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A man sits on stage wearing a tie, white shirt and jacket. Then, one woman in a short dress appears with another in an eccentric outfit wearing an orange wig, and takes away his clothes.
In the early 2000s, the first generation of post-war visual artists emerged from Phnom Penh’s Royal University of Fine Arts (RUFA).
There is a saying that one man’s trash is another man’s treasure. U.S. artist John Melvin is proof of that. His latest installation makes use of some of the thousands of plastic bottles discarded each day by those living and playing in Siem Reap City.
When a country goes through a devastating war, the return to peace usually involves a “baby boom” for a few years as soldiers arrive home and want to rebuild their lives and families, according to French researcher Patrick Heuveline.
British teacher Colin Grafton arrived in Phnom Penh in March 1973 to work at a language school. During the following two years, he would learn to live as any city resident did—in a state of acceptance that the capital was under siege.
When people talk about their favorite film, they’re likely to point out a moment or scene that was especially memorable, says French photographer Christian Milovanoff, explaining the inspiration behind a project he started on Facebook.
The music should be familiar to most in the audience—pop tunes known the world over—but not so for the dance, “Re/Play Dance Edit,” which was choreographed over the past week by Cambodian and Japanese dancers.
In September, German photographer Astrid Schulz set out to capture how people who live and work in Phnom Penh feel about the city they call home.
Each one of the paintings going on display at a new exhibition in Phnom Penh tonight was acquired by a Cambodian man or woman out of love: love of the work and regard for the artist, who was also Cambodian.
Hok Sothik was 7 years old when the Khmer Rouge seized control of the country in April 1975, he writes in his recently released children’s book, “Sothik.”
Three generations of classically-trained Cambodian dancers will premiere the work “Here I Stand in Time” this weekend—performing each segment of the three-part dance at a different outdoor Phnom Penh location.
Yet Sarin, a star dancer of Cambodia’s classical male masked dance lakhaon kaol, died on Saturday at Phnom Penh’s Calmette Hospital after a long illness. He was 91. He had fought hepatitis for a year, his wife Bin Van, 50, said on Monday.
“Turn Left Turn Right,” a feature film that’s part-road trip, part-personal discovery, refused to be told with a customary storyline. So American director Douglas Seok started thinking of it as a concept album with stand-alone tracks that formed a whole when combined.
The film “Waxing Moon,” set to be shown tonight and over the next few weeks in Phnom Penh, starts on a black screen with a man’s voice saying, “To me, this is a beginning.”
In Frederikke Tu’s painting “Khmer Princess,” a girl in a fuchsia dress with a large white belt sits on a stool against a black background, peeling an onion with great care.
A foreign journalist and aid workers recall a ‘country in shock’ when they began their lives in Cambodia during the 1980s
The golden artwork that nearly fills the back wall of the Institut Francais’ gallery is a vast abstract spread over a fine bamboo grid, creating a landscape with a thousand facets.
Cambodian and international artists will be featured in an exhibition, “The Arts of Music and Dance,” opening on Friday night in Siem Reap City.
Their motivation may not have been to support a sprawling political patronage network, but when the Khmer dominated the region about 1,000 years or so ago, one necessity of maintaining their empire was steady deforestation.
In every human being, there must be a degree of believing in oneself in order to succeed in life, but in some revolutionaries, such as Khmer Rouge leader Pol Pot, an excessive amount of self-love stripped them of their humanity, according to French psychoanalyst Jean Artarit.