Alternative Art Engagement: Sa Sa Art Projects
by Lyno Vuth
Sunday, March 2, 2014, 7pm
Asia Art Archive in America, New York
Bonn Phum Nov Bo-Ding (2014), a series of cross-platform exhibitions and events at Phnom Penh’s White Building from 18-25 Jan. The festival was organized by Sa Sa Art Projects in partnership with Big Stories (Australia), AZIZA school and many artists and residents from the White Building. Photo by Chhon Pisal.
Sa Sa Art Projects is Phnom Penh’s only artist-run space dedicated to experimental art practices. Founded in 2010 by art collective Stiev Selapak and located inside a low-income urban neighborhood called the White Building, Sa Sa Art Projects explores and challenges the possibilities of art by engaging Cambodian and visiting artists, creative individuals, students, and the White Building’s residents in realizing art projects and events that are accessible and enjoyable by everyday Cambodians. Sa Sa Art Projects does these by focusing on three main areas: experimental art residency program with Cambodian and visiting artists, art and media workshops with artists and young residents of the White Building and Phnom Penh city, and special collaborative projects.
Lyno Vuth is currently a Fulbright Fellow undertaking an MA in Art History at Binghamton University. He is also an artist, curator, and artistic director of Sa Sa Art Projects. Coming from international development background, his art practice and research interest center on socially engaged, participatory, and experimental arts.
Spring 2014 Speaker Series
All lectures will be held at 6 p.m. in Lecture Hall 6.
Thursday, Feb. 27
Michael Shanks (Professor of Classics, Stanford University)
Reality (Matteo Garrone, 2012, Italy/France, 116 min.) will be shown at 7:30 p.m. on Friday, Feb. 28 and Sunday, March 2 in Lecture Hall 6. Anyone familiar with Garrone’s gritty and relentless mafia drama Gomorrah (2008) might be surprised at this film about a humble Neopolitan fish-monger who becomes obsessed with appearing on the reality TV show Big Brother. Garrone’s signature roving camera ushers Luciano on an inexorable and delirious journey across the boundary that separates his mundane life and into the Fellini-esque world of television fantasies of celebrity and luxury. The style is both neo-realist and fantastic, poignant and absurd, but always profoundly human. Winner: Cannes, 2012 (Grand Jury Prize); Nominated: Cannes, 2012 (Palme d’or), Golden Globes-Italy (Best Cinematographer, Actor, 2012). Introduction by Olivia Holmes, associate professor of English and medieval studies.
Admission is $4. For questions or information, contact Nancy Wlostowsky via e-mail, or call 777-4998.
The Department of Art History
is pleased to announce that, on,
Tuesday, February 25, at 1:30
in the Art History Commons, FA 218,
Aynur De Rouen,
candidate for the doctoral degree in art history,
will defend her dissertation,
CHANGE AND CONTINUITY: AN ANALYSIS OF THE SOCIO-SPATIAL FABRIC OF TEŞVİKİYE-NİŞANTAŞI, 1945-1960,
before a committee composed of Professors Barbara Abou-El-Haj (Co-Chair), Nancy Um (Co-Chair), Rifa’at Abou-El-Haj (History) and Doug Holmes (Anthropology).
The defense is a public event and open to all. We look forward to a lively, instructive and informative discussion and invite you all to attend.
Francis Bacon, Portrait of George Dyer Talking. Oil on canvas, 1966. Image courtesy of Christie’s.
A painting by Francis Bacon that formerly made its home in the collection of Binghamton’s Dr. Israel J. Rosefsky was part of the record-breaking sales of nineteenth- and twentieth-century art at auction this past month. From the New York Times:
“…at least four big-name trophy hunters slugged it out on telephones at Christie’s on Thursday over Francis Bacon’s 1966 “Portrait of George Dyer Talking.” Estimated at £30 million, this powerful depiction of the artist’s lover seated like a Michelangelo nude on a bar stool was included in the Bacon retrospective at the Grand Palais in Paris in 1971, an exhibition that opened two days after Dyer committed suicide. The painting eventually sold to an undisclosed American buyer represented by Brett Gorvy, Christie’s international head of postwar and contemporary art, for £42.2 million, or $70 million. The price was an auction record for a single canvas by the artist.”
To read the rest of the article, click here. For more information about the portrait, click here.