Ex-Pat Pollution
Bruce Blowitz
Java Café is one of Phnom Penh’s leading exhibition spaces for contemporary art. Exhibitions feature the work of contemporary Khmer artists as well as international artists working in Cambodia. Regrettably, and with few exceptions, it’s unusual that one finds much there of interest. Although the exhibitions are constantly changing and a diverse group of artists are given the opportunity to present their work, it seems that these visitors are unable to relate to Cambodian life and culture. Their themes and handling of materials struggle with an uncomfortable mix of East meets West and one is reminded of the arrogance of colonialism in the absence of any profound relevance to Cambodian society.
A recent show at Java features sculptures and drawings by two ex-pat artists currently living in Phnom Penh, Sopheap Pich and Michele Vanvlasselaer. Mr. Pich is Cambodian-American. His sculptures that are on display, developed from two-dimensional renderings, can be found hanging exactly where they belong, next to the public restroom. Not only have we seen a far more refined version of the same thing in Vietnam several years ago, but what we have here is an object which in no way relates to the reality of Cambodian life. Moreso it is a pastiche of the work of famous Western artists. As such, in the West it would attract no interest and it is arrogant of the artist to presume that even though it is second-rate, it is maybe good enough for the "third-world." A complete waste of time and materials here in a country where the material is so precious.
Michele Vanvlasselaer is French-Cambodian and her drawings can be best described as sadly typical neo-colonial scribbles. She has dug up papers from the French colonial period and drawn some meaningless scribble over them. Rather than taking a look at or trying to interpret the reality of modern Cambodia, she drudges up some images from the colonial era, upon which she stamps her signature. The work shows little respect, sensitivity or evidence of research into Cambodian society, and as such I wonder about the merit in setting up a studio here if the artist is unable or unwilling to respond to her surroundings.
There’s plenty of food for thought in this country, all kinds of pertinent themes for an artist to dwell on. Instead, these two artists attempt to import some ill-conceived idea and amateurish approach to contemporary art, imposing it on the public, no matter how out of context. It is as if, having not endured the experience that resulted in today’s Cambodian situation, they’re unable or disinterested to approach the reality that surrounds them. Instead they hope to beguile what they perceive as an uneducated audience with the limited experience they have stolen from the West. The truth is, of course, that even if lacking in art education the locals are not lacking in sensitivity or experience of life. These works are unable to address, or even to perceive, the themes that are pertinent and inherent in Cambodian life. As this is the essence of all great art, these artists have proven that they neither understand the basic elements of being an artist nor their surroundings. Why don’t these artists take a page from Svay Ken’s book and try to interpret what they see around them?
