Emergence
Linda Saphan
Is it possible to find contemporary art in a country where the effects and memories of a devastating war are still lingering? Is it reasonable to expect artists to dedicate themselves to this purely intellectual pursuit in a country where much of the population is still struggling for survival? Is it possible to conceive of contemporary art when the only images of art portrayed are representations of traditional art, folk art or religious art? The angkorian splendor of Cambodia’s magnificent past is still prominent in most people’s minds and is generally considered to be the art of Cambodia.
Phnom Penh is the capital of this small country and if contemporary art did exist, it would be here that one would expect to find it. It is hard to find though, as exhibition spaces are limited, most are not professionally run and don’t focus on contemporary art. For example, the Department of Plastic Arts in the Ministry of Culture building has a showroom filled with artworks scattered around under a layer of dust. Many artist-owned galleries only exhibit their own work, hoping to sell to tourists. There are no privately owned galleries that hang shows on a regular basis and no dealers to promote Cambodian artists. Due to this lack of support, artists often have to exhibit their work in bars or hotels, hoping to find an audience among the foreigners that pass through.
Despite these difficulties, contemporary art is emerging in Cambodia and there are some galleries that are forward-thinking and initiating new ways of considering art. The first exhibition space to show contemporary art was Reyum, initiated by an American, Ingrid Muan. She tragically died this year and the future of Reyum is now in question. She has left behind a legacy of exciting and innovative exhibitions that have created a new awareness of modern art and given much to the cultural life of Phnom Penh. She was a great support for local talent Svay Ken who is soon to be putting on a show of his work in her honor at Reyum.
The French Cultural Centre, under the direction of Guy Issanjou, is shaking up the tired beliefs and practices of Cambodian art. Issanjou believes that despite the limitations of being a third-world country, Cambodian art should not be limited in its vision. On the contrary, he sees the intellectual stimulus of contemporary art as a vital element in a developing society.
Already he has shown the work of international artists alongside the best local artists, such as painter Yan Pei Ming, video artist Ange Leccia, and conceptual artist Jean-Luc Vilmouth as well as several French painters. Cambodian artists have included comic artist Sera, painter Chhim Sothy and sculptor Sopheap Pich. Innovative and daring, Issanjou gives to Phnom Penh a level of culture befitting a capital city.
Java Café is another place on the contemporary art circuit of Phnom Penh. Dana Langlois, the owner, exhibits a mix of local and foreign artists with new exhibitions every six weeks.
These small enterprises and the tireless endeavors of a few well-intentioned foreigners are providing the main impetus and support for young artists in Cambodia. Things have begun and are moving along, but where will it go from here?
Cambodian art needs to find its own identity. The big discussion in Cambodian art at the moment reflects this: must Cambodian art be Khmer? The word Cambodian refers to the citizens of the country and Khmer is the dominant ethnic group. The art of a nation should not be confined to the identity of its dominant ethnic group and artists must be free to consider all options in their work. Cambodian artists must learn from the work of international artists but at the same time retain the roots of their own culture. If not, they will merely make weak and empty pastiches of other artists work. This is a difficult task in such a poor country were confidence is low and art is often considered as a commodity for tourists, its artists will need help and encouragement to do so.
Cambodia has not yet set its course in art, so if assistance is provided at this early stage it could have a bright future. Borders move and ideas travel and more support and exposure for Cambodian artists will benefit the art community here and the people of Cambodia.
