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Leang Seckon, The Flower of the Heavy Skirt, 2012, uniform, coconut, parachute. Courtesy of the artist and fleur Bourgeois Smith. situating Contemporary Art in Cambodia the symposium Contemporary Art in Cambodia: A Histori- Pamela n. Corey Ph.D. candidate, History of Art cal Inquiry (April 21, 2013) came together from a series of questions and proposals responding to what has emerged in recent years as a heightened international interest in the latest “rebirth” of Cambodian art. From the Visual Arts program of the Season of Cambodia festival, curators leeza Ahmady and Erin gleeson had proposed a forum to discursively contextualize contemporary art practices, a discussion meriting some urgency given the rising proile of Cambodian artists in the global contemporary art scene and the perception that they were coming “out of nowhere.”1 Via exchanges with Cornell art historians Salah Hassan and iftikhar Dadi, Cornell university was proposed as the venue and host for the event, and i was invited to coordinate with Ahmady and gleeson as the co-organizers of the symposium, with advisory support from Dadi. Shortly after, it was decided that it would be more appropriate to have it take place in new York City, among the myriad exhibitions and events taking | PAGe 23 | Above: Panel discussion with Ashley thompson, roger Nelson, erin Gleeson, and Zhuang Wubin (left to right). Credit: Lim Sokchanlina Left: Artist talk with Vandy rattana (left) and Svay Sareth (right). Credit: Pamela Corey place as part of Season of Cambodia. We were fortunate to procure the Museum of Modern Art as a venue, thanks to the generosity of their international Program Department. Major funding was provided by the Center of Khmer Studies, Cornell university’s College of Architecture, Art, and Planning, Minority, indigenous, and third World Studies research group, Department of Art, Department of the History of Art, and the Southeast Asia Program. From my perspective, the symposium was site-speciic in two ways, both responding to earlier moments of international exposure to the “Cambodian arts,” which have ranged from provoking a degree of uneasiness to major controversy.2 Certain components of the Season of Cambodia festival agenda paralleled previous instances of internationally traveling Cambodian dance troupes and artisans, either as part of French colonial expositions or as cultural display during Sihanouk’s postcolonial nation-building project. therefore it was with relative guardedness that some may have perceived the aims and outcomes of the arts festival and the role of the symposium within its program. Aside from serving as a type of critical intervention within the programming of Season of Cambodia, the symposium also could be seen to respond to the venue of MoMA itself. One cannot forget the museum’s 1997 exhibition of tuol Sleng photographs, which provoked serious critique by anthropologist lindsay French. French argued that such a decontextualized presentation resulted in the photographs being “traficked in the world of art photography.”3 therefore, it was with lengthy deliberation and an awareness of these issues that a program was decided upon and invitations were extended to researchers who could speak to topics that would help to elucidate the various concerns and processes of contemporary Cambodian artists. Discussants June Yap, lorraine Paterson, Kaja Mcgowan, and iftikhar Dadi were asked to provide perspectives and methodological questions from their positions as regional and interdisciplinary specialists. the symposium was divided into three panels. the irst “Situating Cambodia in a regional/global Art History” used a macro to micro lens—geographically and chronologically—to delineate both the notion of “Cambodian art history” as well as the subjective experiences of artists in shaping the contours of this narrative. nora taylor’s paper, “Cambodia as the Axis of the Southeast Asian universe: relections on Art Historiography of the region,” emphasized how art history in the region, as a legacy of colonial discourse, has presented challenges to postcolonial scholarship surrounding Cambodian modern and contemporary art, given the pervasive rhetoric on tradition and authenticity centered in cultural roots mired in the symbol of Angkor. this was followed by the paper “Haunted Scenes: History and Painting in Phnom Penh,” written by the late ingrid Muan (1964-2005), and read by Ashley thompson.4 recognizing that such an event was only possible given the foundational scholarship of Muan, it seemed essential to have her eloquent voice present. Her essay describes the serious attention given to the Cambodian arts as an “object” of recuperation in the colonial period, a mission that laid the basis for the subsequent direction of arts education at the royal university of Fine Arts in Phnom Penh, and the imprint this has borne on artistic subjectivities throughout the twentieth century. My own paper, “the Conditions for Contemporary Art in Post-transition Cambodia,” suggests various key moments that i posit shaped contemporary art—as both a set of practices as well as a discursive category—from the early nineties through the present, in a period i frame as “posttransition.” Such a chronological framework emphasized cultural production as responsive to the conditions of the transition, both as embracing of its possibilities but also as reactive to its tribulations. Concluding the irst panel was a presentation by Cambodian artist-organizer Vuth lyno, who provided a moving account of the Stiev Selapak (Art | PAGe 24 | Svay Sareth, Tuesday/Mardi, 2009, wood, resin, 450 x 125 x 60 cm. (documentary image of performance, Siem reap, 2011). Credit: Svay Sareth and Sa Sa Bassac. rebels) collective and the development of the experimental arts space Sa Sa Art Projects in Phnom Penh. the second panel, Modernism, Memorialization, and Artistic Formation focused on what could be considered indepth case studies of particular paradigms and practices. Ashley thompson, in her paper “Forgetting to remember, Again: Curatorial Practice and ‘Cambodian Art’ in the Wake of genocide,” addressed particular modes of aesthetic, spiritual, and exhibitionist impulses that could be traced through instances of contemporary art exhibition, religious memorial, and didactic historical display. in “testing, testing: Strategies of uprooting in Modern and Contemporary Arts in Cambodia,” Erin gleeson described the limitations of localized identity and cosmopolitan universalism as conlicting expectations on the part of audiences in their ambivalent perceptions of contemporary artworks, emphasizing that it is the global condition that complicates these schema. Zhuang Wubin presented various iterations of a potential photographic archive in “A Matter of Context: Writing about Cambodian Photography today,” and highlighted the necessity to reconsider categorical divisions drawn by curators and art historians in relation to the medium. roger nelson also highlighted the need for relexivity and deinition in performance art and its translation into photography in his paper “Performance Art in Cambodia: Some recent Observations.” Finally, an artist talk with Vandy rattana and Svay Sareth was conducted by leeza Ahmady. the artists discussed underlying preoccupations that could be traced through their work: for rattana, the urge to document and at times disavow the notion of truth in his photographic projects, and for Sareth, the embodiment of history as process and investigation in his performance work and photographic manipulations. to conclude the program, Jane DeBevoise, chair of Asia Art Archive, provided closing comments with provocative reiterations of discussions that had taken place during the course of the day. these included the need to counter the growing fetishization of contemporary art, a phenomenon that has begun to gain prominence amid the conditions of global capital lows in the international art market. the importance of underscoring precedents, processes, and subjectivities are thus integral to art historical methods in this emerging ield of study. A couple of concerns raised during audience Q&A contended that overarching arguments had retreated into narrow scopes of religion and nation as interpretive frameworks. Yet it is important to acknowledge that popular appeals toward globality and paradigms of universalism continue to challenge the critical speciicities of | PAGe 25 | intellectual investigation in this arena, particularly at such an early stage of research and dialogue. ultimately, breadth cannot be attained without depth. indeed, what surfaced frequently throughout the day was an awareness of key omissions, such as the issue of gendered art practice and subjectivity, and the role of Battambang in what was largely a Phnom Penh-centric focus. therefore, the symposium was a major accomplishment in terms of attempting to provide a preliminary state-of-the-ield overview, generating productive scholarly and affective engagement, surveying a ield which to begin with may have been almost imperceptible. s ** Selected papers from the symposium are currently being prepared for an issue of the new online udaya: Journal of Khmer Studies in 2014. Yim maline, Scurry, 2012, graphite on paper, 110x80cm. Courtesy of the artist. __________ 1 See Zhuang Wubin’s critique of this perception in relation to photography in “Out of Nowhere: Contemporary Cambodian Photography,” Art Monthly Australia (December 2009): 5-8. 2 The usage of “Cambodian arts” references Ingrid Muan’s dissertation, “Citing Angkor: the ‘Cambodian Arts’ in the Age of Restoration,” PhD diss., Columbia University, 2001. 3 Lindsay French, “Exhibiting Terror,” in Truth Claims: Representation and Human Rights, eds. M. Bradley and P. Petro (New Brunswick: Rutgers University Press, 2002), 17. 4 Ingrid Muan, “Haunted Scenes: Painting and History in Phnom Penh,” Udaya: Journal of Khmer Studies 6 (2005): 15-37. Vandy rattana, Rattanakiri II (from The Bomb Ponds), 2009, digital c-print, 90 x 105 cm. Credit: Vandy rattana Vuth Lyno, artist and co-founder of Sa Sa Art Projects. Credit: Lim Sokchanlina. Panel discussion with (left to right) Ashley thompson, Nora taylor, Pamela Corey, Vuth Lyno, June Yap, moderated by Lorraine Paterson. image courtesy of Lim Sokchanlina. Svay Sareth, Mon Boulet, 2011, video documentation of performance with metal sphere, diam. 200 cm. Courtesy of the artist. | PAGe 26 |