Yean Reaksmey’s afro enters the room long before the man himself. This is hardly surprising: the 21-year-old self-styled arts advocate is somewhat diminutive; the hair, conversely, is huge. But both ‘fro and physicality play second fiddle to Yean’s most striking aspect – his unquenchable thirst for revolution.
“Different things made me a revolutionary,” he confesses. “Ever since I was young, I fought with my parents because I wanted to be independent. My father was strict, he worked in the military… so I rebelled a little maybe.”
This rebellion led Yean, at the tender age of ten, to leave the family home and strike out alone. “We were not poor, I didn’t face any big economic difficulties or anything like that. But I wanted to be independent. So I told my parents I would grow my hair, and I started supporting myself.”
Working first on a farm and then in various restaurants, he eventually found his way to Phare Ponleu Selpak, Battambang’s renowned arts NGO. Training in performing arts and traditional music, in which he still dabbles, Yean flourished at Phare: “Everyone here, every single person, inspired me to think innovatively.”
Inspired he may have been, but the revolutionary wasn’t ready to roll over and play nice quite so quickly. He suspected there was a lack of independent spirit among his fellow students, and perhaps even in himself. “We knew how to draw, but sometimes we didn’t have our own ideas, we followed other people. I realised I was facing exactly the same psychological problem as the other students. So I decided to do something different.”
That ‘something different’ was Trotchaek Pneik, a collective of 12 fiery Phare alumni and students bent on taking the arts scene by the balls. The group’s performers, musicians and visual artists have exhibited in group and solo shows around the Kingdom, collaboratively honing their creative techniques while quietly plotting their art revolution. “Maybe right now Trotchaek Pneik doesn’t have a lot of money, but money will come,” muses Yean. “But right now we just need to build our army so we’re ready for the future. We believe in the power of art for change-making in this country.”
Yean brings his special brand of art revolution to Phnom Penh through his position as gallery manager of the small and informal space at Equinox Bar. This relaxed venue suits Yean’s manifesto perfectly, providing a forum for artists from both Trotchaek Pneik and beyond who, while talented, have yet to establish themselves firmly on the Phnom Penh arts circuit. Eschewing the white cube exhibition aesthetic, Yean is determined to make Equinox a democratic arts space for young Cambodian creatives while remaining true to his collective’s socially conscious principles.
The exhibition currently on show, Filling the Negative Space, walks this fine line between artistry and social awareness. Featuring works by Chantha Kong and Tim Robertson, the mixed media pieces foreground the impassive faces of figures such as Chut Vuthy and Chea Vichea, reminding the observer of the often grim reality of heroism in today’s Cambodia.
Perhaps unsurprisingly, Yean’s energy extends far beyond filling negative spaces on the walls of Equinox. Last month he participated in a Slovenian workshop on sustainable development, and is now preparing to speak at Singapore’s Community and Cultural Development Symposium in September. And his chosen topic of discussion? Yes, you guessed it: Arts and Revolutionists.
“Every day I tell Trotchaek Pneik one thing: ‘Never doubt that a small group of thoughtful and committed citizens can change the world.’ But maybe I just say this because I’m a revolutionary guy! My nickname is George, like George Washington, the revolutionary.” He cackles. “Just kidding!”
He’s not kidding though; this revolutionary is for real.
WHO: Yean Reaksmey and Trotchaek Pneik
WHAT: Arts revolutionaries for social advancement
WHERE: Community Cultural Development Symposium, Singapore
WHEN: September 17 and 18
WHY: The times they are a-changing