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Though we hope you wont, you can unsubscribe at any time by clicking the link in the footer of our emails. Exhibition open from Sat Jun 24 2017toSun Jan 07 2018. See Met Media (http://www.metmuseum.org/metmedia/video/collections/asian/sopheap-pich). The Met. Photographer: Jesse Untracht-Oakner. This exhibitionfeatures his large-scale sculpture, Rang Phnom Flower (2015), his most ambitious single-form sculpture to date. 18 Art therapists require a graduate degree, and its professional use in disaster-struck countries and patients is increasing recognized as helpful, though not easily measurable. Tyler Rollins Gallery. 43 Examples of artists with reasonable international acclaim are: Leang Seckon, Vandy Rattana, and Anida Yoeu Ali. Torgovnick, Marianna. 144 54 26 in. Chiu, Melissa and Genocchio, Benjamin. Sopheap Pich, one of Cambodias most internationally recognized artists, creates sculptures from locally sourced materials. 
Thinking Through Craft. Like many in Cambodias significant NGO sector, the CLA is an organization founded by a returnee who supports civil social development through the arts.6, 7 The CLA aims to nurture, empower, and promote the efforts of Cambodias younger generation to learn by reinterpreting the countrys cultural traditions as a form of capacity-building.8, 9 The Season of Cambodia encompassed CLAs renewed mission to raise awareness and financial support for Cambodias young artists. By legitimizing the psychological power of art, innovating exhibition methods and building cultural diplomacy, the institutions portrayed a congruent message about how far Cambodia has come since the end of Khmer Rouge rule. 1411 Posvar Hall 2003. Figure 3. In that process, the Met used Pichs craftsmanship and Cambodian identity to project a new standard for ethical, innovative and culturally sensitive ways of displaying contemporary art. Ibid. His work has been featured in numerous international museum exhibitions and biennials throughout the world, notably Documenta 2012, and a 2013 solo exhibition at The Metropolitan Museum of Art (Cambodian Rattan: The Sculptures of Sopheap Pich), which was the museums first solo show given to a contemporary Southeast Asian artist. 10, 2013; natural pigment and gum arabic on Canson paper, 57 x 77 cm. 3 Season of Cambodia, post-festival summary fnal report. Old Tensions, New Meanings, More Healings reveals her interest in the various endeavors of the art world as well as in Cambodian art, sparked by her experience in a community development project in Phnom Penh. Hughes, Caroline. Artist in Residence, 2016 Through unconventional exhibition techniques, the Met furthered the nationalistic purposes of the Season of Cambodia. But the exhibition is only part of the festivals diverse approaches and events that show heterogeneous and holistic points of view for post-conflict Cambodia. Civitella Vertical Rays No. Bamboo, rattan, metal wire and copper. Learn more about Mailchimps privacy practices here. It was criticized for falling into a Modernist trap of providing only a pure aestheticization of the work of native cultures. Un, Kheang. Anderson, Benedict. Contemporary Art in Asia: Traditions, Tensions. This strategy stands in contrast to other national cultural festival exhibitions that Brian Wallis notices hold exhibitions of national artifact treasures.14, 15Furthermore, the CLA and Met activated a self-critiquing approach to turn Cambodias negative image into a positive one while avoiding self-Orientalizing the artist on display.16 By exhibiting contemporary works in Cambodian Rattan, both institutions displaced expectations about what constitutes national Cambodian art. Furthermore, handicrafts form the bulk of goods that pass through tourist industries; the Season of Cambodia was also trying to promote this fact.49 In this merger of CLAs hopes for artists overcoming trauma and the Mets new definition of Cambodian authentic art, Pichs work becomes a platform to promote a new post-conflict understanding of the power of art. 2000. (http://www.nytimes.com/2012/01/11/arts/design/metropolitan-museum-hires-). For Cambodians and the diaspora, the revival of Cambodian arts increases national and ethnic pride, encouraging financial contributions to the country. String, Felt, Thread: The Hierarchy of Art and Craft in American Art. Pichs interpretation of fish traps is used to signify cross border interactions question misconceptions of Southeast Asian artistic originality.38Such subtle, yet acute, relational display methods heighten certain art historical debates, encourage multiple readings and transform the Mets gallery spaces into sites where Cambodian contemporary art can help form a better understanding of South and Southeast Asian art.39. 54 These tensions include the tendency for NGOs to maintain closer links with Western backers than with local benefciaries and the Cambodian People Partys campaign that challenges the Khmerness of returnees to claim legitimacy in getting things done without foreign backing. 2012. Vasvani, Bansie. Gellman, Mneesha. The artist and his work become synonymous with the cultural maturity of a resilient imagined community.21, 22For American viewers, there is a cultural and moral impetus to support Cambodias new renaissance and help to lead it further into the 21st century via professional expertise and monetary support. 
(533.4 x 261.6 x 188 cm). Wall Structure No. 
Since then, Cambodia, with the supervision of the United Nations Transitional Authority of Cambodia (UNTAC) and NGO eforts, transitioned out of civil strife to build an elected government. Of Trans(national) Subjects and Translation: The Art and Body Language of Sopheap Pich. In Modern and Contemporary Southeast Asian Art: An Anthology, edited by Nora A. Taylor and Boreth Ly, 117130. In order to counter Western perceptions of cultural stasis, the Season of Cambodia had a particular emphasis on youth, change, and newness. Adamson, Glenn. 2012. Framing Post-Confict Societies: International Pathologisation of Cambodia and the Post-Yoguslav States. Third World Quarterly 26.6: 873889. 2, 2014; rattan, copper wire, Pursat gray sandstone, 40 x 162.5 x 18 cm. Sunday at the Met: Cambodian Rattan Discussion. Video. The Met. The scene is developing. Taylor, Nora A. Instead of playing to international attention pointing to friction, the CLA chose to stress hope for this social movement. The cultural festival was considered a successful form of cultural diplomacy, as it provided a platform for post-conflict Cambodia. See Wallis, 1991,89. Kossak, Steven. The Arts of South and Southeast Asia. The Metropolitan Museum of Art Bulletin 51.4 (Spring): 7072 and 8084. 15 A good contrast to another Southeast Asian national festival would be Indonesia festival. See Hughes and Pupavac, 2005, 876. 2013. His childhood experiences during the genocidal conditions of late 1970s Cambodia has had a lasting impact on his work, informing its themes of time, memory and the body. 2002. 23 The models of this would be the sponsors of Cambodian Rattan, Cynthia Hazen Polsky andLeon B. Polsky, whose collection includes Southeast Asian works. Photos with Pich making diferent works as well as the installation of Buddha sculpture in the Cambodian rural landscape. 50 What it gave me was freedom, Pich said in an interview at the Met show. 2013. Special Exhibitions. Cambodian Living Arts. Office of Undergraduate Research, As indicated by the festivals temporal title, events signaled that a new generation of Cambodians were ushering in a season of hope, progress and artistic revival. What aspects of working in 3D appeals to you? Trials of ex-Khmer Rouge members give rise to domestic and international contention, dissatisfaction and disillusionment.24Observing these truth-telling justice events,25, 26academics and policymakers debate and assess the effectiveness of international law and post-conflict reconstruction methods. Accessed December 4, 2013. http://www.nytimes.com/2013/05/04/arts/design/the-met-to-return-statues-. Mendelof, David. Caroline Hughess studies of Cambodia prove to be especially enlightening about certain assumptions regarding trauma, capacity building, and flawed international intervention.50In political terms, the exhibition and Season of Cambodia act as examples of international roles in the politics of authenticity in post-conflict reconstruction. Copyright 2022 by the University of Pittsburgh I didnt have to worry about art history. While special contemporary art exhibitions at the Met are not new, Cambodian Rattan is particularly open about how it is exploring the relationship between old masterworks and new art of an emerging international artist. 2013. Accessed November 20, 2013. http://www.cambodianlivingarts.org. Sopheap Pich (b. Throughout April and May of 2013, ten elegantly latticed rattan sculptures were hung amidst the gallery spaces of the Metropolitan Museum of Arts South and Southeast Asian galleries. Sopheap Pich, Stalk Version 2 (2009). Sopheap Pich, an Amherst and School of the Art Institute of Chicago graduate and ex-refugee, had recently gained some recognition in the international art world. Also, starting with my first sculpture, it was the physical aspect of the activity that had its own urgency and movement something that painting did not give me. On one hand, Cambodias status as a developing post-conflict nation involves the different but often overlapping interests of multiple actors at political and cultural levels. 
Accessed November 25, 2013. http://www.aaa.org.hk/Diaaalogue/Details/639. Courtesy of the artist and Tyler Rollins Fine Art. When writing about my work, people have often evoked the Khmer Rouge while describing my sculptures, a reference I find too limiting. We do the same with bamboo but we dont boil it in diesel oil. 1996. Hughes, Caroline and Vanessa Pupavac. We cant find a country that matches your search. 
Works of major contemporary artists are installed on the Mets rooftop on a seasonal basis. Ive always thought that my medium has its own history, laws, and rules and is in me these factors influence what and how I make my work. Accessed December 4, 2013. http://www.metmuseum.org/exhibitions/listings/2010/representation-abstra. Poshyananda, Apinan. Its recent institutional attentions expand the Mets conventional scope and appeals to different audiences. 42 Minimalism here refers more to the abstracting of geometric forms. Selling Nations. Art in America 79.9 (September): 8491. I dont think of it as a change so much as there are more young artists who think there is a place for them in the arts. They were the stuff of childhood memories. In a sense, the Met, like the CLA, aims to expand the gaze of its audience through Cambodian Rattan. The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition. Research in African Literatures 34.4 (Winter): 5782. The Mets interpretation of craft as a material-intensive process that guides the artist through a complex journey of consolidating identity is key to the Season of Cambodias overarching aim.44For example, the artists process of craft making,45especially the selection of bamboo from the hard and dangerous environments of rural Cambodian provinces, is on a video played on the screen in the gallery.46These practices link Pich to Cambodias largely agrarian society, to Western Arts and Crafts movements, to feminist contemporary artwork and the spirituality of Land Artists.47Viewers imagine Pich twisting and weaving the strong yet flexible dried bamboo. 9 The shift in the mission from preservation to promotion came out of the NGOs realization of need for funding. Little is written beyond this Angkor Kingdom period other than as a decline from that point of artistic renaissance. The agricultural materiality of the bamboo is subtly seductive to the eye and imbues the works with romance of natural craft. Cambodian Rattan nonetheless largely succeeds in revealing existing tensions, opening the possibilities of newly defined meanings and encouraging the developing efforts of Cambodias artists. 44 This debate is fully addressed in Apinan Poshyandas writings. Sopheap Pich. All rights reserved. Importantly, while these contrasts create certain tensions, the CLA does not vehemently reject the effect of post-conflict trauma in Cambodia. 51 Hughes, 2011, and Hughes and Pupavac, 2005. Here, the Angkor sculptures, deemed by the colonial French ideas of Beaux-Arts as the epitome of ancient Khmer artistic mastery, signify traditional notions of Cambodian art and culture. Working by hand, I use minimal tools. While the preserved practices of old masters were celebrated,13 organizers looked passionately forward at contemporary cultural production, rather than back in time. None of the institutions that worked with the Season of Cambodia were associated with the Cambodian government according to CLA co-founder John Burt. Theres also a strong sense that they want to express their ideas about their surroundings and situations. An estimated 90% of the living artists and intellectuals were targeted by Pol Pot while none of the ancient ruins of Angkor or the collections in the National Museums were touched or harmed. John Burt, personal communication via email, December 10, 2013. Met Media. 
Have you seen this in your work and that of the emerging generation of Khmer artists? Brookfeld Place Winter Garden, New York City. Accessed December 20, 2013. http://www.trfneart.com/artists/5. Web. Figure 4. 20 Season of Cambodia post-festival summary fnal report. 2009. Secondly, the festival itself is meant to be a model for other post-conflict communities and nations.20 The international recognition of Pich is thus extrapolated to the future success of other young Cambodian visual artists who were featured in the Season of Cambodia in other partner institutions. Yet, the solo retrospective might also reinforce certain Western assumptions about Cambodias post-conflict resolution process and international relations. New York City. In this vein, Cambodias artists have broken away from the pathologisation of failed states,19contributing significantly to the art world and, by extension, the international world. As with all Season of Cambodia activities, but especially Cambodian Rattan, the CLA organizers portray a thriving cultural society that successfully overcomes trauma through expression and innovation in the arts. Poshyananda, Apinan and Tomas McEvilley. Pichs work, curated to avoid overt politicization, proved a suitable balance to represent Cambodias contested post-conflict image. Visual Has the contemporary art scene in Cambodia changed since you first arrived? University of Pittsburgh What is the step-by-step process that the bamboo or rattan goes through before it is woven into a sculpture? They are thus encouraged to relate to Pichs sense of catharsis from trauma in technique. Compound, 2010; bamboo, rattan, metal wire. Minneapolis: University of Minnesota Press. 40 This is particularly signifcant in Southeast Asia, as Taylor points out that curatorial initiatives seem to lead the sparse scholarship on Southeast Asian contemporary art. Web. Rethinking the Concept of Craf and its Relation to Art and Design. Philosophy Compass 7.4 (April): 230244. (254 cm); W. 29 in. I liked how these organs didnt have expressions and it was up to the sculpture (how it was made, the materials I used) to give them expression. Wallis, Brian. An Analysis of the Season of Cambodia, Cambodian Rattan: The Sculptures of Sopheap Pich, http://www.arttherapy.org/upload/whatisarttherapy.pdf, http://asiasociety.org/video/arts/cambodian-arts-afer-year-zero-complete, http://www.aaa.org.hk/Diaaalogue/Details/639. As a Malaysian growing up in Singapore, Asian culture (and especially Southeast Asian politics) has been an integral part of Michelle Yaws life. See Auther, 2004, 343-347, and Auther, 2010. On a trip back to Cambodia, he discovered surviving master artists and decided to start the Cambodian Masters Performers Program, now renamed Cambodian Living Arts. To make something was, at one point in my life, both therapeutic and necessary. [emailprotected], Forbes & Fifth is published in April and December at Interview with Sopheap Pich. Asia Art Archive, Diaalogue, April. Scholarship, and Creative Activity (365.8 137.2 66 cm). During a timely period that coincided with the Cambodian national day and the recent death of King Norodum Sihanouk (1922-2012), Cambodian Rattan drew audiences of the Cambodian citizen and diaspora community as well as New York residents and tourists to the retrospective, composed by the CLA and Met to call upon a renewed interest in Cambodias post-conflict future. The Politics of Knowledge: Ethnicity, Capacity and Return in Post-confict Reconstruction Policy. Review of International Studies 37.4 (October): 14931514. 2005. John Burt, personal communication via email, December 10, 2013. The ancient temples and sculptures that were to form a large part of the Mets Southeast Asian collections were venerated by colonial tastes as artistic masterpieces.11 Such images associated with Cambodias violent but thriving golden age are supplanted by stark images of Pol Pots killing fields and Tuol Sleng signifying an intellectual and artistic vacuum since Year Zero. Wary that a gaze of Cambodia as stagnated by trauma might in turn hamper the efforts of Cambodia to develop, the CLA sought to expand the scope of common Western ideas to include a progressive future.12 In this sense, Edward Saids post-colonial divide between the Self/Occident and the Other/Orient situates an asymmetrical perception of a post-Khmer Rouge desert alongside an authentic revived Cambodia throughout the Season of Cambodia.
