The Lifted Brow summer edition includes my column on how the concept of an ’emerging’ vs an ‘established’ artist differs in Australia from in Cambodia and elsewhere in the region. Readers in Australia should buy a copy of this local, independent publication. Readers in Cambodia can view a PDF of the essay online here.
The column talks a little about Cambodian artist Khvay Samnang. Below is an image from his recent exhibition Newspaper Man at Phnom Penh’s SA SA BASSAC. The essay concludes that ‘Taking a wider view of contemporary art in the region, we might learn that there’s nothing fixed about what counts as emerging, and that there’s no limit to what artists who are seen as established can do themselves to support other artists and nurture a vibrantly creative and critical context.’
The essay appears in Middlebrow, the arts section of The Lifted Brow. On the cover is this image of a badminton game played in the SA SA BASSAC gallery on the sand that the artist Khvay Samnang installed for his Newspaper Man show. This was an event called ‘Reclamation Recreation: an Urban Beach Party.’ The artist organised this event in celebration of the fact that the former Boeung Kak Lake in Phnom Penh, now filled in with sand, has been temporarily ‘reclaimed’ by the forcibly evicted former residents, who use it as a park and play area in a city which offers few such public spaces. As well as badminton games, on the day of the show there wereperformances in the sand-filled gallery by both artists and dancers, including Than Sok, Belle, and others.