.
The contemporary dancers of Amrita Performing Arts presenting three of their latest works Saturday night have turned daily-life themes into dramatic pieces that appear effortless and are beautiful—as well as being profoundly Cambodian.
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.
An art exhibition opening in Battambang City on Saturday represents a rare story of women artists. Rare because there still are so few female painters and sculptors in the country, whether Cambodians or foreigners.
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.
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.
A graphic novel by Ing Phousera depicts the events that led to Cambodia being taken over by the Khmer Rouge forces in April 1975—40 years ago this month.
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.
The photo exhibition opening Tuesday at the Sofitel hotel in Phnom Penh gives an insight into Cambodia as it appeared to visitors in the late 1920s.
The short film “What if the Stones could speak,” shown at Bophana Center Saturday afternoon, could be described as a cry from the heart on behalf of historical monuments in the country.
“I felt like nobody knew there were Jews here in Cambodia. And people might be curious to see pictures of how they were living,” photographer Anna Spelman said of her exhibit, “Our Diaspora: Jewish Migration to Asia.” Showing at Phnom Penh’s Meta House until April 19, the images explore Jewish identity and community in Cambodia, India and Singapore.
In a politically daring new comic book, “Captain Cambodia,” a cartoonist uses a classic comic-book clash of good versus evil to comment on the country's politics.
“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.
Against the backdrop of Cambodians’ age-old beliefs and Buddhist faith, artist Leang Seckon has over the last 15 years depicted issues ranging from city garbage and land grabbing to the emotional scars left by the conflicts of past decades.
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.