Events

Born in France to Cambodian parents having fled Pol Pot and the Khmer Rouge regime in the 1970’s, FONKi grew up in Montreal, Canada. His family history and exposure to a triple culture (Cambodian, French, Canadian) shaped his appetite for adventure, his artistic sensibility and his dreams. At the age of 15 he discovered the artistic expression found in graffiti, and little by little became one of the leading members of a new generation of Montreal graffiti artists of the new millennia. For four years, FONKi studied cinema animation at the Mel Hoppenheim School of Concordia University. But his real passion, and where he spent most of his time and energy, was outdoors painting or organizing solo or group exhibitions. In September 2012, in collaboration with the artist Le Bonnard, he created an exhibition entitled MTL ZOO, where a number of Montreal artists, both established and up-and-coming, were invited to exhibit their works.

In the summer of 2012, his artistic sensibility and beliefs were shaken as he began work on a film documentary entitled The Roots Remain. In it, he explores his family history and chronicles his encounters with a new Khmer generation growing up post Khmer Rouge. FONKi finds inspiration in their bountiful energy and dreams with them about the future. His cans of paint and his “street art” provide him an entry into Cambodian society and open doors for him in local communities throughout the country. During his last visit, FONKi finds a country in transformation. He meets the icons of the renaissance of Cambodian art: Kosal Khiev, the exiled poet, Visal Sok, the pioneer of Cambodian Hip-Hop, and Peap Tarr and Lisa Mam, the first Cambodian street artists; and contributes to the unfolding Khmer artistic rebirth by painting the first example of Kbach Khmer graffiti at the entrance to the controversial Bong Kak lake development. Later, inspired by history, he designs a mural for the front entry wall of the l’Institut Français. The mural pays homage to the memory of his grand-parents who disappeared in the war and is dedicated to the Cambodian people: to all the families and their unique personal histories, who together form the history of Cambodia.

Using his artistic talent, FONKi transcends the dark images of the past. He repurposes the ancestral art form Kbach and transforms it into something contemporary. Today, FONKi tries to return regularly to Cambodia and is always guided by the maxim that he signed on the bottom of the mural at l’Institut Français: “Add color to the present if your past seems grey”.

Né en France de parents cambodgiens qui ont fui le régime de Pol Pot dans les années 70, FONKi a grandi à Montréal, Canada. Son parcours familial et sa triple culture (France-Cambodge-Canada) ont façonné son gout pour la découverte, sa sensibilité artistique et ses rêves. À l’âge de 15 ans, il  découvre le graffiti et devient peu à peu une des importantes figures de la nouvelle génération de graffeurs montréalais de l’après 2000. Pendant 4 ans, FONKi étudie le Cinéma d’animation à l’école Mel Hoppenheim de l’université Concordia. Mais son temps et son énergie, il le passe plus dehors à peindre ou à organiser des expositions solos et collectives. En septembre 2012, avec l’artiste Le Bonnard, il crée le collectif  MTL ZOO, où de nombreux artistes montréalaise de la relève et de renom, sont invités à participer à des évènements et expositions collectives.

Son esthétique et sa démarche artistique basculent durant l’été 2012, alors que FONKi fait l’objet d’un long métrage documentaire intitulé « Retour aux Sources » (The Roots Remain). Il replonge alors dans son histoire familiale, et part à la rencontre de la nouvelle génération khmère qui émerge dans le Cambodge de l’après-guerre. FONKi veut s’inspirer de leur énergie débordante, rêver avec eux au futur. Ses canettes de peinture et son art de la rue lui ouvrent les portes du Cambodge, et l’aident à tisser des liens avec les communautés locales à travers le pays.  Durant ce dernier voyage, FONKi découvre un Cambodge en pleine transition. Il côtoie les icones de la renaissance de l’art khmer : Kosal Khiev, le poète exilé, Visal Sok, le pionnier du hip-hop khmer, Peap Tarr et Lisa Mam, les premiers artistes de rue khmers. Inconsciemment, il contribue à l’édifice de la renaissance khmère et laisse sa brique artistique à leurs cotés en peignant le premier lettrage graffiti de style Kbach Khmer à l’entrée du controversé lac Bong Kak, puis en dessinant une peinture murale historique sur le mur d’entrée de l’Institut Français, laquelle est un hommage à ses grands-parents disparus. Une œuvre dédiée au peuple khmer. Pour toutes les familles, dont chaque histoire personnelle est unique, mais qui, toutes réunies, forment l’Histoire du Cambodge.

À travers ses portraits, FONKi veut transcender les images sombres du passé. Il se réapproprie l’art ancestral Kbach pour en faire une version moderne. Aujourd’hui, FONKi tente de revenir régulièrement au Cambodge, avec en tête la même direction guidée par sa maxime qu’il a signée au bas de sa peinture murale à l’institut Français : « Rajoute des couleurs aux présent, si ton passé te semble gris ».

Marcia Dale DULLUM studied at the Corcoran College of Art and Design in Washington, DC; Washington Studio School in Washington, DC; and The Art League in Alexandria, Virginia; she has been painting professionally for 10 years. The figurative clowns she remembers sketching as a child presaged all the vivid originality she brings to her work today as an abstract painter. “Painting in abstraction fascinates and amuses me…it validates my imagination from a deeper unconscious level.  Images of deconstructed characters emerge and evolve on the canvas, much like a fictional writer develops a character’s personality as the story’s plot thickens. In the end, much is left to one’s imagination as to who these people are and how they came to be.”

Marcia works mostly in acrylic, sometimes adding nuances in charcoal, graphite, and oil. She is a resident artist at the Torpedo Factory Art Center in Alexandria, Virginia.

Depuis une dizaine d’années Marcia Dale DULLUM  peut se définir comme une peintre professionnelle. Les clowns de son enfance  dont elle se souvient, laissent présager le travail  qui l’a fait devenir peintre abstraite. «Peindre de l’abstrait est fascinant et m’amuse beaucoup…cela plonge mon imagination au plus profond de mon inconscient. Les images des personnages déstructurés apparaissent et évoluent sur la toile, un peu comme un romancier qui voit ses personnages prendre de l’épaisseur dans son intrigue.
A la fin beaucoup est laissé à l’imagination, à savoir ce que deviennent les personnages, où ils vont….»

Marcia travaille surtout avec l’acrylique, quelquefois avec des nuances de fusain, de graphite et d’huile. Cette artiste est en résidence à la Torpedo Factory Art Center à Alexandria en Virginie.

A "global nomad", Christian DEVELTER uses his canvas to portray his rich experiences of peoples and cultures from around the world. He is a highly versatile artist whose works push boundaries. Born in Belgium in 1968, Christian moved to Asia in the mid nineties and chose to live in Bangkok, Thailand where he found further inspiration for his brush. Christian believes that despite cultural differences and starkly different socio-realities, there are moments that can be appreciated by everyone. These moments pull the trigger of his inspiration.

In 2012, DEVELTER travelled extensively through the northwestern area of Myanmar and visited the indigenous tribes of that region. The inspiration for his latest series of works comes from the intricately tattooed faces of the Chin women.

The Chin tribe and their tattoos are relatively unknown to the outside world. Located in northwestern Myanmar (Chin and Rakhine States), the different tribes use tattoo marks in a centuries’ old tradition to distinguish one hill tribe from another, or to indicate marital status and social rank. Together with the Derung tribe in southwest China’s Yunnan province, (both sharing the same Indo-Tibetan lineage) they are the only tribes known to adhere to this practice. The multiplex patterns are carved into the skin by thorns using a mixture of sap from a local plant (sourced in the jungle for the color), ash and chicken blood or buffalo kidney. According to legend, the ornate tattoos were originally done so that Burmese Kings would not be able to steal Chin women as wives. Over time, the tattoos have evolved to become symbols of strength and beauty: reflecting nature - especially the animal and plant Kingdom - and the animist beliefs of the tribe.

Examples of these complex and delicate tattoos include:

-      Spider webs on the face

-      The sun on the forehead

-      Reptile skin on the face, especially on eyelids, nose and chin

-      Tiger whiskers bellow the nose

-      Peacock plumage fan on the forehead

-      Leopard dots on the face

For generations, women have been willing to submit themselves to the pain of this art for the beauty it represents to them and to their tribe. Deep in the unforgiving hills and jungle of the Chin state, and despite being forbidden by the government, tattoos continue to be carved on faces of young girls coming to age. With the opening of Myanmar’s borders, these women may soon come to represent the last of their kind.

The paintings of this series aim to be an amalgamation between the modern and the past - displaying the perfectly symmetrical urban faces of Asian women painted with the painstakingly intricate Chin tribal tattoo designs of Myanmar. DEVELTER’s critically well-received “Chin Urban & Tribal” is an invitation to explore the artist’s contemporary narrative of evolving cultures.

«Un Nomade Planétaire»  Christian DEVELTER utilise sa toile pour peindre son expérience si riche en rencontre de toute sorte et de toute culture venant du monde entier. C’est un artiste aux talents variés et plein de ressources dont le travail  pousse les frontières. Né en 1968 en Belgique, Christian part pour l’Asie dans les années quatre vingt dix et choisi Bangkok en Thaïlande comme point de chute. C’est là où ses pinceaux trouvent leur inspiration.

Christian croit qu’en dépit des différences socio culturelles énormes, il y a des moments privilégiés qui peuvent être appréciés par tous. Ce sont ces moments là qui sont le détonateur de son inspiration.

En 2012 DEVELTER a voyagé énormément dans le nord ouest du Myanmar et c’est dans cette région qu’il a pu voir une grande variété de tribus.

L’inspiration de ses dernières toiles vient directement des tatouages vus sur les visages des femmes Chin.

La tribu Chin et ses tatouages sont relativement peu connus du monde extérieur. Situés dans le nord ouest du Myanmar (Etats Chin et Rakhine) ces différentes tribus utilisent ces tatouages traditionnels et ancestraux  pour différencier les tribus d’une montagne à l’autre et pour indiquer leurs statuts et leur rang social. Les Chin et les Derung, deux tribus qui partagent la même lignée Indo Tibétaine, viennent du Yunnan, au sud de la Chine et sont les seules connues à se conformer à cette pratique.

Ces multiples modèles sont sculptés sur la peau  avec une méchante épine utilisant une mixture faite de plantes locales (trouvées dans la jungle pour leur couleur) de cendre et de sang de poulet ou de reins de buffles.
Selon la légende, ces ornements tatoués étaient faits pour éviter que  les rois birmans volent leurs femmes pour en faire leurs épouses.

Par la suite ces tatouages devinrent les symboles de la beauté et de la force, représentant la nature, spécialement les animaux et les plantes du royaume, selon leur croyance animiste. Voilà des exemples de ces tatouages délicats et complexes:

-          Toile d’araignée sur le visage.

-          Le soleil sur le front

-          Une peau de reptile sur la figure et spécialement sur le menton le nez et les paupières.

-          Des moustaches de tigre sous le nez

-          Eventail de plumes de paon sur le front.

-          Des tâches de léopard sur le visage.

Pendant des générations, les femmes ont supporté la souffrance de l’art du tatouage pour leur propre  beauté et pour leur tribu. Profondément cachés dans ces montagnes perdues en pleine jungle  et en dépit de l’interdiction du gouvernement, les tatouages continuent à être sculptés sur les visages des jeunes filles. Avec  l’ouverture des frontières  du Myanmar, ses femmes seront, malgré elles, les derniers spécimens.

Ces séries de  peintures visent à fusionner le passé et le moderne montrant la parfaite symétrie des femmes asiatiques des villes dont les visages sont peints avec les mêmes tatouages chins que leurs lointaines sœurs tribales. L’excellente critique du magasine «Chin Urban & Tribal» faite sur DEVELTER est une invitation à explorer son récit  pictural  sur l’évolution des cultures.

Cambodian artist, CHIM Vibol was born in 1983 in Kandal province. He studied at Toul Tompung High School from 2004-2005 and then continued his art training under the guidance of independent artists. He developed a love of working with metal and focused his creativity on the properties of copper and the crafting of hand-made lamps. On a sheet of rolled copper that will become the face of a lamp, he etches designs and cuts openings for the light to shine out; that interplay of light and dark adds to the appeal of his beautiful designs.

Artiste cambodgien, CHIM Vibol est né en 1983 dans la province de Kandal.
Il a étudié au lycée de Toul Tompung de 2004 à 2005 et à continué son apprentissage de l’art sous la houlette d’artistes indépendants. Il aime surtout travailler le métal et concentre sa créativité sur le cuivre pour la conception de lampes. Depuis une feuille de cuivre qu’il façonne et poinçonne, il parvient à faire jaillir la lumière au travers de magnifiques dessins ciselés. Ce jeu d’ombres et de lumières ajoute à la beauté de l’objet.

The Franco-Khmer couple, Jean-Baptiste and Oeun, spent years working as volunteers in Siem Reap, but three years ago they decided to make a change and opened Rega Le Toit, a guest house and restaurant in Siem Reap. Part of that change came from a desire to help women at risk find the means to earn a reliable source of income. The women would learn marketable skills in the couple’s new business. Oeun and Jean-Baptiste also wanted to teach the women artisanal craft making. They used their passion for the ecological movement to look for innovative and artistic ways to reuse the empty aluminum drink cans discarded each month from Rega Le Toit. In 2012, the couple made Christmas decorations from hundreds of discarded cans and used them to decorate their restaurant. Inspired by the popularity and demand for can art, Jean-Baptiste and Oeun then made lanterns and lampshades. They continue to explore new creations.

To find the materials, Jean Baptiste drew upon his experience working with people who scavenge the trash dumps of Phnom Penh. He created a collection system for the pull-tabs from discarded aluminum cans and pays three times their market value by weight in order to financially support the people who earn a living from picking garbage. Back at her studio, Oeun creates life-size templates and models for new designs. She then selects women at risk from her native village, and the surrounding area, to help her create the works of art. Oeun provides the training, and after a short stay at Rega, the women are able to return to their village with new skills in an artistic craft and also home and family care. Today, more than twenty women have received the benefits of Ouen and Jean-Baptiste’s program.

Oeun (originaire de Siem-Reap) et Jean-Baptiste (Français), couple franco-khmer, après  des années dans le volontariat, ont monté  il y a 3 ans une petite auberge et Restaurant «Rega Le Toit» à Siem-Reap.

Parallèlement à cette auberge, ils voulurent créer une activité permettant aux femmes abandonnées dans la province d’avoir un revenu d’appoint. Très concernés par l’écologie, ils ont cherché à utiliser les cannettes en aluminium vidées chaque mois dans leur restaurant.  Ils ont alors fait la décoration de la fête de Noël 2012 avec  les centaines de cannettes récupérées. Devant le succès des photophores, des abats jours et autres objets, ils décidèrent de s’engager plus avant dans cette voie.

Profitant de l’expérience de Jean Baptiste chez les chiffonniers de Phnom Penh, il put mettre en place un réseau de collectes des capsules qu’il achète 3 fois le prix du marché, pendant que Ouen crée les modèles et sélectionne les femmes abandonnées de son village natal et autour. Elle les forme et après un court séjour à «Rega» elles repartent chez elles où elles peuvent travailler à la maison tout en s’occupant des enfants et les  scolariser.
Aujourd’hui une vingtaine de femmes ont déjà intégré le programme.

Born in France in 1951, Dominique ELUERE settled in Cambodia in 1997. Shortly after arriving in country, he founded Citadel workshop offering hand crafted knives and swords. Within only a few years, he became recognized and respected by knife enthusiasts worldwide for his beautifully stylish, razor sharp creations. Demand is so great that Citadel now employs 50 people in Phnom Penh to produce unique hand-forged knives and swords according to traditional artisanal methods.

Français, né en 1951, Dominique ELUERE s'est établi au Cambodge en 1997. Très vite il créa l'atelier Citadel qui, en quelques années, parvint à se faire connaitre et apprécier des amateurs de couteaux dans le monde entier. Citadel emploie aujourd'hui à Phnom Penh 50 personnes et produits, entièrement à la main, par les méthodes et procédés antiques, des couteaux et sabres véritablement uniques.

Web site : http://www.citadel.com.kh/

Frequently asked Questions & Answers:

Q - What is an auction?

A - An auction is an event where people gather to purchase objects based upon offering the most money for the objects. One person will compete against another person by indicating his or her willingness to pay more money than anyone else. The object is sold to the highest bidder.

Q - What is CHRISTIE’S?

A - CHRISTIE’S is one of the oldest and most prestigious auction houses in the world, it was established in 1766 by James Christie. The name is synonymous with extraordinary art, unparalleled service and expertise, and offices can be found in the great cities of the world. To learn more, visit: http://www.christies.com

Q – What is a charity auction?

A -  A charity auction works on the same principle as a regular auction where objects are offered for sale to the highest bidder. The difference between them concerns the money; in a regular auction, the seller keeps the money, in a charity auction, the money is given to a charity (beneficiary).

Q – Do the artists who give their artwork to the charity auction receive money for their artwork?

A – No, the artists have donated (given for free) their artwork to support the charity auction and its cause of promoting the growth of a vibrant Cambodian arts community.

Q- Do the members of the board of ReCreation receive a salary for their work?

A – No, the members of the board of ReCreation are volunteers and work without a salary. They do so because they want to promote a vibrant Cambodian arts community.

Q – How does ReCreation pay its bills?

A – ReCreation relies upon corporate sponsors to provide money and services in exchange for advertising at ReCreation organized events.

Q – Are the charities that receive the money from the charity auction the same ones every year?

A – No, they change from year to year. This year, the charity auction supports AMRITA and Cambodia 2000.

Q – Who is Cambodia 2000?

A –  On November 6, 2003 H.R.H. Princess Norodom Vacheahra announced the creation of Cambodia 2000 a Humanitarian Association with the goal of bringing much needed development aid to Cambodia, a nation recovering from decades of war. The Princess, sister of the late King Father H.M Norodom Sihanouk, believed that a vibrant national culture was one of the components needed to revitalize the nation, and that by educating and energizing the youth, the country could move forward from its dark past, a time when free artistic expression was banned by the Khmer Rouge and artists were executed. The Princess’s love for her country, and her nation building beliefs, are incorporated into the Association’s governing principles along with a focus of supporting development in rural communities.

To support those goals, Cambodia 2000 is one of two beneficiaries of the CHRISTIE’S Charity Auction 2014 to be held in March in Phnom Penh. By partnering with the art advocacy and support group, ReCreation, the charitable funds will allow for the creation of an innovative art program for Cambodia entitled “Creative Source", a program to donate art supplies to schools and to struggling Cambodian artists.  “Creative Source” will place particular emphasis upon reaching rural communities where access to artistic supplies is limited, and where an appreciation of artistic expression, whether through ideas or creations of the imagination, remains undervalued.

The Princess’s untimely death in 2013 was a great loss to Cambodia 2000, but her dream of a vibrant Cambodia lives on under the representation of Princess Norodom Veasna Diva Sirivudh, wife of H.R.H. Prince Norodom Sirivudh. Aside from being Cambodia 2000’s new president, she is also a respected patron of the arts and academic professor at Royal University of Phnom Penh. Under the leadership of Princess Norodom Veasna Diva Sirivudh, and the charitable partnership with ReCreation, Cambodia 2000 looks optimistically to a future when a prolific arts tradition flourishes in every region of the country thereby enriching the lives of all Cambodian youth.

ព្រះ​អង្គ​ម្ចាស់​ក្សត្រិយ៍​ នរោត្តម​ វេជ្ជរ៉ា​ បាន​ប្រកាស​បង្កើត​សមាគម​ Cambodia 2000 នៅ​ថ្ងៃ​ទី ៦​ វិច្ឆិកា​ ឆ្នាំ​ ២០០៣​ ដែល​ជា​សមាគម​មនុស្ស​ធម៌​​ បង្កើត​ឡើង​ក្នុង​គោល​បំណង​​នាំ​យក​ជំនួយ​អភិវឌ្ឍន៍ ​ដែល​ចាំ​បាច់​បំផុត​ចំពោះ​ប្រទេស​កម្ពុជា​​ ក្រោ​យ​ពេល​ដែល​ប្រទេស​មួយ​នេះ​​រួច​ផុត​ពីសង្គ្រាម​រ៉ាំ​រ៉ៃ​រាប់​ទសវត្សរ៍​កន្លង​មក​។ ព្រះ​អង្គ​ម្ចាស់​ក្សត្រិយ៍​ដែលជា​ព្រះ​អនុជ​របស់​អតីត​​ព្រះ​មហាក្សត្រ ​នរោត្តម​ សីហនុ​ ជឿ​ជាក់​ថា វប្បធម៌​ដ៏​ថ្លៃ​ថ្លា​របស់​ជាតិ​​ អាច​ជួយ​ស្រោច​ស្រង់​​​ប្រទេស​​ឲ្យ​មាន​ជីវិត​សា​ជា​ថ្មី​ម្តង​ទៀត​បាន​ ហើយ​តាម​រយៈ​ការ​ផ្សព្វ​ផ្សាយ​នូវ​វប្បធម៌​របស់​ជាតិ​ ការ​ផ្តល់​ការ​អប់​រំ និង​ បណ្តុះ​បណ្តាល​ដល់​យុវជន​ ប្រទេស​របស់​យើង​នឹង​​ដើរ​ឆ្ពោះ​ទៅ​មុខ​ចេញ​​ផុត​ពីស្រមោល​ខ្មៅ​ដ៏​ជូរ​ចត់​ ដែល​វិស័យ​សិល្បៈ​ត្រូវ​ហាម​ឃាត់​ និង​សិល្បករ​ត្រូវ​បាន​សម្លាប់​​​ដោយ​របប​​ខ្មែរ​ក្រហម​។ ព្រះ​ទ័យ​ស្រឡាញ់​យក​ចិត្ត​ទុកដាក់ ​​​​ចំពោះ​វិស័យ​កសាង​​​​ជាតិ​របស់​​ទ្រង់​តែង​តែ​​ស្ថិត​នៅ​ក្នុង​​គោលការណ៍​គ្រប់​គ្រង​របស់​សមាគម​ជានិច្ច​​ ​ដោយ​​ផ្តោត​ការ​យក​ចិត្ត​​ទុក​ដាក់​​លើ​ជំនួយ​អភិវឌ្ឍ​​​ក្នុង​សហគមន៍​​ជន​បទ​។

ដើម្បីគាំទ្រដល់​ទិសដៅទាំងនោះ Cambodia 2000 គឺ​ជាអង្គការមួយ ក្នុងចំណោមអង្គការ​​​ពីរដែល​ទទួល​បាន​ជំនួយ​​គាំ​ទ្រ​ផ្នែក​ថវិកា​ ពីកម្មវិធីដេញថ្លៃសប្បុរស​ធម៌​ CHRISTIE 2014 ដែល​​​​​នឹងធ្វើឡើង នៅខែមីនា ក្នុងទីក្រុងភ្នំពេញ។ ដោយរួមសហការជាមួយនឹងផ្នែកទ្រទ្រង់សិល្បៈ និង ក្រុមជំនួយ​ ReCreation ថវិកាដែលបានពីកម្មវិធីសប្បុរស​ធម៌​​នេះ នឹងអនុញ្ញតឲ្យ​មាន​ការបង្កើតនវានុកម្មទៅលើកម្មវិធីសិល្បៈ​ សម្រាប់​ប្រទេស​កម្ពុជា ដែលមាន​ឈ្មោះ​ថា “Creative Source” ឬ “ប្រភពនៃការច្នៃ​ប្រឌិត” ដែល​ជា​កម្មវិធីមួយ​​ធ្វើ​ឡើង​ដើម្បីបរិច្ចាគ​សម្ភារៈ សិល្បៈ ទៅកាន់សាលារៀន និងវិចិត្រករនានា​ដែលខ្វះខាត។ “ប្រភពនៃការច្នៃប្រឌិត” នឹងធ្វើឡើង​ ​ដោយសង្កត់ធ្ងន់ទៅ​លើ​សហគមន៍តាមជនបទ ដែលពុំសូវ​មាន​សម្ភារៈសិល្បៈគ្រប់គ្រាន់ និង​ ​​​ជាកន្លែងដែលល្អបំផុតសម្រាប់បង្ហាញពីសិល្បៈ តាមរយៈគំនិត ឬ ការ​ស្រមើស្រមៃដែល​ មិនទាន់​មាន​នរណា​ឲ្យតម្លៃនៅឡើយ​។

ព្រះ​អង្គម្ចាស់​ក្សត្រិយ៍​ ដែលបានចូល​​ទិវង្គត​កាលពីឆ្នាំ២០១៣ គឺជាការ​បាត់​បង់​ដ៏គួរឲ្យសោកស្តាយមួយចំពោះ Cambodia 2000 ប៉ុន្តែក្តីសុបិនរបស់ទ្រង់នៅតែ​រស់ជា​និច្ច​ ​ក្រោមការដឹក​នាំ​របស់អ្នកម្នាង​ នរោត្តម​ វាសនា ឌីវ៉ា សេរីវុធ​ ដែលជាមហេសីរបស់ព្រះអង្គ​ម្ចាស់​ នរោត្តម​ សេរីវុធ​។ ក្រៅពីក្នុងនាមជាអ្នកគ្រប់គ្រងថ្មីរបស់ Cambodia 2000 អ្នក​ម្នាង​គឺជាអ្នក​ជំនាញ​ផ្នែក​សិល្បៈ និង​ ជា​សាស្ត្រាចារ្យ​ នៅឯសាកលវិទ្យាល័យភូមិន្ទភ្នំពេញ​ផង​ដែរ​។ នៅក្រោមការគ្រប់គ្រងដ៏ឈ្លាសវៃ​របស់អ្នក​ម្នាង​ នរោត្តម​ វាសនា ឌីវ៉ា សេរីវុធ​ និងដៃគូសប្បុរសធម៌​ជាមួយ ReCreation ​ធ្វើ​ឲ្យ​ ​ Cambodia 2000 សម្លឹង​ទៅមុខដោយ​សុទិដ្ឋិនិយម នៅពេលអនាគតដែល សិល្បៈ ប្រពៃណី រីកសាយភាយគ្រប់តំបន់​ពេញផ្ទៃប្រទេស នឹង​ធ្វើឲ្យជីវិត​រស់​នៅ​របស់​យុវជនកម្ពុជា រីកលូតលាស់យ៉ាងខ្លាំង៕

Q – Who is Amrita Performing Arts?

A – Amrita Performing Arts was founded in 2003 with a mission to help revive and preserve the wide spectrum of Cambodia’s traditional performing arts. The mission gradually evolved to focus more on contemporary creativity in theater and dance, reflecting Amrita’s artists’ passion to usher their performing arts heritage into the future. Amrita is now a major catalyst in helping a young generation of artists find their voice and move their creative drives forward in a proactive, nurturing and culturally sensitive environment.

Amrita works with 16 artists, supporting their development as dancers and performers, and also nurtures a new generation of choreographers who are creating cutting edge contemporary works that reflect their evolving social and political landscape, while remaining faithful to their ancient heritage.

Amrita organizes collaborations with visiting international artists, focusing on developing artistic capacity. These partnerships allow the artists to share ideas and experiences, form friendships and develop their creative skills in collaboration with the choreographers. They have the opportunity to develop their sensitivity, foster openness through discussion, and encourage a willingness to learn and to try.

In 2013, Amrita celebrated 10 years of contributing to the development of Cambodia’s burgeoning contemporary performing arts scene. Newly created works are being embraced by a growing Cambodian audience, while making their way onto stages around the world. The next 10 years will be about this new generation of artists claiming their rightful place in the international dance scene.

អង្គការអម្រឹតាសិល្បៈ

អង្គការអម្រឹតាសិល្បៈត្រូវបានបង្កើតឡើងតាំងឆ្នាំ២០០៣ ដើម្បីចូលរួមក្នុងការធ្វើឲ្យរស់ឡើងវិញនិងការអភិរក្សនូវទម្រង់ទាំងឡាយនៃសិល្បៈទស្សនីយភាពខ្មែរ ។ ក្រោយមក សង្គមសិល្បៈខ្មែរក៏មានការវិវត្តទៅមុខជាវិជ្ជមាន អង្គការសិល្បៈនេះបានបន្តការងារ ដោយផ្តោតទៅលើការដំឡើងនិងផលិតស្នាដៃរបាំនិងល្ខោនសហសម័យ ឆ្លើយតបនិងគំនិតឆ្នៃប្រឌិតថ្មីរបស់សិល្បករជំនាន់ថ្មី ដែលជាទំពាំងស្នងឫស្សីក្នុងការដឹកនាំបន្តមរតកសិល្បៈខ្មែរពីបុរាណកាលទៅកាន់អនាគតកាល ។ អម្រឹតាសិល្បៈគឺជាកត្តាលីករជំរុញនិងផ្តល់មធ្យោបាយដល់សិល្បករជំនាន់ថ្មី ដើម្បីពួកគេអាចបញ្ចេញនូវសំឡេងសិល្បៈរបស់ខ្លួន ។

អម្រឹតាសិល្បៈមានសិល្បករចំនួន១៦រូប និងប្រកាន់ខ្ជាប់នូវការអភិវឌ្ឍជំនាញនិងពិសោធសិល្បៈរបស់សិល្បករទាំងនេះជាស្នូលសំខាន់  ។ អម្រឹតាសិល្បៈផ្តល់នូវការគាំទ្រដល់សិល្បករទាំងនេះ ក្នុងការបង្កើតស្នាដៃសិល្បៈសហសម័យ ដែលពួកគេអាចសម្តែងចេញនូវសំឡេងសិល្បៈរបស់ពួកគេអំពីប្រធានបទផ្សេងៗ​ ។ ស្នាដៃថ្មីរបស់ពួកគេនេះ មានឫសគល់ពីទម្រង់បូរាណដែលពួកគេបានទទួលការបណ្តុះបណ្តាលយ៉ាងច្បាស់លាស់ ។

អម្រឹតាសិល្បៈផ្តួចផ្តើមនូវគម្រោងសិល្បៈផ្សេងៗ ផ្តល់ឳកាសដល់សិល្បករជំនាន់ថ្មីទាំងនេះឲ្យបានចូលរួមការងារជាមួយសិល្បករអន្តរជាតិ ផ្តោតលើការកសាងជំនាញថ្មីក្នុងសិល្បៈ ។ កិច្ចសហការនេះផ្តល់ឲ្យសិល្បករ នូវវេទិកាក្នុងការផ្លាស់ប្តូរគំនិតនិងបទពិសោធ បង្កើននូវគំនិតឆ្នៃប្រឌិតថ្មីក្នុងសិល្បៈ ។ ពួកគេបានរីកចំរើននូវ បញ្ញាញាណក្នុងសិល្បៈ ទឹកចិត្តបើកទូលាយក្នុងការពិភាក្សា និងចេតនាក្នុងសាកល្បងគំនិតថ្មី។

មកទល់ពេលនេះ អម្រឹតាសិល្បៈមានអាយុកាលជាង១០ឆ្នាំក្នុងការចូលរួមក្នុងសង្គមសិល្បៈដែលកំពុង រីកចម្រើននៅកម្ពុជា ។ ស្នាដៃសហសម័យថ្មីទាំងឡាយ កំពុងទទួលបាននូវការចាប់អារម្មណ៍ពីសំណាក់ទស្សនិកជនខ្មែរ ហើយក៏មានវត្តមានជាច្រើនសន្ធឹកសន្ធាប់លើឆាកអន្តរជាតិផងដែរ ។ ក្នុងអនាគត១០ឆ្នាំខាងមុខ​ ដែលជាទសវត្ស៍ទី២របស់អម្រឹតាសិល្បៈ យើងអាចមើលឃើញនូវសិល្បករខ្មែរជំនាន់ថ្មីទាំងនេះ និងសកម្មភាពសិល្បៈ ដ៏រស់រវើកនិងប្រកបដោយមោទនៈភាព ក្នុងឆាកជាតិនិងអន្តរជាតិ ។

Statement for New York City

With two thousand years of history, Khmer culture has had an important influence on all of its neighbors in every artistic discipline. Unfortunately, the twentieth century crashed the party with the various Indochinese conflicts, and then the Khmer Rouge finished off what was left of culture, the arts and the artists.

In the last several years, creators and artists have started to emerge, but are confronted with great and multiple obstacles. In today’s Cambodia creativity is not a national priority, far from it.

To help refocus priorities, draw attention to all sectors of the arts, and to showcase the very best, Madeleine de Langalerie created an annual show “Le Salon des Créateurs” in Phnom Penh. Last year’s edition was crowned by the first ever auction sale of its kind in Asia. Managed by CHRISTIE’S with staff coming to Cambodia from Paris, the profits of the sale were donated to Cambodia Living Arts.

In 2013 we move to New York, what a promotion!

Festival Catalog here :
The official website here : http://seasonofcambodia.org

List of artists at New York City :

• Ke Vicheth
• KSV Khmer Silk Village
• Lim Keo
• Lim Theam
• Ly Pisith
• Mam Lisa
• Oum Maknorith
• ROBOTANG
• Sanya
• Tarr Peap