Khvay Samnang 2014/15
The artistic performances, videos and photographs of Khvay Samnang (born 1982 in Svay Rieng, lives and works in Phnom Penh/Cambodia) address concepts of change, continuity and communication. His works offer new views on historic and current events as well as on traditional cultural rituals using humorous symbolic gestures. Khvay is a founding member of the first Cambodian art collective called ‘Stiev Selapak’ (‘art rebels’) dedicated to reappraising and remembering Cambodian history and visual culture and rebuilding a contemporary art scene disrupted by the regime of the Khmer Rouge. In 2010, Stiev Selapak set up the experimental exhibition and project spaces ‘Sa Sa Art Projects’ (2010) and ‘SA SA BASSAC’ (2011) in Phnom Penh.
|2013||Residency „Season of Cambodia”, Cambodian Living Arts, New York|
|2010/2011||Residencies Tokyo Wonder Site, Tokio|
|2006||BA (Painting) Royal University of Fine Arts (RUFA), Phnom Penh|
Selected solo shows:
|2015||Khvay Samnang: Rubber Man, Jeu de Paume, Paris|
|2014||Human Nature, Tomio Koyama Gallery, Singapur|
|2012||Newspaper Man, SA SA BASSAC, Phnom Penh|
Selected group shows:
|2015||The Khmer Rouge and its Consequences Documentation as Artistic Memory Work, Akademie der Künste, Berlin|
|2014||Staging Cambodia: Video, Memory & Rock ’n’ Roll, Festival, Hebbel am Ufer, Berlin|
|2013||4th Singapore Biennale Sights and Sounds: Global Video Art, The Jewish Museum, New York Phnom Penh: Rescue Archeology, ifa-Galerie, Berlin/Stuttgart|
|2012||Roundtable, Tobias Rehberger Pavilion „You Owe Me. I Don’t Owe You Nothin”, Gwangju Biennale|
|2011||Between / Myanmar – Cambodia, Metahouse, Phnom Penh|
Ausstellung im Künstlerhaus Bethanien:
Khvay Samnang - "Footprints of Yantra Man"
28. August bis 20. September 2015
Eröffnung 27. August 2015, 19 Uhr
The exhibition is accompanied by a catalogue:
Nicola Müllerschön and Christoph Tannert (eds.), Khvay Samnang: The Land Beneath My Feet, including an essay by Brianne Cohen and an interview by Hendrik Folkerts, Dortmund: Verlag Kettler, 2015.