Meta Moeng in Phnom Penh

Ho See Wah

Meta Moeng is the curator of Treeline Gallery, Siem Reap and lives in Phnom Penh, Cambodia. Her curatorial practice focuses on contemporary art in Cambodia, creating dialogue among young artists and engaging in archiving such as through dambaul which she founded in 2019, an arts resource home focused on building the Cambodian Contemporary Art Archives. Her interests lie in urban development, architecture and art. At Treeline Gallery, she curates and manages new commissions with emerging artists in Cambodia.

Meta is also the founder of Kon Len Khnhom (2017), an independent art space focusing on developing a local audience for art. She was previously Creative Producer for Creative Generation at Java Creative Cafe (2017−2018). She was also Community Projects Manager at SA SA BASSAC (2013−2016). In 2018, she received the Travel Grants fund by The Getty Foundation. Meta is a member of CIMAM, the International Committee for Museums and Collections of Modern Art.

In this interview, we ask Meta about her practice, and the challenges that the Cambodian art scene faces at the moment.

To start, could you tell us more about your practice as both curator and art manager?

I visited SA SA BASSAC by chance without knowing anything about contemporary art and art history. From there, I became curious about contemporary art and the people involved in this field. Through dialogues I had with artists and galleries, I was encouraged to consider another direction in my career, so I switched from the business field to the arts and started working as SA SA BASSAC’s Community Projects Manager

from 2013 to 2016. Other than supporting the team, my role encompassed engaging with audiences and developing the audience growth strategy. During that period, most locals, including my friends and their circles, knew very little bit about contemporary visual art, so I was keen to develop this aspect which I believe to be an important step for a sustainable and thriving art community.

I spent lots of time researching, observing the art scene and learning from people around me. This developed my role and my own personal growth, which led to me eventually wear many hats in the art scene.

What are some projects that you worked on?

Besides working with artists, I also have two exciting projects that allow me to explore my practice. One of them is Kon Len Khnhom, an independent art space dedicated to networking and growing audiences. It is an experimental platform for me to render the invisible visible. The other is dambaul, which is an arts resource home that focuses on building the Cambodian Contemporary Art Archives. It is a lot of homework to do and it also presents a challenge for my personal growth. Both help me to balance my career and my passion. These two projects shape the way that I work, and they have also brought me towards my unexpected role as a curator.

You mentioned Kon Len Khnhom, or "my place", an independent art space that offers a platform for projects and networking, a resource library and a residencies programme in 2017. Could you tell us why you started this space?

Very luckily, I found a charming space in 2017. It is a traditional Khmer house furnished with a new, concrete ground-level building along an alleyway in the city. The house gave me a sense of feeling at home, so I decided to rent the space to work on my independent projects and develop my ideas. But soon after I rented it, I decided it would not be just for me. Instead, it should be for other people who would need the space as well. This practical approach of providing a platform for experimentation and for the development of interdisciplinary artistic practices transformed my creative activities. It allowed my visitors and I to learn from one another, and it feels important that Kon Lem Khnhom plays a part in the art ecosystem. From a pragmatic point of view, this project is also part of audience development.

SA SA BASSAC.

Meta Moeng.

Students-in-residence at Kon Len Khnhom.

The reading room at dambaul.

How has this space developed from then?

Kon Len Khnhom was founded in 2017 and for the three years since, we have hosted several events, and more importantly, residencies for architectural and design students who were completing their projects. It was a home and gathering space for many. During the COVID-19 pandemic in 2020, I announced the closure of the physical space but it remains an ongoing project. I believe it will return in a different form in response to the needs of the community.

You have been working as a curator at Treeline Gallery, which champions Cambodian contemporary art and design. Could you tell us more?

Treeline Urban Resort was conceived, designed and owned by one of Cambodia’s leading architects, Hok Kang, who also has an interest in supporting local contemporary art. Treeline Gallery was built as an open-air gallery, and we have our own permanent collection of artworks by Sopheap Pich, Khvay Samnang, Thang Sothea and a few more artists.

The gallery aims to support young and emerging contemporary artists and build an inspiring platform which cultivates a deep appreciation for the arts. My role at Treeline Gallery is to make a yearly exhibition plan proposal and propose it to the management team. Once it is approved, I then curate all the exhibitions. Our exhibitions and programmes focus on supporting and promoting Cambodian artists, advocating the collection of artworks by local and foreign collectors, and helping to craft the contemporary Cambodian art narrative.

Our long-term vision is to create the Treeline Art Foundation and launch an artist-in-residence programme to host artists from Southeast Asia.

What are the positive changes that you witnessed in the Cambodian art community in the past year?

From my observations, there are always challenges for the contemporary art scene in Cambodia. Previously, there were not a lot of art spaces or galleries, and there were few public library collections. Within these collections, the modern and contemporary art archives were limited.

Still, artists and cultural practitioners often make things happen by themselves to contribute to the art community. Meanwhile, private sectors, local collectors and other initiatives play a supporting role in the arts. There are opportunities for young artists, dancers, architects, filmmakers, writers and curators to develop their skills despite the challenges.

And what are some current circumstances, such as infrastructural support or public awareness that you think could be improved upon?

In Phnom Penh, Cambodia’s capital, there is the National Museum and the Royal University of Fine Arts. However, these do not encompass contemporary art and in fact, there is no government funding for them.

To create the art ecosystem, we need to build a strong foundation together. It is like building a house where everything is connected, and the details are implemented step by step. Some of these steps include creating galleries or art spaces, building a local audience, encouraging local collectors, and having more art publications so as to create more opportunities for artists, audiences, collectors and the art community.

What do you think is an enduring or distinctive factor about the Cambodian art scene?

Although the contemporary art scene in Cambodia is small at the moment, it is at an interesting stage and everyone in the art community supports each other and encourages collaborations between different disciplines. We are committed to the arts and what we do.

An example is the event Currents 2019: Phnom Penh Art & Urban Festival curated by Pen Sereypagna and Lyno Vuth. The programme saw many activities including two group exhibitions, art installations and performances, artist talks, workshops, dance performances and film screenings. However, due to Covid−19, there is no clear plan for future iterations of Currents.

Could you let us know some local artists or cultural practitioners like yourself whose work we should know about?

Here are the names of local artists that have worked with Treeline Gallery: Khvay Samnang, Yim Maline, Thang Sothea, Eng Rithchandaneth, Sao Sreymao, Prak Dalin, Hul Kanha, Prum Ero, So Vitou, Tyl Kan and Kong Siden. There are also a few more artists that I am interested in, and follow their works: Lyno Vuth, Lim Sokchanlina, Tith Kanitha, Neak Sophal, Kim Hak and Chov Theanly.

For cultural practitioners, I appreciate and follow the works of these individuals closely: Prumsodun Ok who is an artist, teacher, writer and founding director of Prumsodun Ok & NATYARASA; Vuth Lyno who is an artist, curator and artistic director of Sa Sa Art Projects; Sokcheng Seang, writer and Wapatoa’s Co-Founder; So Phina, Cambodian Living Arts’ Knowledge, Networks, and Policy Programme Manager; and Onn Sokny, Epic Arts’s Country Director.

And looking forward, what do you hope for the future of the local art scene?

I hope to see more art libraries, spaces, proper galleries and more local collectors. I would also like to see groups in the private sector becoming more dedicated in supporting and promoting art. I also hope that there will be more support from the government in terms of contemporary art education, grants and openness to collaboration beyond their network of schools and museums. I certainly hope to see more curators, writers and leaders in the art field.