Five Cambodian artists are featured in the current group exhibition at Bristol Community College and, like many exhibits about Cambodia, it’s centered around the country’s 1975 takeover by an anti-intellectual genocide, which killed between a quarter and a third of the country’s population. The show offers a generational range. Ceramicist Yary Livan is one of only three known sculptors to have survived the Pol Pot era, which specifically targeted artists and writers, and some recent examples of his traditional work are on display. Younger artist Sovannara Sok focus more on American greed and imperialism, using spraypaint and often garish color combos. The generational divide is also evident in Pete Pin’s large format photographs, the titles of which (View from Mother’s Childhood Labor Camp; Cave Where My Grandfather was executed) clash with the serene subject matter, all shot in Cambodia within the last two years.
pictured: Pete Pin, View from Mother’s Childhood Labor Camp