This essay is a study of performance and performativity in visual art in contemporary Cambodia. The author argues that, while stage performances often draw on existing traditions of performance, and rapidly codify new conventions, performance in visual art is largely uninterested in existing traditions of performance, and instead relies on systems of codification from visual art, especially photography. In close readings of performance works by Khvay Samnang, Lim Sokchanlina, Amy Lee Sanford, and Anida Yoeu Ali, the author argues that documentation is central to the performance practices of visual artists, and that live and mediatized performances are mutually dependent and inter-animating.
This essay can be downloaded from the website of Udaya, Journal of Khmer Studies.
Onsite
English
2014
Udaya, Journal of Khmer Studies, 2014, Issue 12, pp. 95–144
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