32:07 minutes
25 by Vuth Lyno addresses the legacy of the UN’s 1992-93 peacekeeping operation in Cambodia (UNTAC). This operation steered the country’s transition out of three decades of war and destruction—civil war, the Khmer Rouge era (1975-79), and the factional conflicts of the 1980s—towards a new, ‘democratic’ future. It was the most ambitious and successful UN peacekeeping mission of its time. Yet, it ultimately produced new cycles of injustice. For this work, Lyno undertook archival and ethnographic research concerning a generation of children born of relationships between UNTAC peacekeepers and Cambodian partners. Many UNTAC children have Cambodian mothers but have lost touch with their African fathers. They embody the complex relationships between Cambodia and other impoverished nations, engineered and mediated by the UN. Against a studio backdrop redolent of UNTAC’s own TV channel, three such people—now young adults—share their experiences of cultural othering and their views on the UN mission. The clean, frontal composition gestures at once toward the video aesthetics of contemporary mass culture, and more instrumental genres in which the medium has served evidentiary and testimonial purposes. Through candid and intensely personal storytelling, this work achieves a succinctness that leaves room for the viewer to unpack the complexity of this history directly from the young people’s lived experience. In the global contexts of today’s febrile racial politics, the crisis of faith in multilateralism, and the urgent renewal of histories of solidarity, this work reminds us of the power of first-person testimony to cut through the noise of ideology.
Vuth Lyno’s artistic practice operates at a crucial intersection of contemporary Khmer culture. Working across many forms including photography, audio-visual installation, sculpture, and architecture, Lyno engages overlooked histories, notions of community and place-making, and the production of social relations. His raw materials are often the narratives of Cambodian people, gleaned by way of quasi-ethnographic, archival, and visual research, and activated through participatory encounter, pedagogical experiment, and tactile construction. Like artists in many developing nations, Lyno wears many hats: researcher, educator, curator, manager, advocate, and community developer. The independent organizations, such as Sa Sa Art Projects, that Lyno has co-founded, contributed to, and built over the years, are crucial links in a lively, but patchy art sector largely devoid of public-institutional support. They are pivotal for education and training; they are the key conduits for international discourse and opportunities; they are the main nurseries of experimentation.
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(Episode 2) What's in a Scene - Nothing by Cake | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles November 23, 2020 ‘We are all but moving shadows and all our busy rushing ends up in nothing’ In this episode, Natalie Hennedige and Siti Khalijah Zainal unpack a scene from Cake ‘s Nothing and talk about the process and the inspiration behind the creation of the play, from the characters to multimedia design and more...
Peter Doig — Reflets du siècle — Musée d’Orsay — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Peter Doig — Reflets du siècle — Musée d’Orsay — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Peter Doig — Reflets du siècle Exposition Peinture Peter Doig,Two Trees, 2017 (Détail) The Metropolitan Museum of Art, New York © Peter Doig...
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Whitney Museum announces the artists participating in Whitney Biennial 2024: "Even Better Than the Real Thing" | | Flash Art Flash Art uses cookies strictly necessary for the proper functioning of the website, for its legitimate interest to enhance your online experience and to enable or facilitate communication by electronic means...
Burning Questions: Is There Still Hope for Integrity and Intimacy in Online Performance? | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints August 4, 2020 Artists today have to grapple with being true to their creative integrities while dealing with the limitations of tech platforms and live delivery methods...
Berlin Remake ( 2005) combines extracts of East German films with images filmed by the artist in Berlin...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
SEE WHAT SEE: SEA AT SGIFF 2021 | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints November 28, 2021 By ants chua, Ruby Thiagarajan and Janiqueel (1,200 words, 4-minute read) In this edition of See What See, we review three films made by Southeast Asian directors and featuring Southeast Asia currently showing at the Singapore International Film Festival 2021 (SGIFF)...
© 2023 All rights reserved - The Eye of Photography Olivier Culmann, URSSAF Normandie, site du Havre @ Olivier Culmann Le Havre, Seine-Maritime, Normandie, France 10/05/2023 © Olivier Culmann / Tendance Floue @ Thomas Jorion @ Sidonie Van Den @ Isabelle Scotta @ Carlo Lombardi S From October 21st to January 7th, 2024, for its 14th edition, 25 international photographers, both established and emerging, can be discovered in an open-air exhibition tour throughout the city, on the beach, and indoors at Point de Vue and Les Franciscaines...
Happy Lunar New Year! 5 Things to Know About the Year of the Dragon | KQED Skip to Nav Skip to Main Skip to Footer upper waypoint Arts & Culture Happy Lunar New Year! 5 Things to Know About the Year of the Dragon Rae Alexandra Feb 9 Save Article Save Article Failed to save article Please try again Email The Year of the Dragon begins is upon us...