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@ L U X Collection Programme Writing News About us Q LUX Shop
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The following conversations, facilitated by
Sa-Sa art projects, turn around the topic of
creatively thinking about the notion of com-
munity and how as individuals, we all can
produce ideas that can offer free spaces for
expression, encounters, and association.
This is the first edition of a series of work-
shops aiming to approach practitioners from
diverse disciplines to the language of Com-
munity Art. The conversations turn around
the idea of using tools from different disci-
plines and conceptions of community and art
to conceive ideas that can be more effective
and impressive for given communities.
Polis is the Greek name for the ideal city, and
the Utopian place where every citizen finds
his/her center, stability, and security, where
it is possible to live a happy and fulfilling life.
The ideas produced during the workshop
want to address our society towards that
ideal, helping others to find an example of
that ideal polis, and propose an uncompro-
mised encounter with art.
Francisco Camacho Herrera
Amsterdam, 2022
Dom-Ino House, 1914-1915
Le Corbusier,
oca office community art
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journal #o01 polis
-
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ARBRIGjECHS
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The Simultaneous
By Mao Sovanchandy
Cambodia is one of the fast-growing countries
in its economic, construction and tourism.
Phnom Penh, the capital of the city is signifi-
cantly expanding, and it is no different from
many countires in using landfill to satify the
high demands and needs of the development.
Beoung Tamok is one of the largest lake in
Phnom Penh that is actively filled by the sand.
The lake is not only a home to nature and ani-
mal species but also a home to hundreds of fa-
milities around the region who are known to be
farmers and fishers. What will happen to them
when the development take over their home?
In this series of artwork, we emotionally im-
mersed ourselves at the heart of nature surre-
ounded by this beautiful landscape of the lake
contemplating the connection between human
and nature. We hope to raise up the thought
of varieties of methods to develop by adapting
the innovation and sustainability into practice.
This series has been taken before the pandem-
ic of Covid-outbreak so the ideas for this Of-
fice of Community Art workshop is to connect
and get back to the community. Hopefully, this
could build up my courage to continue this
beautiful and heart touching work.
Artist bio:
Mao Sovanchandy,
born in Battambang,
Cambodia in 1999 and
was raised in a restrictive
family. Being the eldest
and sole daughter is a great
challenge for her. She ex-
plores and fights in every
way to do what she loves and
look for her freedom. She
has an enthusiasm for pho-
tography. She often likes to
experiments with new kinds
of conceptual photos, art
crafts that would evoke fur-
ther discussion and story
telling.
contact:
sovanchandy.mao3@gmail .com
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|
office community art
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Courtesy Ana Sophie Salazar.
Logo of Patafest, 2016.
Becoming a curator of contemporary art
was the way | found to contribute to current
social and artistic debates and think through
specific geopolitical contexts, while consid-
ering individual places of speech. Curating
serves the purpose of facilitating access
to art, to content, to form, to thought, to
culture. For me, art is a place of repair and
of imagination, without which there are no
futures. Through their work, artists can en-
courage reflection, fuel our imagination, and
expand our minds and horizons.
Following this idea of expanding imagi-
nation, | created Patafest for my Master
thesis project in 2016. It was an experimen-
tal variety show dedicated to the imaginary,
the absurd, and the political, celebrating
100 years of Cabaret Voltaire and evoking
Dada’s spirit to think about how to foster
collective action today. Including music,
performance, installation, poetry,
and video, the event at a caba-
ret space in West Village, New
York, had as its point of de-
parture the Bremen Town Mu-
sicians. In this German folktale
transcribed by the Brothers
Grimm in the 19th century, the
dog climbs on the donkey, the
cat on the dog, and the rooster on
top of them all to storm through a
window and scare robbers away. It
functions perfectly—they
install themselves in the
house and live happily
ever after. These old,
rejected animals were
able to establish a
new home for them-
selves. This absurd, eccentric, spectacular,
and intriguing figure of their joined bodies
stayed in my imaginary since childhood. It
is performative act that comes from a col-
lectivity, with no individual author, and that
successfully beats the oppressors.
All works in Patafest were new commissions.
For instance, the contribution by Chinese
artist Bo Wang was a mango cocktail in-
spired by a historic event in which Chinese
workers worshipped a mango during the
Cultural Revolution. In 1968, the Pakistani
government offered Mao a box of 40 man-
goes. Mao decided to send the mangoes to
a group of workers as political propaganda.
The most important factories of the capital
city received a mango each and the mango
became a symbol of Mao’s dedication to the
workers. The mangoes were first covered
in wax and preserved in altars. When they
inevitably began to rot, each mango was
boiled in water and each worker would take
a spoon of the big mango soup. The specta-
tors shared a mango drink and could take a
flyer explaining the story.
During the event, the audience had paper
to write things down, they sang, answered
questions, and were invited to blow into
whistles. They formed a choir. One of the
goals was to think about a choir of voices
as a micro-cosmos, Where people are open
to be influenced by others more directly
and consciously. How can we group our-
selves peacefully, positively, harmoniously?
The story of the Bremen Town Musicians is
the story of four animals that do reach that
complete harmony. They are able to do so
because their situation is desperate: if they
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