167:
Rattana has had solo exhibitions in Phnom Penh at Popil PhotoGallery (2006–07), Sa Sa Art
Gallery (2009), and SA SA BASSAC (2011 and 2012–13), and overseas at venues including Hessel Museum of Art in Annandale-on-Hudson, New York (2010). He was an invited participant in significant curated
722:
Hall, Kari René & Getlin, Josh & Lumsden, Marshall & California State
University, Long Beach & Aperture Foundation (1992). Beyond the killing fields (1st ed). Aperture in association with California State University, Long Beach and Asia 2000 Ltd., Hong Kong, New
104:
which in 2009 opened the alternative space Sa Sa Art
Gallery in Phnom Penh. In 2010 they launched Sa Sa Art Projects in 2010 in order to host artist residencies, workshops, and community-based collaborations. In 2011, Sa Sa Art Gallery merged with BASSAC Art Projects to become
794:
Parys, Y. V. (2016). Musée à vendre pour cause de faillite: Werke und
Dokumente aus der Herbert Foundation und mumok im Dialog. Critique d’art. Actualité internationale de la littérature critique sur l’art
144:
offers up homage to the sister he never met, interred in a mass burial site alongside his grandmother and five thousand others who were discarded during the Khmer Rouge regime in 1978.
112:
Before he left Stiev
Selapak in 2012, Rattana was influenced by this contact with other artists and by Erin Gleeson to the effect that Rattana's work moved gradually away from straight
64:
While attending some short courses he was encouraged by
American Erin Gleeson (curator and specialist in contemporary art from Cambodia and until recently director of Sa Sa Bassac).
822:
Nora A. Taylor (2011) Art without
History? Southeast Asian Artists and Their Communities in the Face of Geography, Art Journal, 70:2, 6-23, DOI: 10.1080/00043249.2011.10790996
748:
224:
2016 – Working-Through: Vandy
Rattana and His Ditched Footages, Cube Project Space, Taipei, Taiwan(including Walking Through, Bomb Ponds photos and documentary, Monologue)
655:
298:
2018 – Two Houses: Politics and
Histories in the Contemporary Art Collections of John Chia and Yeap Lam Yang (shown Funeral), Lassale College of Arts, Singapore.
58:
271:
2019 – Singapore
Biennale: every step in the right direction (shown Monologue, Funeral, ...far away, over there, the ocean), Singapore Museum of Arts.
164:
operations on Cambodia's landscape, and uncovered the history by engaging the collective memory of people of the ten most severely bombed provinces.
157:
669:
513:
891:
704:
Thompson, A. (2013). Forgetting to Remember, Again: On Curatorial Practice and" Cambodian Art" in the Wake of Genocide. diacritics, 41(2), 82-109.
94:
813:
Nelson, R. (2013). Art: The malleable and generative axe: Conversations around the Guggenheim's' no country'project. Lifted Brow, The, (18), 28.
310:
2017 – Lines, Borders, Boundaries, and the In-Betweens (shown First High Rise and Boeung Kak Eviction), Yamamoto Gendai Gallery, Tokyo, Japan.
785:
Parys, Y. V. (2016). Mark Lewis: Above and Below. Critique d’art. Actualité internationale de la littérature critique sur l’art contemporain.
621:
2008 – The Contemporary Art of Korea, Japan and the U.S.A – Difference and Coexistence, ASTO Museum of Art, Wrightwood, California, America.
124:
series (2005–06) does not show himself, but searches for the ideal of home amongst images of family members in domestic interiors, while
856:
343:
102:
289:
2019 – Sunshower: Contemporary Art from Southeast Asia 1980s to Now (shown Bomb Ponds), Kaohsiung Museum of Fine Arts (KMFA), Taiwan.
274:
2019 – screening of Monologue, Making Memory, MCAD, Museum of Contemporary Art and Design (shown Monologue), Manila, The Philippines.
307:
2017 – Sunshower, Contemporary Art from Southeast Asia 1980s to Now (shown Bomb Ponds and Monologue), Mori Art Museum, Tokyo, Japan.
851:
456:, Contemporary Art in Southeast Asia from the Collection of Singapore Art Museum (Bomb Ponds), Yokohama Museum of Art, Japan.
292:
2019 – 40 ans après, la photographie au Cambodge aujourd'hui (shown Bomb Ponds and Surface), La Filature, Mulhouse, France.
618:
2008 – Transformation, group travelling exhibition of Cambodian and US artists, Phnom Penh, Cambodia and California, USA.
649:
627:
2008 – Road : group travel art exhibition in Thailand, Cambodia, Laos and Vietnam (Mekong Art and Culture Project).
746:
876:
653:
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2016 – Public spirits (shown Bomb Ponds / Monologue), Center for Contemporary Art Ujzadowski Castle, Warsaw, Poland.
861:
221:
2018 Bomb Ponds, Monologue, Funeral, Galerie Chateau d'Eau, Toulouse, France, part of the Festival 'Made In Asia'.
91:
In 2007 he and five other artists Heng Ravuth, Khvay Samnang, Kong Vollak, Lim Sokchanlina, and Vuth Lyno founded
132:(2008) deals with contemporary environmental issues in the ecological wasteland on the outskirts of Phnom Penh.
776:
Hjorth, L., King, N., & Kataoka, M. (2014). Art in the Asia-Pacific: Intimate Publics (Vol. 8). Routledge.
322:
2016 – From Generation to Generation: Inherited Memory and Contemporary Art (shown Bomb Ponds), New York, USA.
301:
2018 – Ausstellung "Still Water. Politiken des Wassers" (shown Bomb Ponds), Hospitalhof, Stuttgart, Germany.
113:
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to bear witness and its potential to document Cambodia's troubled and damaged culture, and to provoke
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2017 – Le Paysage après coup (shown Monologue and Bomb Ponds), Galerie Faux Mouvement, Metz, France.
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2008 – Gwanghwamoon International Art Festival, Korea and The First Gallery Avenue, Beijing, China.
106:
332:
120:. Preoccupied with the everyday as experienced by the average Cambodian, his early, so-called
871:
341:
128:(2005–2006) examines his own workplace to offer candid insights into Cambodian office life.
280:
2019 – The Breathing of Maps (shown Monologue), Yamaguchi Center for Arts and Media, Japan.
136:(2008–09) shows labour conditions in the environment of a traditional rubber plantation in
835:
in Conversation with Svay Sareth and Vandy Rattana. UDAYA, Journal of Khmer Studies, (12).
752:
673:
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442:(Bomb Ponds), InterAccess Electronic Media Arts Centreand Art Metropole, Toronto, Canada.
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2016 – Anywhere But Here (shown Landscape of Time / Surface), Bétonsalon, Paris, France.
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2007 – Art rebels, group photo exhibition, John Mcdermott Gallery, Siem Reap, Cambodia.
161:
117:
435:– Us and Institution / Us as Institution ( Bomb Ponds), Guangdong Times Museum, China.
845:
745:
blog September 7, 2011 by interventions journal in Texts, Vol. 1, Issue 1: En Route.
295:
2018 – UnAuthorised Medium (shown Bomb Ponds), Framer Framed, Amsterdam, Netherlands.
54:
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615:, Contemporary Arts Practice, Ke center for the Contemporary Arts, Shanghai, China.
319:
2016 – New Narratives Film Festival (shown Monologue / Bomb Ponds), Taipei, Taiwan.
240:
228:
577:, The 6th Asia Pacific Triennial of Contemporary Art (APT6), Brisbane, Australia.
503:
The Best of Times, The Worst of Times, Rebirth and Apocalypse in Contemporary Art
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2017 – Riverrun (shown Monologue / Bomb Ponds), Taipei Fine Arts Museum, Taiwan.
68:
47:
549:, Asia Triennial Manchester II, Chinese Art Center, Manchester, United Kingdom.
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in 2012. In this he documented the devastation wrought by the U.S. Vietnam-era
286:
2019 – Biennale Jogja XV (shown Monologue and Funeral), Jogjakarta, Indonesia.
23:
713:
Nelson, R. (2012). Non-profit art spaces in Cambodia: Strength in diversity.
372:, Contemporary Video Installations (Bomb Ponds), Kemper Art Museum, America.
331:
2015 – Time of others (MONOLOGUE), Museum of contemporary art, Tokyo, Japan.
72:
354:
The Khmer Rouge and the consequences. Documentation as artistic memory work
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2009 – Chobi Mela V International Photography festival, Dhaka, Bangladesh.
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2019 – Making Memory, Jewish Museum (shown Monologue), Frankfurt, Germany.
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2005 – Looking In, group exhibition, Popil Gallery, Phnom Penh, Cambodia.
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27:
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Concept, Context, Contestation: Art and the collective in Southeast Asia
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WUBIN, Z. (2009) ‘Out of Nowhere: Contemporary Cambodian Photography’
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2006 – Self-portraits, group exhibition, Noorderlicht, the Netherlands.
43:
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2019 – Art Encounters Biennial (shown Monologue), Timișoara, Romania.
50:
31:
57:, Phnom Penh-born Vandy Rattana cut short his studies in law at the
630:
2008 – Art of Survival, group art exhibition, Phnom Penh, Cambodia.
535:, collective exhibition "Paradise Lost" at 2902 Gallery, Singapore.
42:
One of a generation born into the fragile period after the fall of
732:
Nelson, R. (2013). Stiev Selapak: A Cambodian artists' collective.
591:, Group exhibition organized by Asean-Korean Center, Seoul, Korea.
407:( Bomb Ponds), Art Center Silpakorn University, Bangkok, Thailand.
170:
Underlying: Contemporary Art Exhibition from the Mekong Sub-Region
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Exhibition of Asian Contemporary Art at Kyushu University, Japan.
261:
2007 – Looking in My Office, Popil Gallery, Phnom Penh, Cambodia.
174:
Strategies from Within: Vietnamese and Cambodian Contemporary Art
252:
2010 – The Bomb Ponds, Hessel Museum of Art, New York, America.
421:(Bomb Ponds video), Tophane-I Amire Gallery, Istanbul, Turkey.
325:
2016 – Embedded South(s) (shown Monologue), online exhibition.
510:
Rupture and Revival: Cambodian Photography in the Last Decade
356:( Ponds and MONOLOGUE), Akademie der Künste, Berlin, Germany.
477:(Bomb Ponds), Kadist Art Foundation, San Francisco, America.
255:
2009 – Walking Through, Sa Sa Gallery, Phnom Penh, Cambodia.
596:
Intro : group exhibition of Stiev Selepak (Art Rebels)
528:, collective exhibition at Singapore Art Museum, Singapore.
521:(Bomb Ponds), Saint Paul St Gallery, Auckland, New Zealand.
414:( Bomb Ponds), Plymouth University Gallery, United Kingdom.
75:
and Tae Kim Heang, Rattana was inspired by the capacity of
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2011 – The Bomb Ponds, SA SA BASSAC, Phnom Penh, Cambodia.
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2018 – Funeral, Institut français du Cambodge, Phnom Penh.
398:
No Country: Contemporary Art for South and Southeast Asia
379:(Looking in), Xishuangbanna Foto Festival, Yunnan, China.
180:
at Queensland Art Gallery in Brisbane, Australia (2009);
340:( Walking Through), Chiang Mai Photo Festival, Thailand.
204:
at the Museum of Contemporary Art, Tokyo, Japan (2015).
484:
Noorderlicht International Photo Festival, Netherlands.
461:
Between Fantasy and Reality, Photography from Cambodia
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Stiev Selapak: Retelling Cambodia’s Story, posted on
463:(First High-Rise), The East Gallery, Toronto, Canada.
449:(First high-rise), IFA, Berlin + Stuttgart, Germany.
338:
Documenting as Method: Photography in Southeast Asia
258:
2007 – Chess, Hôtel de la Paix, Siem Reap, Cambodia.
200:
at Kadist Art Foundation, San Francisco (2012), and
498:, Eigen+Art Lab, group exhibition, Berlin, Germany.
246:
2012 – Surface, SA SA BASSAC, Phnom Penh, Cambodia.
377:Medicine to Heal: Cambodian Photography since 2000
34:, whose work is concerned with Cambodian society.
603:Forever Until Now: Contemporary Art From Cambodia
184:at 10 Chancery Lane Gallery in Hong Kong (2009);
182:Forever Until Now: Contemporary Art from Cambodia
552:2011 – Signature Art Prize Finalist Exhibition,
542:, University Museum of Contemporary Art, Mexico.
512:, The Institute of Contemporary Arts, Singapore.
30:) is a photographer and artist, now resident in
428:, Season of Cambodia, New York City, America.
192:at Chinese Arts Centre in Manchester (2011);
8:
767:, Issue 226, Summer, 2009, Canberra. p.5-8.
491:, "The Brain" (Bomb Ponds), Kassel, Germany.
71:era Cambodian photojournalists Sou Vichith,
152:Rattana achieved international acclaim for
16:Cambodian-Taiwanese photographer and artist
831:Ahmady, L. (2015). History of the Future:
570:, Sa Sa Art Gallery, Phnom Penh; Cambodia.
168:international group exhibitions including
236:2015 – MONOLOGUE, CAPC, Bordeaux, France.
101:the collective Stiev Selapak (Art Rebels)
419:Unknown Forces, Gestures Beyond Surfaces
158:Guggenheim UBS MAP Global Art Initiative
697:
598:SaSa Art gallery, Phnom Penh, Cambodia.
426:Out of Nowhere: Photography in Cambodia
400:(Bomb Ponds), Asia Society, Hong-Kong.
505:(Bomb Ponds), Kiev Biennale, Ukraine.
176:at Ke Center in Shanghai (2008); the
61:in 2005 to teach himself photography.
7:
53:(1975–79) executed most artists and
470:, Jim Thompson Art Center, Bangkok.
365:, Meta House, Phnom Penh, Cambodia.
804:Land, T. D. S. T. O. China at BoS.
59:Paññāsāstra University of Cambodia
14:
116:to incorporate the procedures of
582:TADAIMA, Looking for Sweet Home,
433:One Step Forward, Two Steps Back
605:10 Chancery gallery, Hong Kong.
892:21st-century Cambodian artists
447:Phnom Penh: Rescue Archaeology
440:Bring the world into the world
1:
650:Solomon R. Guggenheim Museum
540:Between Utopia and Dystopia
363:Looking at the Big Blue Sky
67:Following the footsteps of
908:
857:Cambodian photojournalists
563:, 2902 Gallery, Singapore.
547:Institution for the Future
393:, BACC, Bangkok, Thailand.
370:In the Aftermath of Trauma
186:Institution for the Future
178:6th Asia Pacific Triennial
243:, New York City, America.
190:Asia Triennial Manchester
156:(2009), acquired for the
852:Cambodian photographers
679:Queensland Art Gallery
613:Strategies from within
765:Art Monthly Australia
686:Johnson Museum of Art
454:Welcome to the Jungle
386:, Mart Museum, Italy.
138:Kampong Cham province
665:Singapore Art Museum
554:Singapore Art Museum
241:Asia Society Museum
239:2013 – Bomb Ponds,
877:Cambodian genocide
751:2016-05-27 at the
672:2015-09-24 at the
658:2015-09-24 at the
346:2016-03-04 at the
227:2015 – MONOLOGUE,
140:. His short video
97:2015-03-13 at the
862:Cambodian artists
384:Lost in Landscape
266:Group exhibitions
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561:Paradise Lost II
231:, Paris, France.
213:Solo exhibitions
130:Fire of the year
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198:Poetic Politic
188:, part of the
162:carpet bombing
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118:conceptual art
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22:(born 1980 in
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882:1980 births
867:Khmer Rouge
644:Collections
208:Exhibitions
148:Recognition
114:documentary
69:Vietnam War
48:Khmer Rouge
846:Categories
692:References
533:Bomb Ponds
526:Bomb Ponds
496:Bomb Ponds
482:Bomb Ponds
154:Bomb Ponds
126:Looking In
24:Phnom Penh
652:New York
142:Monologue
73:Dith Pran
749:Archived
670:Archived
656:Archived
568:Big Eyes
412:DOCUMENT
344:Archived
196:(2012);
172:(2008);
95:Archived
81:activism
28:Cambodia
872:Pol Pot
611:2008 –
601:2009 –
594:2009 –
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44:Pol Pot
468:Traces
87:Artist
51:regime
46:whose
32:Taiwan
405:WE=ME
723:York
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26:,
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