Sunday’s commune elections have already become part of the nation’s history. But beyond what observers and journalists will say or write about it, and the analyses historians and researchers will make in the years to come, the story of what happened and its effect on the country will soon be part of Cambodia’s “social memory.”
Visitors to the Institut Francais tonight will be met by life-size cardboard characters inspired by the 2D animations and illustrations of Phare Creative Studio, a new social enterprise that helps fund NGO Phare Ponleu Selpak in Battambang City.
Each photograph makes a statement, showing personal solidarity with the Adhoc 5. There are 365 in all: one photo for each day the activists have spent in jail.
A blue-black cityscape of skyscrapers towering over trees; traditional wooden fishing boats bobbing on the water. The latest work from artists and students from the Royal University of Fine Arts (RUFA) manages to perfectly capture the beauty of the Phnom Penh landscape.
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.
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.
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.
“Sampot civilise” (Civilized sampot), a new exhibition in Phnom Penh, celebrates one of Cambodia’s oldest garments, at once both beautiful and practical, and kept alive through the country’s good times and bad.
For two millennia, merchants and monks have carried parts of their culture across Asia, influencing everything from religious practices to the arts in Cambodia, including bringing some traditions from India that were transformed upon arrival.
Is there such a thing as true freedom? Or is it impossible to escape pressures from family, friends, lovers, work, society or oneself—no matter how much one tries? This is the question artist Nov Cheanick raises in his latest exhibition “Break the System,” held at Battambang City’s Sangker Gallery.
Breathtaking glimpses of Cambodia’s rolling rice fields, forests, shorelines, temples and palaces fill the opening sequence of the documentary “Angkor Awakens: A Portrait of Cambodia”—an attempt to encapsulate the country’s vast scenery in one short sweep.
A sense of Khmer history has persisted through centuries of Cambodian upheaval and turmoil, a tenuous, ambiguous chain of memories sinking and resurfacing over a vastness of forgotten time. Those shifting sands of memory—created, shared and lost—are explored in a collection of research being presented tonight at the Institut Francais.
In “A River and a Valley Far Away,” the Cambodia that author Wayne McCallum renders is a place that’s recognizable and deeply lived—a rural village in the coastal heartland, where he spent a year of his life volunteering for a local conservation NGO.
In 1987, a young American photojournalist headed to Thailand to document the precarious life of Cambodians in refugee camps along the border. What his photographs captured were the dire circumstances of everyday life, and the tremendous fear and deep sorrow of those who survived the starvation, beatings and executions that had claimed so many lives.
When Kim Hak began photographing Cambodian landscapes in 2012, he was driven by the desire to prove that his country was more than just a Unesco World Heritage hotspot and a land once ruled by Pol Pot.
Battambang artists’ presence is not always obvious to the general population of the city, so a group of them decided to organize an arts festival.
Painter Chov Theanly is both puzzled and captivated by those who assume personas while virtually ignoring the world that surrounds them, and his latest exhibition of paintings explores this dichotomy in oils.
Unlike so many, his words live on—in essays, poetry, a novel and a documentary film, “A Tomb for Khun Srun,” to be shown Saturday at the Institut Francais.
The Ministry of Culture and Fine Arts has taken the first step toward setting up grant funding for the arts, ministry officials said on Friday.