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មយថ | Influence: The New Ages
ន(+,-./!"$"ថ *0យ 1ង
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A special presentation of new work by Leang Seckon
!
ប"*ច@ទពព"ABC DE F1 / G EH +ច@!" IJEK
Exhibition Dates: October 31 – November 19, 2016 ទZ[ងC \]^!*_` នង abcd" (+fនgកhជi)
Venue: Java Café and Gallery Independence Mounument គrន"កs*0យ tន "
Curated by Yean Reaksmey
www.javacambodia.com
ទព
មយថ | Influence: The New Ages
: យគ
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ទព : យគ មយថ គdក[ពង•F"ក"ក, ] G ង } G នង ក[ពង•Fផ“ G•iន(+ពF£fន‘គ[នF‡…ទ¤ ¥ˆ
Influence: The New Ages explores the influence of opposing energies and the dichotomies of giving-receiving, active-passive, and integration-immigration within a global, national, and personal context. Seckon employs these contradictions to reveal the complications of war’s aftermath and the influence of soft and hard power of political authority, charismatic traits of personal and public figures, commercialization, and monetization. These complex and yet noticeable changes have transformed and influenced Cambodia and her people in which Influence: The New Ages is exploring, measuring, and offering glimpses.
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A conversation of an interview between, គrន"ក§ tន " នង •ក" 1ង កន Curator, Yean Reaksmey, and Artist, Leang Seckon .ថ¨ទDJ •ខF1 ª-I [ JEK
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______________ YR: How long is it since you last exhibited your work in Cambodia? LS: My last exhibition was at the French Institute in 2011. And it’s now 2016, it’s therefore around five years. YR: Why do you think it’s important to return to Java Gallery for this show?
LS: Actually, it is not about returning or not returning. This is our country. It [Java] is a place that I have a long relationship with, and it was the first experience that brought me into the successful life I enjoy today. My first contemporary art exhibition was at Java. And I feel especially pleased to be exhibiting here again. I’ve never actually left Java, or Cambodia as a matter of fact. It’s just a matter of timing and scheduling. I’ve been busy and occupied by some other projects, which could lead to even three projects a year [international projects]. These projects kept me busy and as matter of fact, I have no artworks left to put on a real show in Cambodia. To be honest, I always wanted to have another show in Cambodia since my last one, this is a dream come true, because I simply don’t want people to forget me [Laugh]. YR: And why are you interested in this idea, or this subject of “influence?” LS: The use of this idea of influence just occurred recently, but throughout my life when I began to think about this word or process ‘of influence,’ it became to me very powerful. Every move we make, every environment we live in, including the natural atmosphere and within our destiny, there is no doubt, that always we are influenced by our surroundings, friends, society, people, everything. Besides, in this exhibition as you can see that [anti-rust paint and the suffering] painting is inspired by our recent conversation of your [Tuesday] fasting day. I actually knew that you’ve been fasting every Tuesday, but I couldn’t comprehend or know it fully. And I wanted to learn more, that’s why forced you the other day to give me an explanation of what’s exactly behind your fasting day. While you were speaking and talking about this subject, I also occasionally looked at my sculpted leather of a suffering-Buddha. You know, I knew Lord Buddha once fasted on his journey to become enlightened, but it’s more interesting when you say ‘if you want to invite me for noodle soup, you have to do it now otherwise I can’t as I am fasting tomorrow’ and it leads me to the question of why you have to do this and why it is important. This particular conversation allows me to reflect also on my diet practice as to why I often eat vegetarian food rather than meat. The conversation, the reflection and the knowledge I know of Buddha influenced my thoughts, it struck me that once we understand suffering, or when we experience it directly, this will allow us to understand the suffering of others, therefore appreciate life and food. And this is why I am interested in this subject and this story of ‘influence,’ for instance what the influence of [late] king Sihanouk is and how he has influenced others, and the events that influenced his life. Besides the [influence of] politics, [the influence can also be seen in our] the everyday life and the needs of our everyday life, such as music and film. It’s
interesting to me how they influence our lives, how the power of the songs and music remind us of the past events, or help us to visualize the story. For me this is influence. That’s why, I am pleased, because this exhibition has a very special meaning and character, it not only shows [influence] in the personal level, but also on the global scale. YR: I am interested to know why you name the painting that bears a portrait of the Late King Sihanouk with the same title of the show’s title, Influence: The New Ages? And, what relationship do you want to narrate, or show? LS: Since I was young, my parents and those from the older generations always talked to me about the life of King Sihanouk, and the era that was led by him, the Sangkum Reastr Niyum [1955-1970?]. I learned that the period was very safe and they had enough food- you name it, fish and vegetable. Life was full of peace and was comfortable [according to them.] The regime also produced film and songs, which I have always liked to listen to and watch. These productions are amazing as everyone would agree. And if we talk about the life journey of King Sihanouk, this is the life of Cambodia; if we know Sihanouk, we know Cambodia. After the overthrown of King Sihanouk, the time that I was born, my life is/was influenced by warfare, and he later became a peace builder for Cambodia, through the 1991 Paris Peace Accords. That’s why, on my painting of his portrait you’ll see many elements adorned to it such as diplomatic language, and his influential power to bring Cambodia back to peace. And if you then think and talk about those periods in which Sihanouk had passed, these complex and long periods, it is like you are going back to talk about the late king Sihanouk himself, and these are the ages Cambodia has been through – all new ages for Cambodia. YR: Another interesting piece is the central market, why have you named it “Two Influences Of The Central Market Economy,” and what do you mean by “two influences?” LS: The Central Market is one of my most favorite places and my favorite market to go shopping in. I don’t know why, but I feel that there is air, and it is comfortable to be there. It is like everything I want to buy is right there at the central market. I guess that’s why I thought it is one of the most important places and it welcomes both foreign and national tourists. Frankly speaking, I’ve never been a big fan of the Chinese culture, but I am more into the Indian one. It seems that I can’t relate to it [Chinese culture], although, I started to change my attitude
towards it a little. Anyway, with regard to the reality of the central market, I choose to use Ang Pao, a little red Chinese envelope that people use to exchange or offer gifts to one another during Chinese New Year, in this work. For the Chinese Ang Pao, if it is important that during a special occasion, the currency put inside this envelope is the US dollar, not Khmer currency; the amount typically varies from five to ten USD. And if we go shopping at the Central Market, the way the behavior of the sellers and the selling process are in the Chinese style, including language used to communicate to a customer. For example ‘Ah Hear’ you want to buys something, and Ah hear or Bong in Khmer is Chinese language. Also the sellers decorate their stores with a Chinese characteristic style, including the sign in Chinese language and an alter that installed in the shop. This offering alter is also known as ‘Hueng or KongMa’, which I think is Chinese language to mean offering place. In contrast, we use US dollars to buy products there instead. These are two most important factors that also influence [to Cambodia?]. The two influences of the US dollar and the Chinese culture surrounded the market, and if you notice especially during Chinese New Year, you’ll see the smoke of incense burners and Chinese celebrations are happening everywhere. It looks to me that in the last few years, Chinese culture has been increasing within Cambodia. YR: What is the relationship between Toul Sleng and Independence Monument, why does one of your pieces depict them? LS: I’ve never been to Toul Sleng until 2009, before my big show in London. I decided to visit Toul Sleng, because my work, Heavy Skirt, has some connection to it and I couldn’t ignore it anymore. It’s also a reminder of my past and bitter experiences with the Pol Pot regime – I was once held at gun point by a Pol Pot [solider] and I was so frightened. The first time that I visited Toul Sleng was with my former colleague and friend, Fleur Bourgeois. I fainted and threw up; I was uncomfortable being there and I returned home after a while. It is ok now to return to Toul Sleng. Also, I’ve been using a lot of materials of Toul Sleng in my work since then, and in my recent works. And here [Independence Monument and S21 Prisoners], what I am trying to depict and show is that independence as a language, or the independence monument is a symbol of liberty and relief, and the independence means that we do want we want to for our mind and our thought. It is sad that in this same city [Phnom Penh], where independence is/was received, people were coerced and killed. Toul Sleng is a torture prison and if we compare the two together it is like heaven and hell. And these two as the influencers are completely reserved and ironically
[happened] within one place. If the killing fields happened first and independence occurred later it would be alright, but why after receiving independence did we fall into a place even worse than we were before receiving independence? This is a good question and I am of course, talking about life during the French colonial era. YR: Finally, what is so special about the collage pieces? LS: Special! What is special about them is that the materials used for the pieces are acquired from several countries that I visited and collected found materials. The materials have relationship and stories connected to or in response to the pieces, for example the Revolutionary Song piece is about Bulgaria, and the materials used were found in that country. Therefore, it has a special connection, memory, sentiment and feeling within it. It is not only that the collages or the materials used are special, but is the exhibition itself. I’ve been asked to put these collages on show, but I refused. However, I don’t really know why I am exhibiting them now, but what I do know is that it’s been a long enough gap that I missed showing my works in Cambodia. And it is my country and I want these works, or my work to be seen by my countrymen. And as you praised my Sarong technique and the language you called it. The name you’re given to my Sarong as a canvas, symbol, and my signature pleases me very much. I like the way you called it [sarong-canvas] ‘the motherland.’ Therefore, Sarong and my Heavy Skirt are my motherland – and I should then show them here on my motherland. Plus, they fit perfectly with the theme.
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Leang’s artistic practices include painting, embroidery, collage, video work, and performance. Born in the early 1970s, around the time of the onset of the American bombings of Indochina he grew up during the Khmer Rouge and the Cambodian-Vietnamese War. His densely painted and
collaged surfaces are filled with symbols that recall this traumatic past, both on a cultural and personal level. Leang exhibited in numerous solo shows around the world and participated in the 2012 Shanghai Biennale. In 2014 he was awarded a medal from the Queen Norodom Monineath. Prior to that in 2013 he participated in a residency at the Bronx Museum of the arts in New York, while in 2015 he was selected for the 8th Asia Pacific Triennial of Contemporary Art (APT8) in Brisbane. His work is part of the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) collection.
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Yean joins JavaArts as its Curator for the Creative Programs. He is a self-proclaimed Art Advocate, an Alphawood scholar, and a graduate of Postgraduate Diploma in Asian Art (Indian, Chinese and Southeast Asian Art), SOAS, University of London. He is interested in the multicultural and multi-disciplinary practices (Film, Visual and Performing Arts). He is a founder of Trotchaek Pneik, a cultural and artistic collective based in Battambang. As an Art Advocate, Yean is interested in the promotion of art and culture and their histories within the contemporary Cambodia, practicing as a curator and art critic. As a scholar, Yean is concerned with art history (both ancient and contemporary), theory, and philosophy. Prior to joining JavaArts, he worked for Phare Ponleu Selpak (PPS), a multicultural and multidisciplinary arts center, and the only contemporary art school in Cambodia, where he served as an Assistant to Performing Art department. He is also a graduate of Phare Ponleu Selpak. Apart from his interest in artistic and cultural activities, he is intrigued by linguistic studies, especially the Khmerlanguage. He works as a translator and linguistic consultant for Khmer text and writing.
,-./r[ងƒ G *នŽគd [ hបG កG, ពF£fនប•ន®ម ( មrកGទង info@javaarts.org Works are for sale, for inquiries please contact info@javaarts.org
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A special thank you to HIEK Vila, Graphic Designer and Photographer; Fleur BOURGEOIS, Independent Curator ; Installation team (CHAN Dany, Artist; and ENG Reth, Circus Performer and Administrator for EU programs of Phare Ponleu Selpak), and LA Sros, Java Café and Gallery General Manager for their hard work and support to make this Influence: The New Ages a reality.