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New Year 10 Art and Photography students settle in with some amazing work.

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SIEM REAP, CAMBODIA - The exhibit's wow moment: the 13-meter-high, 123-meter-long, 360-degree mural depicting thousands of warriors and artisans at war and work in Cambodia's 12th century Angkorian Empire.

Situated only meters from the circular viewing deck, the cyclorama's effect is a three-dimensional immersion in an ancient landscape. A diorama of artificial tropical trees, plants and huts collapses space and time between viewer and mural, taking the eye to a far-off horizon.

Welcome to North Korea's Angkor Panorama Museum in Siem Reap, Cambodia, a joint venture between the Cambodian government and North Korea's long-established Mansudae Art Studio,open since December.

The mural, which took 63 painters from North Korea's most famous school of political artistry two years to complete, is so captivating that some visitors quietly question its authenticity, wondering aloud if it isn't some sly video projection.

"Amazing! I can see everything...just sitting here in one place you can see everything," said Keo Samoun of Cambodia's Banteay Meanchey province. Viewing the art after a stop at Angkor Wat and Bayon Temple, she said the museum helps place the temples in a historical landscape. "It's easier to visit the museum than some of the far-flung temples dotting the province," she added.

"I have never seen anyone paint anything like this," said Thoam Manun Tho, a Buddhist monk. "Amazing. Absolutely amazing!" he exclaimed, violating museum decorum by loudly invoking one of the viewing platform's most commonly overhead refrains.
In the Angkor era
Known for doing things on a vast scale, Mansudae was founded in 1959 to extol the revolutionary virtues of North Korea and its ruling family.

"With a labor force of approximately 4,000 people, 1,000 of which [are] artists, and an area of over 120,000 square meters, 80,000 of which are indoor, the Mansudae Art Studio is probably the largest art production center in the world and by far the largest and most important of the country," the Pyongyang-based studio's website says.

Part of Mansudae's overseas expansion, a bid to raise foreign capital for the isolated regime of Kim Jong-un, the Angkor Panorama Museum offers a Socialist-Realist glimpse back to a time when Khmer warriors battled with spears, swords and huge fighting elephants. The empire also built stunning temples, now UNESCO World Heritage sites.

"[Visitors] feel as if they are right there during the Angkor era," Yit Chandaroat, museum vice executive director, told VOA Khmer. "They feel as if they are with the people selling vegetables [or] those on the fighting elephants in the painting."

A visit to the museum should precede tours of the nearby temples, Chandaroat said, as more than 40,000 images of ancient warriors, artisans, farmers and animals help place those structures in a richer historical context.
Ticket sales and nuclear weapons
North Korea spent $24 million and four years building the nearly 6,000-square-meter museum, which rises to an imposing height of 35 meters.

Pyongyang's decision to invest in Siem Reap was an act of fraternity between old friends, Chandaroat said. According to the contract, North Korea would completely reclaim its $24 million investment over a 10-year period.

At least, that was the plan. The 10-year recovery period for the initial investment was recently deemed too ambitious, and North Korea is not likely to see its original investment returned until the second 10-year contract, said Chandaroat, who is also a senior official at the Cambodian government entity managing the Angkor Archeological Park.

The museum and its painted panorama are slated to become fully owned by Cambodia under the agreement within 20 years.

Chandaroat denies links between museum ticket sales and funding for North Korean weapons of mass destruction.

Thai Norak Sathya, Secretary of State for Cambodia's Ministry of Culture and Fine Arts, says the museum was built in the spirit of cultural promotion, friendship and cooperation rather than income generation.

"The North Korean company came to build the museum because of historical relations of the king with the country," Thai Norak Sathya told VOA. "Let me tell you that the North Korean company completely abides by the technical condition and Khmer style of art. So, it is not the nature of this business to generate income."
Foreign visitors turn up their noses
For now, one of the profitability issues facing museum officials is that 90 percent of visitors are Cambodian. Foreign tourists, who bring much needed hard currency to Siem Reap's economy, have been prone to dismiss the museum.

English tourists Sarah and Ashley say they've traveled too far just to see a mere painting of the Angkor temples.

"I am quite surprised that they invested so much outside North Korea," said Sarah, who only gave her first name.

"I want to see the real things. That is what I am here for," Ashley added. "That is what we are going to do today. I am not interested to go to the museum."

French tourist Christelle Bimar, visiting Siem Reap from Hong Kong with her two sons, was unaware of the panorama museum. Despite her left leg being broken, Bimar had already visited the Angkor Wat temple.

Would she also visit the museum?

"I am not aware of what's inside," Bimar said, sitting in a wheelchair in the shade of a palm tree in front of Angkor temple. "But, yes, I think Angkor and Siem Reap deserve to have many more museums," she added.
This report was produced in collaboration with VOA's Khmer Service.

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North Korean Artists Bring Ancient Angkor to Life

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The exhibit's wow moment: the 13-meter-high, 123-meter-long, 360-degree mural depicting thousands of warriors and artisans at war and work in Cambodia's 12th century Angkorian Empire.Situated only meters from the circular viewing deck, the cyclorama's effect is a three-dimensional immersion in an ancient landscape.

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Outstanding Universal Value
Brief synthesis
Angkor, in Cambodia's northern province of Siem Reap, is one of the most important archaeological sites of Southeast Asia. It extends over approximately 400 square kilometres and consists of scores of temples, hydraulic structures (basins, dykes, reservoirs, canals) as well as communication routes. For several centuries Angkor, was the centre of the Khmer Kingdom. With impressive monuments, several different ancient urban plans and large water reservoirs, the site is a unique concentration of features testifying to an exceptional civilization. Temples such as Angkor Wat, the Bayon, Preah Khan and Ta Prohm, exemplars of Khmer architecture, are closely linked to their geographical context as well as being imbued with symbolic significance. The architecture and layout of the successive capitals bear witness to a high level of social order and ranking within the Khmer Empire. Angkor is therefore a major site exemplifying cultural, religious and symbolic values, as well as containing high architectural, archaeological and artistic significance.

The park is inhabited, and many villages, some of whom the ancestors are dating back to the Angkor period are scattered throughout the park. The population practices agriculture and more specifically rice cultivation.

Criterion (i): The Angkor complex represents the entire range of Khmer art from the 9th to the 14th centuries, and includes a number of indisputable artistic masterpieces (e.g. Angkor Wat, the Bayon, Banteay Srei).

Criterion (ii): The influence of Khmer art as developed at Angkor was a profound one over much of South-east Asia and played a fundamental role in its distinctive evolution.

Criterion (iii): The Khmer Empire of the 9th-14th centuries encompassed much of South-east Asia and played a formative role in the political and cultural development of the region. All that remains of that civilization is its rich heritage of cult structures in brick and stone.

Criterion (iv): Khmer architecture evolved largely from that of the Indian sub-continent, from which it soon became clearly distinct as it developed its own special characteristics, some independently evolved and others acquired from neighboring cultural traditions. The result was a new artistic horizon in oriental art and architecture.
Integrity
The Angkor complex encompasses all major architectural buildings and hydrological engineering systems from the Khmer period and most of these "barays" and canals still exist today. All the individual aspects illustrate the intactness of the site very much reflecting the splendor of the cities that once were. The site integrity however, is put under dual pressures:

1. endogenous: exerted by more than 100,000 inhabitants distributed over 112 historic settlements scattered over the site, who constantly try to expand their dwelling areas;

2. exogenous: related to the proximity of the town of Siem Reap, the seat of the province and a tourism hub.

Authenticity
Previous conservation and restoration works at Angkor between 1907 and 1992, especially by the École Française d'Extrême-Orient (EFEO), the Archaeological Survey of India, the Polish conservation body PKZ, and the World Monuments Fund have had no significant impact on the overall authenticity of the monuments that make up the Angkor complex and do not obtrude upon the overall impression gained from individual monuments.
Protection and management requirements
The property is legally protected by the Royal Decree on the Zoning of the Region of Siem Reap/Angkor adopted on 28 May 1994 and the Law on the protection of the natural and cultural heritage promulgated on 25 January 1996, the Royal Decree on the creation of the APSARA National Authority (Authority for the protection of the site and the management of the Angkor Region) adopted on 19 February 1995, the No. 70 SSR government Decision, dated 16 September 2004 providing for land‐use in the Angkor Park: "All lands located in zone 1 and 2 of the Angkor site are State properties", and the sub-decree No. 50 ANK/BK on the organisation and functioning of the APSARA National Authority adopted on 9 May 2008, specifically provided for the establishment of a Department of Land‐use and Habitat Management in the Angkor Park.

In order to strengthen and to clarify the ownership and building codes in the protected zones 1 and 2, boundary posts have been put in 2004 and 2009 and the action was completed in 2012.

As off 1993, the ICC-Angkor (International Coordinating Committee for the Safeguarding and Development of the historic site of Angkor) created on 13 October 1993, ensures the coordination of the successive scientific, restoration and conservation related projects, executed by the Royal Cambodian Government and its international partners. It ensures the consistency of the various projects, and defines, when necessary, technical and financial standards and calls the attention of all the concerned parties when required. It also contributes to the overall management of the property and its sustainable development.

The successful conservation of the property by the APSARA National Authority, monitored by the ICC-Angkor, was crowned by the removal of the property from the World Heritage List in danger in 2004.

Angkor is one of the largest archaeological sites in operation in the world. Tourism represents an enormous economic potential but it can also generate irreparable destructions of the tangible as well as intangible cultural heritage. Many research projects have been undertaken, since the international safeguarding program was first launched in 1993.The scientific objectives of the research (e.g. anthropological studies on socio-economic conditions) result in a better knowledge and understanding of the history of the site, and its inhabitants that constitute a rich exceptional legacy of the intangible heritage. The purpose is to associate the "intangible culture" to the enhancement of the monuments in order to sensitize the local population to the importance and necessity of its protection and preservation and assist in the development of the site as Angkor is a living heritage site where Khmer people in general, but especially the local population, are known to be particularly conservative with respect to ancestral traditions and where they adhere to a great number of archaic cultural practices that have disappeared elsewhere. The inhabitants venerate the temple deities and organize ceremonies and rituals in their honor, involving prayers, traditional music and dance. Moreover, the Angkor Archaeological Park is very rich in medicinal plants, used by the local population for treatment of diseases. The plants are prepared and then brought to different temple sites for blessing by the gods. The Preah Khan temple is considered to have been a university of medicine and the NeakPoan an ancient hospital. These aspects of intangible heritage are further enriched by the traditional textile and basket weaving practices and palm sugar production, which all result in products that are being sold on local markets and to the tourists, thus contributing to the sustainable development and livelihood of the population living in and around the World Heritage site.

A Public Investigation Unit was created as " measure instrument " for identifying the needs, expectations and behaviors of visitors in order to set policies, monitor its evolution, prepare a flux management policy and promote the unknown sites.

The management of the Angkor Site, which is inhabited, also takes into consideration the population living in the property by associating them to the tourist economic growth in order to strive for sustainable development and poverty reduction.

Two major contributions supporting the APSARA National Authority in this matter are:

1. The Angkor Management Plan (AMP) and Community Development Participation Project (CDPP), a bilateral cooperation with the Government of New Zealand. The AMP helps the APSARA National Authority to reorganize and strengthen the institutional aspects, and the CDPP prepares the land use map with an experimental participation of the communities and supports small projects related to tourist development in order to improve the income of villagers living in the protected zones;

2. The Heritage Management Framework composed of a Tourism Management Plan and a Risk map on monuments and natural resources; a multilateral cooperation with the Government of Australia and UNESCO. Preliminary analytical and planning work for the management strategy will take into account the necessity to preserve the special atmosphere of Angkor. All decisions must guarantee physical, spiritual, and emotional accessibility to the site for the visitors.

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Angkor is one of the most important archaeological sites in South-East Asia. Stretching over some 400 km2, including forested area, Angkor Archaeological Park contains the magnificent remains of the different ...

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Cheanick now

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Sothy Chhim

Born in 1969 in Kandal province, Sothy Chhim is one of the country's leading artists. Having spent a decade studying at Phnom Penh's Royal University of Fine Arts - where he now teaches - he mastered traditional Khmer painting. However, he has since moved into abstract and contemporary art, with his work featuring in exhibitions across the globe, including Singapore, France and America. His work is characterised by his diverse use of styles, which focus on social issues and Buddhism.

A stalwart of the contemporary art scene, Em Riem dares to be different. Originally from Kandal province, he studied at the Royal University of Fine Arts in Phnom Penh and then at France's School of Fine Arts in Saint-Etienne, and Higher National School of Decorative Arts of Paris. The multi-disciplinary artist's fashion sense is as loud as some of his work and he has also mastered sculpture, ceramics, and interior and fashion design. He works with a range of materials, from rattan sofas to portraits of Khmer Rouge victims and acrylic paintings of rural Cambodia. He has his own gallery, X-em Galerie.

Sokhorn Meas

Sokhorn Meas trained as an interior designer at the Royal University of Fine Arts in Phnom Penh, but fine art has always been at the forefront of his mind. After graduating, he started experimenting with sculpture, painting and staging live performances. In 2006, he held his debut solo exhibition at Phnom Penh's Java Creative Café, launching his career as a full-time artist. Drawing inspiration from his surroundings, Sokhorn is not afraid to tackle social issues rife in his homeland. He is famous for his use of waste materials and objects, such as barbed wire, rotting wood and plastic.

Dina Chhan is one of Cambodia's only female sculptors and leading painters. As a youngster she harboured an early passion for the arts, using the monsoon-soaked ground that turned to clay, to carve toy buffalos and dolls. Chhan uses her art to address topics such as wildlife, nature, and social issues in Cambodia, making use of bold colours that are her signature. Her passion for creativity has led to her teaching art to children and teenagers in several of the capital's orphanages and international schools. Born in a refugee camp on the Thai border in the wake of the Khmer Rouge, Dina has also used her work to work raise awareness of Cambodia's hidden landmines - which cause a huge issue to this day and litter many areas of the border. She was the only female Cambodian artist to take part in the UN Mine Action Gateway, where she visited mine-affected provinces to see how Cambodia is tackling explosives, and presented her interpretation of the issues through sculpture.

Borin Teang

The wispy ethereal apsaras that delicately float in Teang Borin's paintings feature on the walls of many of the capital's restaurants, bars and cafes, and on the walls of many residents' homes. Affectionately known as Din, Borin would sit on the dusty tracks in his Kampot village as a child and trace drawings into the ground with a stick. Growing up, he developed an interest in all things creative, from painting to interior design. In 2000, he moved to Phnom Penh to study architecture, and it was during this five-year course that he became fascinated with apsara dancers, who enchanted audiences with their graceful gestures. He created a stunning series of abstract paintings of the performers, which caught the eyes of those in the art scene. In 2015, he opened DinArt in Phnom Penh.

Sareth Svay

Sareth Svay is one of the founding fathers of Cambodia's contemporary art movement. Born in 1972 in Battambang, he started making art as a teenager living at the Site Two refugee camp near the Thai border. Drawing and painting became his daily escape from the violence he witnessed growing up under the Khmer Rouge regime. Inspired by NGOs using art therapy in the camps, Sareth and a group of pals pledged to play their part in helping their country heal once they returned to their homeland. In 1994, Sareth co-founded Phare Ponleu Selpak, an NGO and art school in Battambang that is behind popular attraction Phare, the Cambodian Circus. Sareth's range of sculptures and installations are made using materials and processes associated with war, such as metals, uniforms and camouflage. In 2016, he scooped the top prize at Singapore's Prudential Eye Awards and secured a show at London's prestigious Saatchi Gallery the following year.

David "Davido" Myers

David Myers, known on the streets as Davido, is on his way to becoming one of the country's most prominent urban artists. Making his first proper public outing at the inaugural Cambodia Urban Art Festival in 2015, Davido's striking work is inspired by Picasso and the cubism art movement. It heavily features animals created using bold, colourful geometric shapes. Davido is mostly self-taught, learning his skills from YouTube. In 2016, some of his work was displayed in an exhibit in France.

Sophorn Chan

Sophorn Chan was born in Prey Veng province in 1984 with a passion for art. His desire to create saw him secure a master's degree in South Korea, majoring in art. With Khmer culture and arts almost wiped out by the Khmer Rouge, Sophorn has made it his mission to revive the ancient artforms that the country was once famous for. One of his many artistic skills is lacquer, which has formed part of the country's heritage since the Angkor period.

Cheanick Nov

Painter Nov Cheanick was born in 1989 at Site Two refugee camp in Thailand, and is one of Cambodia's foremost emerging artists. Influenced by meditation and the breathing cycle as a tool for greater awareness, Nov explores the undefined boundaries of perception through his work. During his education, he was drawn away from the realms of realism and towards abstract art, seeking less control and predictability, abandoning the brush completely in favour of painting with a traditional wooden broom. Over the years, his references and images have become increasingly abstract. Cheanick's latest solo exhibition, Cycle, at Rosewood Phnom Penh, surveys a decade of the artist's work, from early figurative drawing to recent abstract paintings.

As another of Phare Ponleu Selpak's founders, Vutha Tor is a well-respected contemporary artist in Cambodia. Having also spent his childhood at the Site Two camp, he attended drawing classes there as a form of art therapy. He went on to study visual arts, moving to Thailand to gain more experience before returning to Battambang after four years. There, he became a teacher, later spending a year in France to strengthen his artistic skills before co-founding Phare. Today, he continues to teach art at Phare, also creating his own expressive pieces, which are shown across the globe.

Kanitha Tith

This talented visual artist graduated in interior design from the Royal University of Fine Arts in 2008, and has since made a name for herself with a series of installations. In 2012, Kanitha took part in the Cambodian Youth Arts Festival, exploring the relations between tradition and the contemporary world. Her work incorporates sculptures and installations that explore the relationship between her personal experiences and the environment, with a slant on the country's rapidly changing landscape.

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11 Cambodian Contemporary Artists You Should Know

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Sothy Chhim Born in 1969 in Kandal province, Sothy Chhim is one of the country's leading artists. Having spent a decade studying at Phnom Penh's Royal University of Fine Arts - where he now teaches - he mastered traditional Khmer painting.

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It's been used to mop up oil spills, to mourn the dead, to fertilize gardens, to ward off demons, and even to make soy sauce. Yes, human hair has had many uses throughout the ages, so it comes as no surprise that artists have used this natural fiber as a medium too.

Here I have curated a list of 6 artists who use hair as inspiration for their art, from Victorian human hair sculptures, to 'hair hats' in the shape of animals.

One thing that makes human hair so interesting as an artist's medium is its dual ability to attract and repel. A luscious swathe of voluminous, shiny hair can arouse attraction, but take that hair out of context, and apply it to say, a staircase, it becomes repulsive and unsettling.

In her work Mountainaire Hotel Tennessee-based artist Jessica Wohl covered the stairs of an abandoned Arkansas hotel in synthetic hair. 'I liked thinking that the building had actually been alive the entire time it was abandoned as if it had been growing hair for the last 20 years. This device also creates a sense of mystery, fear and uncertainty, akin to what one might feel in a haunted house'.

Continuing to build on this idea, Wohl created a series of eerie domestic scenes where hair grows from furniture and collects in disembodied pools on the floor.

Not all artists are using hair to provoke unease and fear in the viewer. In 'Comfort Hair', Yuni Kim Lang uses the medium to explore her Korean, Chinese and American identity. She manipulates textiles to create sculptures that refer to 'gache' - traditional Korean hairpieces worn by women of high status. It was believed that the bigger and heavier they were the more aesthetically pleasing. In 1788 Gache were banned due to their contradiction of Confucian values of modesty and restraint. The sculptures take the form of endlessly plaited and woven wigs made from synthetic fibers.

The Victorians were known for their sentimentality. When Queen Victoria's beloved husband Prince Consort Albert died in 1861, the Queen entered into a state of formal mourning that lasted the rest of her life. This spurred a fashion for mourning whereby the 'cult of the dead' became almost a mania in popular culture. The hair of the dead was often saved for future use in jewellery or other commemorative craft. tresses were braided into filagree-like patterns, looped to resemble flower petals, even ground up for use in pigments.

Hair craft wasn't reserved only for the dead, it was often used as tokens of friendship or to frame family trees. There are also examples of 'hair trees', one, in particular, pictured below, was created with the hair donations of living members of a Methodist Church.

Schubert's mixed-media sculptures, inspired by Surrealism and the writings of Samuel Beckett, play with the idea of disappearance. His hair works depict women in coffin-like bathtubs or on sterile plinths, completely engulfed by their own hair. 'Hair is a fantastic material, which is revolting, erotic, beautiful and aesthetic at the same time.'

The idea behind Alice Anderson's hair installations comes from a childhood ritual she used to calm her anxiety. As a child, Anderson's mother was often out of the house, and Anderson, waiting for her to return, would pick loose threads from her clothes and wind them around parts of her body or furniture. As her anxiety grew, Anderson started to use her own long red hair in the same way.

As an artist, Anderson uses dolls hair as a semi-autobiographical material to create fantastical installations. She has draped buildings in these auburn tresses, sent cascading swathes of them tumbling out of windows and fireplaces, and suffocated galleries in their web-like mazes.

Nagi Noda (1973 - 2008) was a Japanese pop artist and director born in Tokyo. She created campaigns for Nike and Laforet and a short film for Panasonic and was also the creative mind behind Hair Hats, an amazing series of animal-shaped hair sculptures made of weaves, real hair and wire.

If you're interested in other artists using natural fibers in their art practice, take a look at this article about an artist who creates sculptures from collected feathers.

RECOMMENDED READ

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6 Fiber Artists Creating Sculptures With Human Hair - The Fiber Studio

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6 artists who use hair as inspiration for their art, from Victorian human hair sculptures, to 'hair hats' in the shape of animals.

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This spring twisted ropes of red hair will be wrapped around London's Freud Museum in an installation by artist Alice Anderson. Renowned for her use of this material as an autobiographical reference to a troubled childhood spent between Algeria and France, Alice's transformation of this landmark is a response to a ritualistic set of performances started in 2010. A new series of sculptures, fetish-like figures wrapped in red hair, will be on display inside the Museum. Playing on ideas of femininity and weaving, Alice's work seeks to confront and confound Freud's positioning of these concepts in psychoanalytic theory.
Dazed Digital: Your Childhood Rituals, soon to be staged at the Freud Museum is a continuation of performances you have been creating since 2010. Do you see this work as a climax to these performances?
Alice Anderson: The performances made in 2010 were re-playing the rituals that I used to do in my childhood - at least as I remember them... I was alone at home waiting for the return of my mother. Probably to calm my fears and my anxieties, I used to undo threads from the seams of my clothes, and wind them around parts of my body or other objects in the house. The Power Figures, which are going to be part of what I am showing at the Freud, are the result of the childhood rituals. DD: You take the loom of Anna Freud as your starting point for the exhibition. What is the relevance of this?
Alice Anderson: We've found out that Freud stated once that the activity of weaving is a cover for 'genital deficiency'! I wanted to embrace this so-called "feminine" activity of weaving... and subvert the Freudian associations of "genital deficiency" by creating a grid made of dolls' hair.
There is an interesting conjunction of the masculine associations of the grid, with its claims to disembodied abstraction, with the corporeal, feminine associations of the dolls hair. In the same way that the hair subverts this patriarchal 'seat' of psychoanalysis as it is inserted into the context of the museum, so too does it problematise the formalist ideal of self-referentiality.

The mise en scene shows a Mother Doll working at the loom making a grid for her Daughter. Dolls hair is arranged geometrically like the rationality of the grid in a manner which is entirely new in my practice.
DD: What does red hair represent to you? Something autobiographical or totemic?
Alice Anderson: Red dolls hair refers to my childhood memories. More precisely they represent the moment when I started to use hair instead of thread in my childhood rituals. Today, the dolls hair that I am using, has been modeled on my own hair. Even though the hair is not literally my own, it still makes an intimate reference to my body. It is a kind of autobiographical "material".
Hair represents a significant cultural role and it functions as an important signifier of gender and sexuality. When I produce an "architecture" in a space made of dolls hair, I am orchestrating an intimate gesture, which I present on a large scale.

DD: Your works are intensely personal, do they feel like extensions of yourself?
Alice Anderson: Yes that is why each piece functions as a world in itself. The works are based on my own existence (my own childhood memories) but endows my enquiry with universal significance. I'm getting to the point where I see how an autobiography can be fictional. Memory functions as the 'master of fiction' the act of remembering generates an imaginative and fictive account of the past. The conception of recollection does not operate along a linear or objective trajectory.
Alice Anderson's Childhood Rituals is at the Freud Museum, London NW3 from 15 April - 5 June

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This spring twisted ropes of red hair will be wrapped around London's Freud Museum in an installation by artist Alice Anderson. Renowned for her use of this material as an autobiographical reference to a troubled childhood spent between Algeria and France, Alice's transformation of this landmark is a response to a ritualistic set of performances started in 2010.

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I Lobo You | Boca do Lobo's inspirational world Exclusive Design

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Yvonne Roeb is an artist born in 1976 in Frankfurt that lives and works in Berlin. She graduated from Kunstakademie Münster. She already had many solo exhibitions with her fantastic creations.

The artist uses the phrase - '(be) always on the watch'- as an ironic reference - the impossibility of actually realising this command is obvious, and in a larger context can be transferred to our inadequacy, which is immanent to humans, our repeated attempts and failures which culminate in our own transience.

See more amazing sculptures HERE!

In her sculptures we see something that is typical for Yvonne Roeb's work as a sculptor and drawing artist: motifs that seem familiar at first, but on closer examination oscillate between reality and surreality, and can never be fully grasped through pure observation.

A lot of space for reflection remains between the sculptures and between the lines. The subsequent images in the beholder's head, spinning on the narrative thread - that is Yvonne Roeb's intention.
The organic motifs, often from flora and fauna, serve Yvonne Roeb as a basis for the creation of a world of her own.

The artist aims to put his admired thinking when analysing her sculptures and get to no conclusions. But that's a bit of art actually means.

See more contemporary sculptures HERE!

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Yvonne Roeb contemporary sculptures | I Lobo You | Boca do Lobo's inspirational world Exclusive Design

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Yvonne Roeb is an artist born in 1976 in Frankfurt that lives and works in Berlin. She graduated from Kunstakademie Münster. She already had many solo exhibitions with her fantastic creations.

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Chinese artist , now living and working in Kansas, has found a balance between her Chinese and American artistic educations and cultures. Her painting and drawing foundation from China was very rigorous, but her content choices are now less restricted due to her US exposure.

Much of her work revolves around hair, something she identifies with, and characterizes her to some degree through her own long hair, in addition to being something Zhang finds both beautiful and at times repulsive. She has charcoal drawings on larger-than-life scrolls to emphasize the length, and very realistic oil paintings on the subject matter as well. She also combines hair with everyday objects to make humorous and surreal pieces.

From the artist:
Twin Spirits are large charcoal hair drawings, self-portraits of my twin sister and me. I use long hair to exaggerate our major characteristic and as a metaphor to reveal something that is beyond the hair. These drawings are presented as scroll paintings in order to accentuate the length of the piece and the flow of long hair. The larger than life-size scale creates a three-dimensional effect that extends the meaning beyond the surface. My most recent drawings and paintings on hair, however, is a new approach from personal to more universal. This time, long hair is meant to examine a woman's complete life cycle.

Here is an interview with Hong Chun Zhang:

This entry was posted in Art, Just Plain Cool, Stuff We Like. Bookmark the permalink.

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Click to enlarge Chinese artist Hong Chun Zhang, now living and working in Kansas, has found a balance between her Chinese and American artistic educations and cultures. Her painting and drawing foundation from China was very rigorous, but her content choices are now less restricted due to her US exposure.

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Carolyn Christov-Bakargiev (born December 2, 1957, in Ridgewood, New Jersey, US) is an Italian-American writer, art historian and curator. She is the recipient of the 2019 Audrey Irmas Award for Curatorial Excellence . Currently, she is the Director of Castello di Rivoli Museo d'Arte Contemporanea and Fondazione Francesco Federico Cerruti in Turin. Additionally, she is Edith Kreeger Wolf Distinguished Visiting Professor in Art Theory and Practice at Northwestern University.

Named 2012's most powerful person in the art world by ArtReview's Power 100 listings , Christov-Bakargiev was Artistic Director of dOCUMENTA (13) which opened in Kassel on June 9, 2012, holding workshops, seminars and exhibitions in Alexandria, Egypt; Kabul, Afghanistan; and Banff, Canada. Her stewardship of dOCUMENTA(13), considered to be one of the most intellectual and significant exhibitions in the art world, renewed one of the exhibition's primal intentions to enlist culture as an agent of reconstruction, healing and dialogue.

Her mother was from Piedmont, Italy and her parents studied in Turin together in the mid-1950s. Her father had fled from Bulgaria after World War II and was a medical student in Turin; her mother studied Philosophy in Turin and later got a PhD in archeology. Her parents migrated to the United States in the late 1950s, where she was born.

She grew up partly in Washington DC. A dual American-Italian citizen, she returned to Europe after completing her Baccalaureate at a French lycée in Washington, and studied literature, philology, language, and art history at the University of Pisa, Italy. In 1981, she graduated summa cum laude presenting a thesis on the relationship between American painting and poetry of the 1950s-specifically on Frank O'Hara and his relations with the art of Abstract Expressionism.

After graduation, she moved to Rome and began to write as an art critic for daily newspapers, including Reporter and Il Sole 24 Ore. Her reporting centered on early 20th century avant-garde and contemporary art. She has written extensively on the Arte Povera movement, such as in her book Arte Povera (Themes and Movements), Phaidon Press, London. She wrote the first monographs on the work of South African artist William Kentridge in 1996/97 (Brussels, Palais des Beaux Arts) and on Canadian artist Janet Cardiff in 2001 (New York, PS1 Contemporary Art Center). She has written books on Adrián Villar Rojas (2019), Hito Steyerl (2019)¸ Nalini Malani (2018), Anna Boghiguian (2017), Giovanni Anselmo (2016), Ed Atkins (2016), Wael Shawky (2016), Franz Kline (2004), Alberto Burri (1996), Fabio Mauri (1994). Her books also include dOCUMENTA(13) the 100 Notes-100 Thoughts series as well as The Book of Books (2011-12).

After working as an independent exhibition curator for many years, and curating summer exhibitions at Villa Medici in Rome, Italy, from 1998 to 2000; she was the Senior Curator at P.S.1 Contemporary Art Center in New York, an affiliate of the Museum of Modern Art. Serving in this position from 1999 to 2001, she initiated the first edition of Greater New York, which was organized with other curators of MoMA PS1. At PS1, she then organized the groundbreaking survey of Janet Cardiff's work. Following this tenure, she was Chief Curator at the Castello di Rivoli Museum in Turin, Italy, from 2001 to 2008 and Interim Director of the museum in 2009. She has since worked, worldwide, as a curator. Amongst other exhibitions, she was the Artistic Director of the 16th Biennale of Sydney in 2008, entitled Revolutions-Forms that Turn. On December 3, 2008, she was appointed Artistic Director of the thirteenth edition of documenta, dOCUMENTA (13), which took place from 9 June to 16 September 2012, in Kassel, Germany. In 2015, she curated the 14th Istanbul Biennial entitled " SaltWater: a Theory of Thought Forms", which took place in numerous locations spread to the metropolitan area of Istanbul, from 5 September 2015 to 1 November 2015.. From 2016 to 2017, she also has served as Director of GAM Galleria Civica d'Arte Moderna e Contemporanea and Castello di Rivoli Museo d'Arte Contemporanea.

She has lectured widely at art and educational institutions and Universities for the Arts and Philosophy, including the Jawaharlal Nehru University, New Delhi; Getty Research Institute, Los Angeles; Cornell University, Ithaca; Monash University, Melbourne; Di Tella University, Buenos Aires; Harvard University, Boston; and MIT, Boston. In 2018, she was Lead Professor of the program Shanghai Curators Lab at Shanghai Academy of Fine Art, Shanghai. In 2014, she received the Leverhulme Professorship from the University of Leeds. In 2013, she was also the Menschel Visiting Professor in Art at The Cooper Union, New York as well as the Pernod Ricard Visiting Professor in the philosophy of art and naturecultures at the Goethe-Universität Frankfurt am Main / Institut für Philosophie. In 2015 she was Getty Visiting Scholar.

Willie Doherty. In the dark, projected works (Im Dunkeln, projizierte Arbeiten), Kunsthalle Bern, 1996, ISBN 3-85780-108-5

William Kentridge, Palais des Beaux-Arts, Brüssel, 1998, ISBN 90-74816-09-6

Arte Povera (Themes and Movements), Phaidon Press, London, 1998, ISBN 978-0714834139

Janet Cardiff, a survey of works (including collaborations with George Bures Miller), P.S. 1 Contemporary Art Center, Long Island City, 2001, ISBN 0-9704428-3-1

The Moderns, Skira, Milan, 2003, ISBN 978-88-8491-544-3

Pierre Huyghe, Skira, Milan, 2004, ISBN 978-88-8491-573-3

with David Anfam: Franz Kline (1910-1962), Skira, Milan, 2004, ISBN 978-88-8491-866-6

Faces in the Crowd. Picturing Modern Life from Manet to Today, Castello di Rivoli Museo d'Arte Contemporanea, Skira, Milan, Whitechapel Gallery, Castello di Rivoli Museo d'Arte Contemporanea, 2004,

Franz Kline, Castello di Rivoli Museo d'Arte Contemporanea, Skira, Milan, Castello di Rivoli Museo d'Arte Contemporanea, 2004

Revolutions - Forms That Turn, Biennale of Sydney, Thames and Hudson, 2008 ISBN 978-0500976845

Thomas Ruff, Castello di Rivoli Museo d'Arte Contemporanea, Skira, Milan, Castello di Rivoli Museo d'Arte Contemporanea, 2009 ISBN 9788857201863

Documenta 13: Catalog I/3, II/3, III/3, The Book of Books, Kassel, Hatje Cantz, 2012, ISBN 978-3775729512

Arte Povera: Radical Uses Of Materials, Processes, And Situations, in Stedelijk Collection Reflections: Reflections on the Collection of the Stedelijk Museum Amsterdam, Stedelijk Museum, nai010 Publishers, 2013

14th Istanbul Biennial Saltwater Catalogue, Istanbul, IKSV Yayinlari, 2015, ISBN 978-6055275259

Hito Steyerl The city of Broken Windows, Castello di Rivoli Museo d'Arte Contemporanea, Skira, Milan, Castello di Rivoli Museo d'Arte Contemporanea, 2019, ISBN 9788857240299

Foreword, in Carolee Thea, On Curating II, D.A.P. Publications, New York, 2019 ISBN 9781938922909

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Carolyn Christov-Bakargiev (born December 2, 1957, in Ridgewood, New Jersey, US) is an Italian-American writer, art historian and curator. She is the recipient of the 2019 Audrey Irmas Award for Curatorial Excellence . Currently, she is the Director of Castello di Rivoli Museo d'Arte Contemporanea and Fondazione Francesco Federico Cerruti in Turin.

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William Kentridge: Pain & Sympathy | Art21 "Extended Play"

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- My perception of dunedin is subjective
- at night the eye cant see as clear
-whatever I paint, I painted it from my memory --> shows what is essential to me
- visual paintstrokes create abstract painting --> free from strict norms of reality
- Dunedin nights combines constant repeating time periods, as nights follow after each other but it is never the same night/ moment --> brush strokes represent this combination of moments because every brushstroke is unique and essential to the painting
- by painting a repeating combination of moments of a landscape that cant be seen at night. ONLY the essence is painted

Expresse

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'The Starry Night' - Van Gogh

Starry Night was painted from memory, and not out in the landscape. The emphasis on interior, emotional life is clear in his swirling, tumultuous depiction of the sky

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Startpage.com - The world's most private search engine

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Set Startpage.com as your default search engine to search straight from your browser. Do you want us to save your settings to 'always hide' this message? Our Story As kids, we're all taught not to touch stuff that doesn't belong to us. It's a good guideline.

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Starting with one line (life) of charcoal and then smoothly blending the lifeline together. 1 Creating a chaos. 2 Developing a clear sight out of it. 3 Using the created background to create something new.

Charcoal allows strong contrasts to show the strong influence the development can have on a character + strength of a character developing out of the chaos.

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The three thick golden lines represent the personality of a person. The lower part of these lines forms the base. The number three symbolizes integrity, completeness. This means that the basis of a personality is complete in itself and does not need any addition.
The deep dark blue on the upper part of the painting represents the difficulties in life. These lead to the fact that the majority of the personality decomposes as soon as it is confronted with difficulties.
The basis remains. But the strength of the personality decreases drastically. Except, as the third line shows, the personality manages to leave the dark blue behind and develops in a free direction. The two thin dark blue lines show that the difficulties are part of our personality. It is connected to it by genetics or imprinting.
Each person has his/her own dark blue parts which he/ she has to learn to deal with individually. To let oneself be decomposed by these difficulties is not beneficial. An evasive maneuver maintains and develops strength of personality, but requires flexibility.

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Individual Development of a character which is our identity.
Maori Model of Mental Well-being brings together spiritual, biological, social, psychological aspects.

A character can have strongly developed sides/ strengths/ weaknesses and through effort, those can influence each other which will lead to a new development for the individual character.
I used oil to compare the colors to an individual character. Oil colors are strong as the developed sides/ strengths/ weaknesses of a character. Extra external influence and effort, e.g. a brush, is necessary if oil colors should blend together but then they create new colors.

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A3

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A3

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A4

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A5

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A5

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Identity is strongly connected to evolutionary based behavior that developt over millions of years.
With watercolor I will explore different colors and use the connection to water. Colors in nature lead to different emotional reactions. E.g. flowers indicated water and fertile soil. Also, animals indicated food and secured survival.

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Hair: Every single hair represents an individual unit as a metaphor for a single unique human. Different groups of hair, e.g. hair of the head or leg, represent different human cultures or societies. One strand of hair consists of many single hairs and every hair is equally part of this strand of hair, the same as society consists out of single humans who share the same rights. They share the same body and nutritive substances and are all hair as all humans share the same planet, have the same needs and are all equal human beings. Together they represent a unity of hair. However, different groups of hair receive a different amount of attention and are more liked than other groups of hair. Compared to a human, some cultures/ societies have more privileges than others and due to prejudice different societies/ cultures are seen and valued differently, e.g. the global north has power privileges above the global north.

In this art collection, I am using my own body hair to symbolize different groups of hair that share the same body. It is part of my semester artistic practice about identity. Hair shapes my appearance and to a certain amount how I perceive myself. So, it influences my identity partially.

All hair pieces are A4

Hair as representation:
- Every human has hair, so it is a shared attribute
- hair grows continuosly, humans develop mental and physical their whole life
- different hairs on the body: different strength, colour, etc --> different talents, emotions, attributes a human has
- every type of hair and every hair has a purpose
- hair can be changed, styled, seen as a mask, removed but hair stays hair --> human character can change temporarily
- permanent hair removal: possible but demages the skin, can lead to scars, can hurt, takes long time --> humans can change physically & characterwise but it takes a long time, comes in stages and it is never certain whether it stays at the same levelor continues to change.
- Identity: hair influences appearence, can be a symbol for belonging (e.g. afro hair, dreads, braids) --> show cultures, similarities and boundaries between humans
- hair can be a statement

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second

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meter

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Physical units as a common language used my many cultures. Physic defines the life of ALL humans

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Physical units as a common language used my many cultures. Physic defines the life of ALL humans

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kilogramm

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Unity in the shape of human arms and heads

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Unity in the shape of human arms and heads

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Symbol: Universal Declaration of Human Rights

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Symbol: Universal Declaration of Human Rights

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A3

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Startpage.com - The world's most private search engine

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Set Startpage.com as your default search engine to search straight from your browser. Do you want us to save your settings to 'always hide' this message? Our Story As kids, we're all taught not to touch stuff that doesn't belong to us. It's a good guideline.

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Pencil drawing

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Charcoal

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DER ENTSCHLUSS ZU MALEN - VINCENT VAN GOGH

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The single black line that features in all of Mo Ganji’s tattoos is his representation of life: it has a beginning and an end, and it moves. In The World Piece, Mo created 61 unique tattoos that each represents the personal life story of 61 people from around the globe. When pieced together, they form a bigger picture of humanity and the connections that unite us across borders.

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Shoulder to shoulder, they create a visual manifestation of the connections that unite us across borders and cultures — revealing that if we dare to connect, the world can’t fall apart.

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Appearence shape stereotypes

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MATAPHOR: each hair is woven, together create dynamic sculpture: power of mass, volume,
--> compare society:
A person is part of a group/ society, together can built a unique structure which ban be/ do something that 1 person alone could not do

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death
life
birth
gender
mental health/ psychology
body
culture
identity
family
roles
expression
character

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Digital

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Cindy Sherman

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Cindy Sherman at the National Portrait Gallery

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How artists explore identity | Modern Art & Ideas

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Cultures and Identity DIGITAL What defines us & some thoughts

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Cultures and Identity DIGITAL What defines us & some thoughts

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On the basis we are all the same:
I lived in different countries and cultures. My observations: humans are humans we have the same needs, urges, desires, emotions. What defines us: Culture is (in my understanding) the way we do something.