“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.
If Phnom Penh architecture students had their way, the National Library of Cambodia would be more than just a place to read and check out books.
A year ago, a team of leading arts advocates in Phnom Penh unveiled grand plans to turn a multi-story boat into a visual and performing arts center off Sisowath Quay. But those plans were scrapped after inspections revealed costly structural problems.
Eighteen competitors entered their pet flowerhorn fish—a colorful ornamental species known for a large bump on its head—in what organizers said was Cambodia’s first flowerhorn competition.
Young Cambodian filmmakers teamed up with human trafficking survivors last month to write scripts inspired by true events, casting mostly unknown actors in their short films and shooting scenes in Siem Reap, all in a whirlwind and on a shoestring budget.
As it opens for its second year today, the Kampot Writers and Readers Festival will try to dig its roots into the sleepy riverside town, divine its culture and expand its impact on Cambodia’s literary scene.
The International Music Festival, which opens tonight in Phnom Penh, will this year be filled with the songs, poems and gentle melodies played on instruments that charmed royals and street vendors alike four centuries ago in Europe—but with a Cambodian-inspired twist.
French historian and editor of “The Black Book of Communism,” Stephane Courtois discusses terror as a government tool.
If one were to capture, in a collection of images, what Cambodia has gone through over the past 50 years, it would look something like Leang Seckon’s latest series, which opens on Monday night at Java Cafe in Phnom Penh.