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1 Khvay Samnang RuBBER MAN 2 June 27 September 2015 presskit #KhvaySamnang 1, PLACE DE LA CONCORDE, PARIS 8 e CONCORDE
2 Partners The exhibition is co-produced by the Jeu de Paume and the CAPC musée d'art contemporain de Bordeaux. The Fondation Nationale des Arts Graphiques et Plastiques and the Friends of CAPC contribute to the production of works in the Satellite program. The Jeu de Paume receives public funding from the ministère de la Culture et de la Communication. It is supported by Neuflize Vie and the Manufacture Jaeger-LeCoultre, its principal partners. Media Partners Art press, ParisArt, Slash-paris.com, Souvenirs from earth TV, Radio Nova And also Exhibition at CAPC musée d art contemporain de Bordeaux September 18, 2015 January 4, Khvay Samnang Rubber Man, 2015 Installation with 3 single-channel HD videos, 3 channel sound, 4 min 04 sec each Co-production : Jeu de Paume, Paris ; Fondation Nationale des Arts Graphiques et Plastiques and CAPC musée d'art contemporain de Bordeaux Courtesy of the artist Khvay Samnang,
3 KVAY SAMNANG RUBBER MAN 2 June 27 September 2015 Curator of the exhibition Erin Gleeson Summary th SATELLITE PROGRAM: ENTER THE STREAM AT THE TURN BIOGRAPHY / ERIN GLEESON, INDEPENDENT CURATOR THE EXHIBITION KVAY SAMNANG press IMAGES PRACTICAL INFORMATIONS 3
4 8 th Satellite program: "Enter the Stream at the Turn" Enter the Stream at the Turn is a command disguised as a gentle metaphor. Borrowed from a longstanding Khmer proverb, it suggests one should adapt to the mainstream as a cultural code for social and political harmony. In non-democratic contexts where such a proverb remains ever relevant, where freedom of expression is politically restricted, artists often enact this proverb as a strategy of resistance. For the 8 th Satellite program, the Jeu de Paume is inviting four artists Khvay Samnang (Cambodia), Nguyen Trinh Thi (Vietnam), Arin Rungjang (Thailand), and Vandy Rattana (Cambodia) whose channels of resistance involve the moving image realized both within and against a complex inheritance of cultural and historical occupation and censorship. Mainstream headlines, contentious contemporary political or social issues, and official histories are approached as reference points for reexamination through intimate, personal narrative. In the artist s contexts, to tell the small story, to record memory, to quietly mine and reconstruct archives, to simply make unauthorized images, is to strategically disquiet official history. To disquiet official history is to challenge the inherited and living authority that perpetuates it. The resulting images and narratives reach us in code, in layers, overlapping past and present, reality and fiction, fiction and documentary. In avoiding dichotomous views, a space for ambiguity is offered to agitate dominant understandings around the subjects approached. Further, the featured artists practices act to reformulate the position of the artist as distinct from citizen and nation; their goal is not to make clear, to prove or disprove, but to offer a register built on inquiry that leads to unknowing. Erin Gleeson, curator 4
5 BIOGRAPHY ERIN GLEESON, INDEPENDENT CURATOR Erin Gleeson is the co-founder and artistic director of SA SA BASSAC in Phnom Penh, Cambodia. SA SA BASSAC is a gallery, resource center, and reading room that aims to facilitate, produce, archive, and foster exchanges around contemporary art projects at a national and international level. Erin Gleeson s recent projects include Roundtables: The Body, The Lens, The City (2014), a one-day symposium organized by SA SA BASSAC on performance art and its documentation in Cambodia; FIELDS: An Itinerant Inquiry Across the Kingdom of Cambodia (2013), a one-month traveling research-oriented residency program with twenty participants from eight countries; the group exhibition Phnom Penh: Rescue Archaeology (2013) and accompanying catalogue at ifa (Berlin and Stuttgart); the exhibition Sights and Sounds: Global Film and Video at the Jewish Museum in New York (2013); and If The World Changed, the 4th Singapore Biennale ( ). Erin Gleeson has been the Cambodian desk editor for ArtAsiaPacific magazine since 2005, and also writes for other publications, such as South as a State of Mind. She has given talks and workshops with various partners, including: Young Curators Workshop, 8th Berlin Biennale; Tokyo Wonder Site, Japan; the 6th Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery, Brisbane (Australia); the Asia Art Archive, Hong Kong and New York; Para/Site Art Space, Hong Kong; Sotheby s Institute, Singapore; and the Museum of Modern Art, New York. In 2014, she was the keynote speaker at AUT University s Curatorial Symposium (Auckland, New Zealand) on the theme of cultural exchanges and indigenous culture. She was nominated for the Independent Vision award from Independent Curators International (2012), and was awarded a travel grant by the Foundation for Arts Initiatives, as well as one for young researchers by the Center for Contemporary Art at the Nanyang Technological University, Singapore (2014). She nominates for numerous residencies and prizes, most recently the Vera List Center Prize for Art and Politics and the AIMIA AGO Photography Prize. Erin Gleeson was born in Minneapolis. She worked in the education department at the Minneapolis Institute of Arts and Walker Art Center Sculpture Garden and Art Lab before moving to Cambodia in 2002 on a Humphrey-Fulbright Fellowship awarded by the University of Minnesota Law School Human Rights Center. 5
6 THE exhibition Following on from Khvay SAMNANG s previous works such as Untitled (2011), and Where is my Land? (with Nget Rady) (2014), Rubber Man (2015) confronts a contested landscape with poetic resistance. For over one year, Khvay SAMNANG repeatedly returned to Rattanakiri, Cambodia s northeastern highland province, to survey the altered environment from the remaining villages to the strategic clearings, from rubber tree saplings to mature plantations. His three-channel video installation frames these landscapes, in which the artist pours fresh liquid rubber over his body, then sets about walking in and out of the rational cash crop lines, as if a lost specter. As the forests disappear, Khvay SAMNANG asks, Where will the spirits live? Khvay Samnang Rubber Man, 2015 Installation with 3 single-channel HD videos, 3 channel sound, 4 min 04 sec each Co-production : Jeu de Paume, Paris ; Fondation Nationale des Arts Graphiques et Plastiques and CAPC musée d'art contemporain de Bordeaux Courtesy of the artist Khvay Samnang,
7 Subtly and often with humour, Khvay Samnang offers new interpretations of history, current controversial issues and longstanding cultural practices. Khvay Samnang (born 1982, Svay Rieng, Cambodia) has a multidisciplinary practice spanning performance, photography, video and installation. Prompted by instinct and hearsay, direct experience and media sources, Khvay Samnang follows unresolved stories he believes require intervention. Employing symbolic and intentionally futile gestures, he offers new interpretations of history and contentious current affairs events that resist the polarizing language known to media and legal reports. For Khvay s Satellite 8 commission Rubber Man (2015), the artist responds to the specific colonial legacy of land use. French Indochina privatized the Khmer monarchy s land 131 years ago, in Soon after, rubber seeds arrived, imported from Brazil. And soon after that, the French imported an economic equation that began the physical, conceptual and spiritual transformation of Cambodia s nature into exploitable land. Cambodia s first land concession was established in 1922 for a rubber plantation, which, until 1975, was the largest in the world. I am inspired to make something when I learn about an imbalance between people s stories, news sources and the experience at the site of the problem. I want the body, movement and images to offer new ways to think about the power that threatens the land and the people s lives. Khvay Samnang Rubber Man, 2015 The Khmer language transliterates the French transliteration, caoutchouc, of an indigenous South American word for rubber. Referred to as the crying tree, its latex tears drop after the tapping incision. Perhaps the most biting reference for the word rubber is as it applies to today s intensification of the colonial concession project in Cambodia s indigenous forests and culture: scraping away, erasing. 7
8 There are more than 20 different highland indigenous groups in Cambodia who have distinctly different cultures, languages and histories from those of the lowland Khmer population. Resident forest and ancestor spirits play a critical and omnipresent role in everyday life, which follows an elaborate subsistence cycle of planting, transplanting, harvesting, and regeneration. Threatened by multiple colonialisms, many communities in this area have been able to resist the effects of state formations that have developed over the last century in Cambodia. And their spiritual beliefs have effectively ensured forest and wildlife conservation. However, land concessions and agribusiness that favor the economic powers of today from individuals to governments to multinationals seem the strongest threat to their time immemorial culture. The body is both my material and my strategy. It becomes clear to me what to do when something outside of myself shows me the way. Khvay Samnang Rubber Man, 2015 Khvay Samnang Rubber Man, 2015 Installation with 3 single-channel HD videos, 3 channel sound, 4 min 04 sec each Co-production : Jeu de Paume, Paris ; Fondation Nationale des Arts Graphiques et Plastiques and CAPC musée d'art contemporain de Bordeaux Courtesy of the artist Khvay Samnang,
9 Khvay Samnang Rubber Man, 2015 Installation with 3 single-channel HD videos, 3 channel sound, 4 min 04 sec each Co-production : Jeu de Paume, Paris ; Fondation Nationale des Arts Graphiques et Plastiques and CAPC musée d'art contemporain de Bordeaux Courtesy of the artist Khvay Samnang, 2015 Khvay Samnang,
10 KVAY SAMNANG Born in 1982 in Svay Rieng, Cambodia Lives and works in Phnom Penh Nominations 2015 Prix Pictet, France AIGA AGO Photography Prize, Canada Prudential Eye Awards, Best Emerging Artist in Asia Using Photography Sovereign Asian Art Prize Finalist, Hong Kong Residencies 2015 Bethenian Kunstlerhaus, Berlin, Germany 2013 Residency Unlimited, NYC, USA 2011 Creators Program, Tokyo Wonder Site, Tokyo, Japan Between, Metahouse, Phnom Penh, Cambodia Co-founder, SA SA BASSAC, Phnom Penh, Cambodia 2010 Creators Program, Tokyo Wonder Site, Tokyo, Japan 2014 Sovereign Asian Art Prize, Hong Kong Future Generation Art Prize, Ukraine 2013 Future Generation Art Prize, Ukraine Prix Pictet, France Co-founder, Sa Sa Art Projects, The Building, Phnom Penh, Cambodia 2009 Co-founder, Sa Sa Art Gallery, Phnom Penh, Cambodia 2008 Bassac Studio, Phnom Penh, Cambodia 2007 Photography: History and Training with Stephane Janin, Popil Photo Gallery, Phnom Penh, Cambodia Co-founder of the artist collective Stiev Selapak Solo Exhibitions 2015 Tomio Koyama Gallery, Tokyo, Japan Programmation Satellite 8, Jeu de Paume, Paris and CAPC, Bordeaux, France 2014 "Human Nature", Tomio Koyama Gallery, Singapour "Rubber Man", SA SA BASSAC, Phnom Penh, Cambodia "Staging Cambodia: Video, Memory and Rock-n-Roll", HAU, Berlin, Germany 2012 "Newspaper Man", SA SA BASSAC, Phnom Penh, Cambodia 2011 "Human Nature", Royal University of Fine Art, Phnom Penh / PhotoPhomPenh, Cambodia "Untitled", SA SA BASSAC, Phnom Penh, Cambodia "Wedding + Hair", Hôtel de la Paix Arts Lounge, Siem Reap, Cambodia 2010 "Wedding", Sa Sa Art Gallery, Phnom Penh, Cambodia 2009 "Hair", Java Café and Gallery, Phnom Penh, Cambodia 10
11 Group Exhibitions th Asia Pacific Triennial of Contemporary Art (APT), Queensland Art Gallery, Brisbane, Australia 2 nd Afriperforma Biennale, Lagos, Nigeria "Eagles Fly, Sheeps Flock", Art Stage Singapour, Singapour "Prudential Eye Awards Finalist Exhibition", Art Science Museum, Singapour "Social Engagement Artists", Tomio Koyama, Singapour "The Khmer Rouge and the consequences. Documentation as artistic memory work", Akademie der Künste, Berlin, Germany 2014 "Swimming in Sand; Growing Rice Under an Umbrella, No Vacancy", Melbourne, National Gallery of Victoria s Ian Potter Centre et Federation Square Melbourne, Australia "Medicine to Heal: Cambodian Photography since 2000", Xishuangbanna Foto Festival, Yunnan, China The 7e Moving on Asia: Censorship, Alternative Space LOOP, Séoul, South Korea 2013 "Everyday Life", 4th Asian Art Biennale, Taipei Fine Art Museum, Taipei, Taiwan "If The World Changed, 4th Singapour Biennale, Singapour "Sights and Sounds: Global Video Art", The Jewish Museum, New York "Phnom Penh: Rescue Archaeology", ifa, Berlin and Stuttgart, Berlin "Out of Nowhere: Photography in Cambodia", creativetimereports.org "Developments", Seventh Gallery, Melbourne, Australia "Current Views and Actions: Photography and Performance Documentation from Phnom Penh", NIU Art Museum, DeKalb, USA "Between Fantasy and Reality", Contact Photography Festival at The East Gallery, Toronto, Canada "Ruptures and Revival: Cambodian Photography in the Last Decade", ICAS, Singapour 2011 Tokyo 2010, Tokyo Wonder Site Hongo, Japan "Arles Photography Festival Night of the Year", Arles, France 2010 "Luxury Time and Space", Tokyo Wonder Site Aoyama, Japan "Orange International Photography Festival", Changsa, China 2009 "Forever Until Now: Contemporary Art from Cambodia", 10 Chancery Lane Gallery, Hong Kong 2008 "Nuit de l'année - Rencontres d'arles», Arles, France 2012 "Poetic Politic", Kadist Foundation, San Francisco, USA "Deep Sea", Primo Marella Gallery, Milan, Italy "Mondi", DryPhoto Contemporaneo, Prato, Italy "Terra Incognita", Noorderlight Photography Festival, The Netherlands 11
12 press visuals The copyright-free reproduction and display of the following selection of images is authorised solely as part of the promotion of this exhibition at the Jeu de Paume and while the exhibition is in progress. Khvay Samnang Rubber Man, 2015 Installation with 3 single-channel HD videos, 3 channel sound, 4 min 04 sec each Co-production : Jeu de Paume, Paris ; Fondation Nationale des Arts Graphiques et Plastiques and CAPC musée d'art contemporain de Bordeaux Courtesy of the artist Khvay Samnang,
13 Khvay Samnang Rubber Man, 2015 Installation with 3 single-channel HD videos, 3 channel sound, 4 min 04 sec each Co-production : Jeu de Paume, Paris ; Fondation Nationale des Arts Graphiques et Plastiques and CAPC musée d'art contemporain de Bordeaux Courtesy of the artist Khvay Samnang, 2015 Copyright-exempt visuals downloadable fromwww. jeudepaume.org Identifiant : presskit Mot de passe : photos 13
14 practical info #KhvaySamnang OPENING TIMES Tuesday (late-night opening): 11 am 9 pm Wednesday to Sunday: 11 am 7 pm Closed Monday FREE ENTRANCE visuals FOR press Copyright free press visuals can be downloaded from login: presskit I password: photos contacts Press: Annabelle Floriant T. +33(0) I +33(0) I annabellefloriant@jeudepaume.org Communication: Anne Racine T. +33(0) I anneracine@jeudepaume.org 1, PLACE DE LA CONCORDE, PARIS 8 e CONCORDE
1, PLACE DE LA CONCORDE, PARIS
EDGARDO ARAGÓN PRESS KIT MESOAMERICA: THE HURRICANE EFFECT February 9 May 22, 2016 #Mesoamerica 1, PLACE DE LA CONCORDE, PARIS 8 e CONCORDE WWW.JEUDEPAUME.ORG Partners The exhibition is co-produced by
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