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About The Artist

Lim Sokchanlina works across documentary and conceptual practices with photography, video, installation and performance. Using different strategies, he calls attention to a variety of social, political, geopolitical, cultural, economic and environmental changes in Cambodia in relation to the globe.

Lim is a founding and active member of the artist collective Stiev Selapak / Art Rebels (2007–), who co-founded the exhibitions spaces Sa Sa Art Gallery (2009 – 2010) and SA SA BASSAC (2011–), as well as Sa Sa Art Projects, a community-based, knowledge-sharing platform and experimental residency program (2010-).

Lim’s recent exhibitions include Phnom Penh 243(2010-), Asian Art Biennale, Taiwan 2021, Cambodian Migrant worker in Asia (A Conversation), Singapore Biennale (2019), Wrapped Future II, NCA Nichodo Contemporary Gallery Tokyo (2019), National Road Number 5, Bangkok Art Biennale, Thailand 2018; Sydney Biennale (2108), This Life of Thing, Esplanade, Singapore (2018), Sunshower, Mori Art Musuem, Tokyo (2017), Singapore Art Stage (2016), Darwin Festival, Australia (2014), Phnom Penh Rescue Archaeology, CCA, Singapore (2014), Urban Street Night Club, Art Stage Singapore, SE Asia Platform (2014), Wrapped Future (Triangle Park), Brooklyn (2013), and SA SA BASSAC (2012), Phnom Penh: Rescue Archaeology, ifa, Berlin and Stuttgart (2013), and Riverscapes INFLUX, various spaces: Hanoi, Saigon, Bangkok, Phnom Penh, Jakarta, Manila (2012).

WRAPPED FUTURE II | In progress works (2017- )
Sea, Sihanuokville (2008)

By Lim Sokchanlina
Photography | Edition 5/5 + 2AP | 156 x 104cm

Barrier, wall, fence, border, obstacle, panel are all hide landscapes that human create under their constructing the world they live in. Cambodian construct Cambodia.

This series of working is the imagination of the combination of human made landscape and natural landscape that has been hidden, that we always know, but are not sure what it looks like. Two forms of beauty confront each other, that of a flexible nature, that of hardness with strict forms invented by man. These large metal plates could be the metaphor, in a world that is experiencing the greatest migrations in its history – for economic reasons, political, climate change – of obstacles to prevent the passage. But nothing is said, nothing is asserted, except this form that is a manner of staging the landscape and that we are forced to look right in front.

Written by Christian Caujolle

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