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  Sa Sa Art Projects is a not-for-profit artist-operated space founded in 2010 by the Cambodian arts collective Stiev Selapak. Located in the historic apartment bloc The White Building on Sothearos Boulevard, Sa Sa Art Projects aims to foster a community of knowledge sharing and to create opportunities for emerging Cambodian artists to realise new ideas. It does these by serving as a venue to accommodate experimental art practices, residencies, talks, classes, and community participation. Sa Sa Art Projects also strives to engage with the residents at The White Building through special community projects, hoping to allow the residents to express on locally concerned issues through exploration of artistic mediums.

About Stiev Selapak

Stiev Selapak, or Art Rebels, is an arts collective formed in 2007 by six artists and photographers: Heng Ravuth, Khvay Samnang, Kong Vollak, Lim Sokchanlina, Vandy Rattana, and Vuth Lyno.  The collective's purpose was to “help each other achieve art projects by sharing knowledge and resources”. They collaborated on various projects based on their strengths and availability.

In 2009, with the support of Baitong Restaurant, the group managed to open a gallery space in a small wing of the restaurant on street 360 named Sa Sa Art Gallery.  The gallery hosted exhibitions by emerging Cambodian artists and, along the way, developed a loyal audience of art advocates in the local Cambodian and expatriate community. The gallery is listed in The Japan Foundation's Art Guide to Asia (2010).

Sa Sa Art Gallery was later successfully expanded and merged with Bassac Art Projects to create SA SA BASSAC, a gallery and resource center dedicated to creating, facilitating, producing, and sharing contemporary visual culture in and from Cambodia.

In early 2010, after many Cambodian and foreign artists offered their works for an art auction fundraiser, Stiev Selapak was then able to create another space called Sa Sa Art Projects to fulfill the need for non-profit activities that engage emerging artists in experimentation and residencies in a community-based environment at The White Building.  The decision on the location of the Art Projects was in an elaborated choice inspired by the historic significance and the current social value of the Building.

About The White Building

In 1961, King Norodom Sihanouk addressed the Governor of Phnom Penh regarding the need for an urban housing solution:

…our capital must deal with the problem of the urban population, i.e. the modernization of housing…I do not think it is necessary to remind you of the social and hygiene problems, the fire risk, the infrastructure and transport problems...We must begin the construction of low-cost apartment buildings that can be rented or sold to average and small income families. This will no doubt take some time and requires progressive planning and investment.

Following the King's orders, an international team of city planners was gathered to assist Mr. Lu Ban Hap, Director of the Municipal Town Planning and Housing Department and Mr. Vann Molyvann, Head of the Urban Planning and Housing Department of the Ministry of Public Works. On twenty-four hectares along the Bassac River, the team realised an ambitious urban planning scheme including multi-level, low cost housing and public buildings such as the Exhibition Hall and National Theatre. The Municipal Apartments (The White Building's original name) were inaugurated in 1963 and consisted of 468 apartments for municipal staff, teachers and other public servants. Designed not only to provide basic shelter, the development adapted a modern architectural vocabulary to Cambodia's culture and climate.

After the fall of Khmer Rouge in 1979, and as people moved back to the abandoned Phnom Penh, survived artists (mostly performing artists) were called to gather and reside in The White Building. Over three decades, the residing community has been substantially expanding to accommodate mostly low-income urban population. Due to poor maintenance and ongoing restructuring of the exterior, the facility is unfortunately left in rather poor conditions. Today, the fading facade and dilapidated infrastructure belies a vibrant community of few thousand residents including artists, musicians, community activists and everyday city dwellers.