Worlds Unknown Festival 2022




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αž‡αŸ†αž“αžΆαž“αŸ‹αž“αŸƒαž—αžΆαž–αž…αŸ’αž“αŸƒαž”αŸ’αžšαžŒαž·αžαŸ– αžœαž·αžŸαžΆαž›αž—αžΆαž–αž“αŸƒαž–αž·αž—αž–αž’αžšαžΌαž”αžΈ

αž˜αž αŸ„αžŸαŸ’αžšαž–αžŸαž·αž›αŸ’αž”αŸˆ
αž‡αž½αž”αž‡αžΆαž˜αž½αž™αžŸαž·αž›αŸ’αž”αž€αžšαŸ– αž‚αž„αŸ‹ αžŸαŸŠαžΈαžŠαŸ‚αž“- αž˜αŸ‰αž·αž… αž‡αžΌαž‘αžΆαž™ – រី αžšαž½αž“ – αžŸαž»αž„ αžŸαŸ€αž€αž‘αŸαž„ – αž“αž·αž„αžœαž„αŸ’αžŸ αž…αžΆαž“αŸ‹αžŠαžΆαžšαŸ‰αžΈ
αž…αžΆαž”αŸ‹αž–αžΈαžαŸ’αž„αŸƒαŸ αŸ€ – ៑៣ αžαŸ‚αž€αž»αž˜αŸ’αž—αŸˆ αž†αŸ’αž“αžΆαŸ†αŸ’αŸ αŸ’αŸ’ | Friends Futures Factory (F3)

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αž˜αž αŸ„αžŸαŸ’αžšαž–αžœαž·αžŸαžΆαž›αž—αžΆαž–αž“αŸƒαž–αž·αž—αž–αž’αžšαžΌαž”αžΈ αž€αžΎαžαž…αŸαž‰αž–αžΈαž€αž·αž…αŸ’αž…αž–αž·αž—αžΆαž€αŸ’αžŸαžΆαž€αŸ’αž“αž»αž„αž…αŸ†αžŽαŸ„αž˜αžŸαž·αž›αŸ’αž”αž€αžšαž…αŸ†αž“αž½αž“αž”αŸ’αžšαžΆαŸ†αžšαžΌαž”αž“αŸƒαž€αž˜αŸ’αž˜αžœαž·αž’αžΈαž‡αŸ†αž“αžΆαž“αŸ‹αž“αŸƒαž—αžΆαž–αž…αŸ’αž“αŸƒαž”αŸ’αžšαžŒαž·αž αžšαžŠαžΌαžœαž€αžΆαž›αž‘αžΈαŸ£ αž”αž“αŸ’αž‘αžΆαž”αŸ‹αž–αžΈαž–αž“αŸ’αž™αžΆαžšαž’αžŸαŸ‹αžšαž™αŸˆαž–αŸαž›αž˜αž½αž™αž†αŸ’αž“αžΆαŸ† αžŠαŸ„αž™αžŸαžΆαžšαžαŸ‚αžœαž·αž’αžΆαž“αž€αžΆαžšαžŽαŸαž‘αž”αŸ‹αžŸαŸ’αž€αžΆαžαŸ‹αž‡αŸ†αž„αžΊαž€αžΌαžœαžΈαžŠ-αŸ‘αŸ©αŸ” αž™αžΎαž„αž…αž„αŸ‹αž”αž„αŸ’αž€αžΎαžαž€αž˜αŸ’αž˜αžœαž·αž’αžΈαž˜αž½αž™αžŠαŸ‚αž›αž’αžΆαž…αž–αž‰αŸ’αž‰αžΆαž€αŸ‹αžŸαŸ’αž˜αžΆαžšαžαžΈαž“αŸƒαž€αžΆαžšαž…αž„αŸ‹αžˆαŸ’αžœαŸαž„αž™αž›αŸ‹ αž αžΎαž™αž‡αŸ†αžšαž»αž‰αž”αž“αŸ’αžαŸ‚αž˜αž›αžΎαž€αžΆαžšαž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αž…αž€αŸ’αžαž»αžœαž·αž‰αŸ’αž‰αžΆαžŽ αžŸαŸ„αžαžœαž·αž‰αŸ’αž‰αžΆαžŽ αž“αž·αž„αž€αžΆαž™αžœαž·αž‰αŸ’αž‰αžΆαžŽαŸ”

αž˜αž»αž“αž–αŸαž›αžŠαŸ‚αž›αžœαŸ‰αžΆαž€αŸ‹αžŸαžΆαŸ†αž„αžαŸ’αžšαžΌαžœαž”αžΆαž“αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αž‘αžΌαž›αŸ†αž‘αžΌαž›αžΆαž™ αžœαž·αž’αžΆαž“αž€αžΆαžšαžŽαŸαžŸαž˜αŸ’αžšαžΆαž”αŸ‹αž‡αŸ†αž„αžΊαžšαžΆαžαžαŸ’αž”αžΆαžαž“αŸαŸ‡αž”αžΆαž“αžšαžΉαžαžαŸ’αž”αž·αžαž›αžΎαž€αžΆαžšαžšαŸ€αž”αž…αŸ†αž€αž˜αŸ’αž˜αžœαž·αž’αžΈ αž“αž·αž„αž€αžΆαžšαž‡αž½αž”αž‡αž»αŸ†αž•αŸ’αžŸαŸαž„αŸ— αž αžΎαž™αžαž˜αŸ’αžšαžΌαžœαž±αŸ’αž™αž˜αž“αž»αžŸαŸ’αžŸαž“αŸ…αžŠαžΆαž…αŸ‹αžŠαŸ„αž™αž‘αŸ‚αž€αž–αžΈαžŸαž αž‚αž˜αž“αŸ αž“αž·αž„αž€αŸ’αžšαž»αž˜αž‚αŸ’αžšαž½αžŸαžΆαžšαžšαž”αžŸαŸ‹αž–αž½αž€αž‚αŸαŸ” αž–αž·αž’αžΈαžŸαŸ†αžαžΆαž“αŸ‹αŸ—αžαžΆαž˜αž”αŸ‚αž”αž”αŸ’αžšαž–αŸƒαžŽαžΈαž˜αž½αž™αž…αŸ†αž“αž½αž“αžŠαŸ‚αž›αž”αž‰αŸ’αž‡αžΆαž€αŸ‹αž’αžαŸ’αžαž“αŸαž™ αž“αž·αž„αž–αž„αŸ’αžšαžΉαž„αž‘αŸ†αž“αžΆαž€αŸ‹αž‘αŸ†αž“αž„αžšαž”αžŸαŸ‹αž™αžΎαž„αž˜αž·αž“αžαŸ’αžšαžΌαžœ αž”αžΆαž“αž‚αŸαžαŸ’αžœαžΆαž™αžαŸ’αžœαž›αŸ‹αŸ” αž”αž‰αŸ’αž αžΆαž”αŸ’αžšαžˆαž˜αž‡αžΆαž…αŸ’αžšαžΎαž“αž€αžΆαž›αž–αžΈαž†αŸ’αž“αžΆαŸ†αž˜αž»αž“αž”αžΆαž“αž€αŸ†αžŽαžαŸ‹αž’αžαŸ’αžαž“αŸαž™αž…αŸ†αžŽαŸ‚αž€αž•αŸ’αžŸαŸαž„αŸ—αž“αŸƒαž‡αžΈαžœαž·αžαžšαž”αžŸαŸ‹αž™αžΎαž„ αž”αŸ‰αž»αž“αŸ’αžαŸ‚αžœαžΆαž”αžΆαž“αž•αŸ’αžαž›αŸ‹αž€αžΆαžšαž›αŸ†αž”αžΆαž€αž‡αžΆαž–αž·αžŸαŸαžŸ αžŠαž›αŸ‹αž’αŸ’αž“αž€αžŠαŸ‚αž›αž”αž˜αŸ’αžšαžΎαž€αžΆαžšαž€αŸ’αž“αž»αž„αžœαž·αžŸαŸαž™αž…αŸ’αž“αŸƒαž”αŸ’αžšαžŒαž·αž αžŠαžΌαž…αž‡αžΆαžŸαž·αž›αŸ’αž”αž€αžšαž˜αžΆαž“αž‡αž˜αŸ’αžšαžΎαžŸαžαž·αž… αž”αŸ†αž•αž»αžαž€αŸ’αž“αž»αž„αž€αžΆαžšαž”αž„αŸ’αž αžΆαž‰αžŸαŸ’αž“αžΆαžŠαŸƒαžŸαž·αž›αŸ’αž”αŸˆαžŠαŸ‚αž›αž–αŸ„αžšαž–αŸαž‰αžŠαŸ„αž™αž’αžαŸ’αžαž“αŸαž™αŸ” αžŠαŸ„αž™αžŸαžΆαžšαž’αŸ’αžœαžΈαž‚αŸ’αžšαž”αŸ‹αž™αŸ‰αžΆαž„αž”αžΆαž“αž”αžΎαž€αžŠαŸ†αžŽαžΎαžšαž€αžΆαžšαž‡αžΆαž’αž˜αŸ’αž˜αžαžΆαžœαž·αž‰ αž™αžΎαž„αž”αžΆαž“αž‡αž½αž”αž‡αž»αŸ†αž‚αŸ’αž“αžΆαž‡αžΆαž€αŸ’αžšαž»αž˜αž˜αž½αž™ αžŠαžΎαž˜αŸ’αž”αžΈαžŸαžΆαž€αž›αŸ’αž”αž„αž’αŸ’αžœαžΎαž–αž·αžŸαŸ„αž’αžŸαž·αž›αŸ’αž”αŸˆ αžŠαŸ„αž™αž€αžΆαžšαž…αž„αž€αŸ’αžšαž„αžŸαž αž‚αž˜αž“αŸαžŸαž˜αŸ’αžšαžΆαž”αŸ‹αžšαž™αŸˆαž–αŸαž›αžαŸ’αžšαžΉαž˜αžαŸ‚αŸ‘αŸ αžαŸ’αž„αŸƒαž”αŸ‰αž»αžŽαŸ’αžŽαŸ„αŸ‡αŸ”

αžœαž·αžŸαžΆαž›αž—αžΆαž–αž“αŸƒαž–αž·αž—αž–αž’αžšαžΌαž”αž·αž™αž“αžΆαŸ†αž™αž€αžŸαŸ’αž“αžΆαžŠαŸƒαžšαž”αžŸαŸ‹αžŸαž·αž›αŸ’αž”αž€αžšαžœαŸαž™αž€αŸ’αž˜αŸαž„αž…αŸ†αž“αž½αž“αž”αŸ’αžšαžΆαŸ†αžšαžΌαž” αžŠαŸ„αž™αžŸαŸ’αž“αžΆαžŠαŸƒαž“αžΈαž˜αž½αž™αŸ—αž˜αžΆαž“αž‘αžŸαŸ’αžŸαž“αž‘αžΆαž“αžŸαž·αž›αŸ’αž”αŸˆαž–αž·αžŸαŸαžŸαž•αŸ’αžŸαŸαž„αž‚αŸ’αž“αžΆαŸ” αž‚αž„αŸ‹ αžŸαŸŠαžΈαžŠαŸ‚αž“ – αž˜αŸ‰αž·αž… αž‡αžΌαž‘αžΆαž™ – រី αžšαž½αž“ – αžŸαž»αž„ αžŸαŸ€αž€αž‘αŸαž„ αž“αž·αž„αžœαž„αŸ’αžŸ αž…αžΆαž“αŸ‹αžŠαžΆαžšαŸ‰αžΈ αž‚αžΊαž‡αžΆαžŸαž·αž›αŸ’αž”αž€αžšαžŠαŸ‚αž›αž”αžΆαž“αž‘αž‘αž½αž›αž‡αŸαž™αž›αžΆαž—αžΈαž–αžΈαž€αž˜αŸ’αž˜αžœαž·αž’αžΈαž‡αŸ†αž“αžΆαž“αŸ‹αž“αŸƒαž—αžΆαž–αž…αŸ’αž“αŸƒαž”αŸ’αžšαžŒαž·αž αžšαžŠαžΌαžœαž€αžΆαž›αž‘αžΈαŸ£αŸ” αžŸαž·αž›αŸ’αž”αž€αžšαž“αžΈαž˜αž½αž™αŸ—αž“αžΉαž„αž”αž„αŸ’αž αžΆαž‰αž€αžΆαžšαžŠαŸ†αž‘αžΎαž„αž‘αŸ…αžαžΆαž˜αž‘αžΈαžαžΆαŸ†αž„αž‡αžΆαž€αŸ‹αž›αžΆαž€αŸ‹ αž€αŸ’αž“αž»αž„αž”αžšαž·αžœαŸαžŽ Friends Futures Factory (F3) αžŠαŸ‚αž›αž™αžΎαž„αž“αžΉαž„αž’αž‰αŸ’αž‡αžΎαž‰αžŸαžΆαžšαžŽαž‡αž“αž‘αŸ…αž…αžΌαž›αžšαž½αž˜αžˆαŸ’αžœαŸαž„αž™αž›αŸ‹αž–αžΈαž–αž·αž—αž–αž˜αž½αž™αžŠαŸ‚αž›αžαŸ‚αž„αžαŸ‚αž˜αž·αž“αžαŸ’αžšαžΌαžœαž”αžΆαž“αž‚αŸαž˜αžΎαž›αžƒαžΎαž‰ αž“αž·αž„αž˜αž·αž“αžŸαŸ’αž‚αžΆαž›αŸ‹αŸ” αžŸαŸ’αžαžΆαž“αž—αžΆαž–αžŸαŸ’αž˜αž»αž‚αžŸαŸ’αž˜αžΆαž‰αž…αžΆαž€αŸ‹αžŸαŸ’αžšαŸαŸ‡αž“αŸƒαžŸαž αž‚αž˜αž“αŸαž˜αž½αž™ αžŠαŸ‚αž›αž€αŸ†αž”αžΆαŸ†αž„αž–αžΈαž—αŸ’αž“αŸ‚αž€αžŸαžΆαž’αžΆαžšαžŽαž‡αž“ αžšαž½αž˜αž˜αžΆαž“αž’αŸ†αž–αžΈαž‡αžΈαžœαž·αžαžšαž”αžŸαŸ‹αžŸαžαŸ’αžœαžŠαŸ†αžšαžΈαžŠαŸ‚αž›αž‡αžΆαž–αŸ’αžšαŸ‡αž‚αŸαž‚αŸ„αžšαž–αž•αž„ αž“αž·αž„αž‡αžΆαžŸαžαŸ’αžœαž„αžΆαž™αžšαž„αž‚αŸ’αžšαŸ„αŸ‡αž•αž„ αž’αŸ†αž–αžΈαž‡αž˜αŸ’αžšαŸ…αž“αŸƒαž˜αž“αŸ„αžŸαž‰αŸ’αž…αŸαžαž“αžΆαžšαž”αžŸαŸ‹αž‡αžΈαžœαž·αžαž”αž„αŸ’αž€αžΎαžαž–αž·αž—αž–αžŠαŸαž’αž…αŸ’αž†αžšαž·αž™αŸˆ αž€αžΆαžšαž’αŸ’αžœαžΎαžŸαž˜αžΆαž’αž·αžαžΆαž˜αžšαž™αŸˆαž–αž“αŸ’αž›αžΊ αž“αž·αž„αžŸαŸ†αž‘αŸαž„ αž“αž·αž„αž€αžΆαžšαžˆαŸ’αžœαŸαž„αž™αž›αŸ‹αž–αžΈαž’αžαŸ’αžαž·αž—αžΆαž–αž“αŸƒαž’αžΆαžšαž˜αŸ’αž˜αžŽαŸŒ αž“αž·αž„αžŸαŸ’αžαžΆαž“αž—αžΆαž–αžšαžΆαž›αŸ‹αžαŸ’αž„αŸƒαŸ”

αž™αžΎαž„αžŸαžΌαž˜αž’αž‰αŸ’αž‡αžΎαž‰αžŸαžΆαžšαžŽαž‡αž“ αž‘αŸ…αž…αžΌαž›αžšαž½αž˜αžˆαŸ’αžœαŸαž„αž™αž›αŸ‹αž–αž·αž–αŸαžšαžŽαŸαž˜αž αŸ„αžŸαŸ’αžšαž–αžœαž·αžŸαžΆαž›αž—αžΆαž–αž“αŸƒαž–αž·αž—αž–αž’αžšαžΌαž”αžΈαž“αŸαŸ‡ αž‡αž½αž”αž‡αžΆαž˜αž½αž™αžŸαž·αž›αŸ’αž”αž€αžš αž“αž·αž„αž…αžΌαž›αžšαž½αž˜αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαžŠαŸ‚αž›αž†αŸ’αž›αž»αŸ‡αž”αž‰αŸ’αž…αžΆαŸ†αž„αž–αžΈαž‚αŸ†αž“αž·αžαž•αŸ’αžŸαŸαž„αŸ—αž’αŸ†αž–αžΈαžŸαŸ’αž“αžΆαžŠαŸƒαžŸαž·αž›αŸ’αž”αŸˆ αž αžΎαž™αž•αŸ’αžαž›αŸ‹αžαž˜αŸ’αž›αŸƒαžŠαž›αŸ‹αž‘αŸ†αž“αžΆαž€αŸ‹αž‘αŸ†αž“αž„ αž“αž·αž„αžŸαž αž‚αž˜αž“αŸαŸ” αžŸαž˜αŸ’αžšαžΆαž”αŸ‹αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαžŸαž˜αŸ’αž–αŸ„αž’αž”αžΎαž€αž“αŸ…αžαŸ’αž„αŸƒαž‘αžΈαŸ αŸ€ αžαŸ‚αž€αž»αž˜αŸ’αž—αŸˆ αž˜αžΆαž“αž–αž·αž’αžΈαžŸαžΌαžαŸ’αžšαž˜αž“αŸ’αžαž‡αžΌαž“αž–αžš αžŸαž˜αŸ’αžαŸ‚αž„αžŠαŸ„αž™ Natyrasa & Prumsodun OkαŸ” αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαžŠαŸ‚αž›αž˜αžΆαž“αžšαž™αŸˆαž–αŸαž›αŸ‘αŸ αžαŸ’αž„αŸƒαž“αŸαŸ‡αžšαž½αž˜αž˜αžΆαž“αŸ– αž”αžΆαž‹αž€αžαžΆαžŸαž·αž›αŸ’αž”αŸˆ αžŸαž·αž€αŸ’αžαžΆαžŸαžΆαž›αžΆαž’αŸ†αž–αžΈαž€αžΆαžšαž’αŸ’αžœαžΎαžŸαž˜αžΆαž’αž·αž‡αžΆαž˜αž½αž™αž’αŸ’αž“αž€αž“αžΆαž„ αžˆαž»αž“ αž…αž·αž“αŸ’αžαžΆαžŸαŸ„αž—αžΆ αž€αžΆαžšαžŸαž˜αŸ’αžαŸ‚αž„αž€αŸ†αžŽαžΆαž–αŸ’αž™ αž“αž·αž„αž€αž·αž…αŸ’αž…αž–αž·αž—αžΆαž€αŸ’αžŸαžΆαž‡αžΆαž˜αž½αž™αž›αŸ„αž€ αž™αžΆαž“ αžšαžŸαŸ’αž˜αžΈ αž“αž·αž„αž›αŸ„αž€ αž‡αžΆ αžŸαž»αž—αžΆαž– αž€αžΆαžšαžšαžΆαŸ†αž αŸŠαžΈαž”αž αž”αŸ‹ αž‘αžŸαŸ’αžŸαž“αžΆαž…αžšαžšαžΌαž”αžαž αž“αž·αž„αž”αž‰αŸ’αž…αž”αŸ‹αžŠαŸ„αž™αž€αžΆαžšαž–αž·αžŸαžΆαž—αŸ„αž‡αž“αžΈαž™αž’αžΆαž αžΆαžšαžŸαž αž‚αž˜αž“αŸαŸ”

αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαž‘αžΆαŸ†αž„αž’αžŸαŸ‹αž˜αž·αž“αž‚αž·αžαžαŸ’αž›αŸƒ αž“αž·αž„αž”αžΎαž€αž‡αžΌαž“αžŸαž˜αŸ’αžšαžΆαž”αŸ‹αžŸαžΆαž’αžΆαžšαžŽαž‡αž“αž‚αŸ’αžšαž”αŸ‹αžšαžΌαž” αž αžΎαž™αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαž‘αžΆαŸ†αž„αž’αžŸαŸ‹αž“αžΉαž„αž’αŸ’αžœαžΎαž‘αžΎαž„αž‡αžΆαž—αžΆαžŸαžΆαžαŸ’αž˜αŸ‚αžš αž“αž·αž„αž’αž„αŸ‹αž‚αŸ’αž›αŸαžŸ αžŠαŸ„αž™αž˜αž·αž“αžαž˜αŸ’αžšαžΌαžœαž±αŸ’αž™αž˜αžΆαž“αž€αžΆαžšαž…αž»αŸ‡αžˆαŸ’αž˜αŸ„αŸ‡αž‡αžΆαž˜αž»αž“αž‘αžΎαž™αŸ” αžœαž·αž’αžΆαž“αž€αžΆαžšαžŽαŸαžŸαŸ’αžαž„αŸ‹αžŠαžΆαžšαž‡αŸ†αž„αžΊαž€αžΌαžœαžΈαžŠ- ៑៩ αž“αžΉαž„αžαŸ’αžšαžΌαžœαž”αžΆαž“αž’αž“αž»αžœαžαŸ’αžαŸ– αž€αžΆαžαž…αžΆαž€αŸ‹αžœαŸ‰αžΆαž€αŸ‹αžŸαžΆαŸ†αž„ αž…αŸ†αž“αž½αž“αž€αŸ†αžŽαžαŸ‹αžŸαž˜αŸ’αžšαžΆαž”αŸ‹αž’αŸ’αž“αž€αž…αžΌαž›αžšαž½αž˜αž“αŸ…αž‘αžΈαžαžΆαŸ†αž„αž”αž·αž‘αž‡αž·αž αž€αžΆαžšαžœαžΆαžŸαŸ‹αž€αž˜αŸ’αžšαž·αžαžŸαžΈαžαž»αžŽαŸ’αž αž—αžΆαž– αž“αž·αž„αž€αžΆαžšαž›αžΆαž„αžŸαž˜αŸ’αž’αžΆαžαžŠαŸƒ αžαŸ’αžšαžΌαžœαž”αžΆαž“αžŠαžΆαž€αŸ‹αžαž˜αŸ’αžšαžΌαžœαžŸαž˜αŸ’αžšαžΆαž”αŸ‹αž€αžΆαžšαž…αžΌαž›αžšαž½αž˜ αž αžΎαž™αž’αŸ’αž“αž€αž…αžΌαž›αžšαž½αž˜αžαŸ’αžšαžΌαžœαž–αžΆαž€αŸ‹αž˜αŸ‰αžΆαžŸαŸ‹αž‚αŸ’αžšαž”αŸ‹αž–αŸαž›αžœαŸαž›αžΆαŸ”

αž™αžΎαž„αžŸαžΌαž˜αžαŸ’αž›αŸ‚αž„αž’αŸ†αžŽαžšαž‚αž»αžŽαžŠαž›αŸ‹αž’αŸ’αž“αž€αž§αž”αžαŸ’αžαž˜αŸ’αž—αžšαž”αžŸαŸ‹αž™αžΎαž„αŸ–
Karen McLeod Adair & Anthony Adair, αž’αŸ’αž“αž€αž”αŸ’αžšαž˜αžΌαž›αžŸαž˜αž»αž…αŸ’αž…αŸαž™αž“αŸƒαžŸαŸ’αž“αžΆαžŠαŸƒαžŸαž·αž›αŸ’αž”αŸˆαžŸαž αžŸαž˜αŸαž™αž€αž˜αŸ’αž–αž»αž‡αžΆ αž“αž·αž„αž’αŸ’αž“αž€αž‚αžΆαŸ†αž‘αŸ’αžšαžŸαž·αž›αŸ’αž”αž€αžšαžœαŸαž™αž€αŸ’αž˜αŸαž„ αžŠαŸ‚αž›αž˜αžΆαž“αž€αŸ†αžŽαžΎαžαž‡αžΆαž‡αž“αž‡αžΆαžαž·αž’αžΌαžŸαŸ’αžαŸ’αžšαžΆαž›αžΈ
Debra Fram & Eric Schwartz
NEXT Foundation

αžŸαžΌαž˜αžαŸ’αž›αŸ‚αž„αž’αŸ†αžŽαžšαž‚αž»αžŽαž‡αžΆαž–αž·αžŸαŸαžŸαžŠαž›αŸ‹αž’αŸ’αž“αž€αžŸαŸ’αž˜αŸαž‚αŸ’αžšαž…αž·αžαŸ’αž, Friends Futures Factory (F3), Friends-International αž“αž·αž„αž’αž„αŸ’αž‚αž€αžΆαžšαž˜αž·αžαŸ’αžαžŸαŸ†αž‘αžΆαž‰αŸ‹ αžŸαž˜αŸ’αžšαžΆαž”αŸ‹αž€αžΆαžšαžŸαž αž€αžΆαžš αž“αž·αž„αž€αžΆαžšαž‚αžΆαŸ†αž‘αŸ’αžšαŸ”

Creative Generation: Worlds Unknown

Art Festival
With artists KONG Siden, MECH Choulay, Roun RY, SONG Seakleng and VONG Chandarey
4-13 February 2022 | Friends Futures Factory (F3)

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The Worlds Unknown Festival came about from discussions amongst the five Creative Generation 3 artists after a year delay due to covid19 restrictions. We wanted to create an event that can awaken curiosity and stimulate the senses of sight, sound and touch.

Before vaccines were prevalent, pandemic restrictions limited events and gatherings requiring many people to be isolated from their communities and families. The important rituals that define and reinforce our relationships were often neglected. The challenges of the last year has been the defining part of all our lives, but has been especially difficult for those in the creative sector as artists had limited options for meaningful artistic expression. As things open up we gather as a group to propose artistic experiences – forming a community if only for ten days.

Worlds Unknown brings together the artworks of five young artists, each with a unique vision. KONG Siden, MECH Choulay, Roun RY, SONG Seakleng and VONG Chandarey were awarded the Creative Generation 3 Prize in 2020. Each artist will present a site-specific installation across the spaces of Friends Futures Factory (F3) that invites the public to explore worlds that are often invisible and unknown. The plight of a community that is obscured from the public eye, the life of elephants as both god and vulnerable creature, an inner emotional life that generates fantastical worlds, meditation through light and sound and an existential exploration of spirituality and everyday situations.

Throughout the ten days of the Worlds Unknown Festival the public is invited to explore the exhibitions, meet the artists and join events that highlight the various ideas of the artworks and emphasize connection and community. Our opening ceremony on 4 February will be inaugurated by a blessing ceremony performed by Natyrasa & Prumsodun Ok. Over the following 10 days events will include artist talks, a meditation workshop with Chhun Chenda Sophea, poetry performances, in-conversations with Yean Reaksmey and Chea Sophea, hip hop performance, photo walk and will conclude with a communal feast.

We would like to express our gratitude for the support of our donors:
Karen McLeod Adair & Anthony Adair, Australian collectors of contemporary Cambodian art and supporters of young artists
Debra Fram & Eric Schwartz
NEXT Foundation

With a special thanks to the volunteers, Friends Futures Factory (F3), Friends-International and Mith Samlanh for their collaboration and support