From Hyderabad, 2020.
From Hyderabad, 2020.
‘the earth is still going around the sun’
13 exhibitions | Curatorial Intensive South Asia 2019
Khoj International Artists’ Association in partnership with Goethe-Institut / Max Mueller Bhavan New Delhi is pleased to announce the opening of ‘the earth is still going around the sun’ – 13 curated exhibitions. The exhibitions open at 6pm, on the 14th of December, 2019 at the Art Gallery at the India International Centre, New Delhi. These exhibitions brings together curators from Iran, India, Bangladesh, Nepal and Sri Lanka for a two week curatorial fellowship in New Delhi. CISA aims to develop a diversity of perspectives on the medium of the exhibition in South Asia and Iran and to provide both a structured and an experimental inquiry into the possibilities of curatorial practice today.
The exhibitions will open on December 14, 2019 at 6 PM at the Art Gallery, Kamaladevi Complex at the India International Centre, Delhi and will run through till December 20, 2019. The timings for the gallery are 11am-7pm.
CISA 2019 Fellows:
Alisha Sett (India)
Ashima Tshering (India)
Ayushma Regmi (Nepal)
Diwas Raja (Nepal)
Maryam Bagheri (Iran)
Mila Samdub (India)
Poulomi Paul (India)
Pranamita Borgohain (India)
Rumi Samadhan (India)
Sadia Marium (Bangladesh)
Sarker Protick (Bangladesh)
Kirubalini Stephan (Srilanka)
Zohreh Deldadeh (Iran)
Last year, Bangladeshi photographer Shahidul Alam was jailed and tortured for denouncing his country’s regime. Now his work, which reveals people’s suffering without compromising their dignity, has been shortlisted for the Prix Pictet 2019. Interview by Rachel Spence.
“A-I-R: New Acquisitions 2019” highlights a selection of new work that has been donated to the Light Work Collection by recent Artists-in-Residence (AIR). Launched in 1976, the residency program now receives nearly 1,000 submissions annually.
EXHIBITION ‘OF RIVER AND LOST LANDS’ by SARKER PROTICK
‘Of River and Lost Lands’ is presented at iMPACT DOC as a photographic exhibition accompanied by an audio-visual installation that depicts a grey, melancholic landscape of river Padma (Ganges) in Bangladesh.
At first, the place seems abandoned; drowned, broken houses and floating trees are all that remains. These are traces of life that were once here. As the series continues, the land and the people come into view and find their place in the story. Together they portray a complex relationship between nature and human beings that is intimate yet ruthless, defined by dependency and destruction.
The exhibition shows the direct, visible and palpable effects of changes in climate in the final form of irregular devastating monsoons, resulting in increased river erosion in Bangladesh. Most of the places seen in these photographs do not exist anymore. As a result, these photographs survive as visual documents of such vanished lands.
‘SYNTAX / SEMANTICS’
Workshop by Sarker Protick
Supported by iMPACT DOC
For one special occasion only, noted Bangladeshi photographer Sarker Protick will conduct a 4-day workshop on visual storytelling and the visual narrative at iMPACT DOC, prior to his lecture and presentation during the Unseen Photo Fair Open Gallery Night 2019.
The workshop is open to photographers and artists interested in exploring the varied possibilities of storytelling and the use of photography combined with other media. In the era of so-called democratization of the media and the overabundance of visual content, it’s important to reflect on the necessity and strategy of telling a certain story. Each story presents different possibilities of language and narrative, suggested both by its context and the author’s influences. We will discuss the choice of best possible methodologies, strategies and tools to define the chosen subject and articulate a coherent narrative.
For more info: Visit iMPACT DOC Site
I was asked to make a list of books, films music, artists etc. So here it is : You Wanted a list
Installation view of Temporary Certainty a t 4A Centre for Contemporary Asian Art, clockwise left to right: Sarker Protick, Elegy to Empire (f rom the series Exodus), 2015–ongoing, installation view at 4A Centre for Contemporary Asian Art, black & white photographs (selection of 19); 22.5 x 28.0 cm (each photograph); courtesy the artist. Sarker Protick, Arrival (from the series Exodus) , 2015–ongoing, single-channel HD video and sound installation; 8:00 mins; courtesy the artist.
Sarker Protick’s Exodus (2015–ongoing) considers the expediencies of decolonisation while at the same time being a haunting meditation on the universal contingencies of time. Over a selection of photographs and moving image, the artist explores the decaying buildings and surrounding lands of the feudal estates in East Bengal that were previously owned by Hindu jamindars, or landlords. Following the Liberation War of 1971 that abruptly established the newly independent nation of Bangladesh, huge migrations took place across Bengal. This saw wealthy Hindu landowners abandon their estates for India in fear of the kind of violent reprisals that had erupted following the Partition of India in 1947, while at the same time many Muslims fled West Bengal heading east. A series of controversial laws dating from 1948, culminating in the Vested Property Act of 1974, allowed the confiscation of property by Bangladeshi authorities from groups declared ‘enemies of the state’. Since then, these estates have commonly been left in disrepair, taken over by nature and appropriated by local villagers—another chapter in a landscape indelibly marked by the influence of Mughal rule and British imperialism.