Thursday, June 08, 2017

review Trace and performance Manmeet Devgun by Parul Singh




Friday, May 05, 2017

Evocations beside the Cave - video performance with Lele Huang and Thlana Bazik





Sunday, April 30, 2017

Group Exhibition Trace






























Wednesday, April 05, 2017


Notes on Migration          
Exhibition by Jyothidas K V & Sarojini Lewis
Dates 14-04-2017 to 20-05-2017, opening 13th April 6.30 onwards
Clark House Initiative Project Room



From one…two…three…
How many breaths have we counted?
As many as waves of the sea
As many as sands of the shore

Dark clouds, storms, waves, fevers, winds
The unending sounds of the seas
Frothed in our mouths was salt,
Expanse of the sea and sweat

Came,
With the land which appeared
After the never ending sea,
A relief
Upon which they built us
A new belief

Sea, land, relief, belief




Certain memories of migration transcend the border of nations and geographical distances. In particular, the narrative of indentured labour migration from various regions of India. Contract workers were recruited largely from UP and Bihar during colonial period from the mid 18th century until its abolition around 1917, a hundred years ago. Surinam was one destination colony ruled by the Dutch where a ‘multicultural society’ was constructed by means of various migration streams that were brought in according to the required skills of laborers. The memories that people brought from various countries to Surinam remains in oral traditions, stories, literature and archives and form resources that we explored for new interpretations. A memory as such is not bound to one geographical location but could exist simultaneously in various locations or meeting points.
            Close to the city of Dresden in Germany there is an almost forgotten ethnological museum in a village called Herrnhut. Archival Photographs and objects from the archives of Herrnhut missionaries in Germany documented the migration in early 20th century in Surinam.  Besides the photographs a set of objects presented the Indian community of Surinam. The missionaries returned this material to Herrnhut accompanied by different diaries describing the live of Hindustanis. The personal encounter of this collection and the act of holding the objects and while documenting, resulted in a series of self-portraits. Here identity is linked to various histories and geographies of migration in a playful meeting between body and object. What does it mean to have the same migration roots as the object?
Questionable is the origin of these objects and whether they made the same migration as the Indian community that migrated.  The veil held by the curator of the museum also connects to the photograph of the woman who is wearing a similar veil in Iran. This could be displaced in the collection and its possible misinterpretation leads to the idea that sources of objects could be beyond the interpretation of memories of migration.
Another set of memories come from a year long migration as a teenager to a Bhojpuri speaking village near Mariyahu in Jaunpur, U.P. Memories of evening walks through the expanses of sugarcane fields and the huts where farmers used to make jaggery remain vivid images. Sugarcane and the know-how of its farming was one of the reasons for recruitment of indentured labour from the region 120 years ago.
We are connecting personal memories with the larger history of migration to see how these memories have cross overs.  This collaboration intends to simulate a ‘melting pot’ in which we reinterpret these transnational character of memories.




Sunday, March 12, 2017

In Visible, the Invisible


Collaboration with the girls of Flying Birds NGO Delhi & Jyothidas KV








Thursday, February 23, 2017












Friday, January 20, 2017




















Stone Landscapes of Burning Stars; Redefine and Camouflage
-The Curatorial defined by Actions Collaboration, Performance and Video.
An unfamiliar road, the Sumos on the slippery tracks, an exhausting bus journey. Several directions of roads through forests some of them have check points. Mud covers the front window we drive forward blindness. A tire got punctured at 3 pm in the night on the 28th hour bus journey from Guwahati to Agartala. The swirling roads made me dizzy and the night before I had been throwing up because I could not digest the momos with pork meat. Yet, at the end of the road I arrived at an unfamiliar city that opened up a new narrative.
“The conversations with students who are artists and artists who could be possible students.“
Different perspectives through stars at night. Playing with the city lights.
We formed groups within these formations new thought processes were created.
As a curator I was the participant of this collaborative thought of what yet had to come. Sometimes the dying murdered women, sometimes the chef mixing up visuals, sometimes an unexpected scream, sometimes just breathing in fresh air and writing a note. Sometimes mute, observing, a student.
The politics of the space reappears as a visual trace in the landscape as a mark of ink written on the body. Without emphasizing on political issues of the North East states the dialogues evolves, naturally expressing things in subtle ways, secluded in the personal studio space or a tree house. Something not served as a ready-made statement, one has to discover traces by spending time with the displayed work.
We were listening to the description of the memories of a student. Slowly the words transfigured and we all felt the intense lightness of his memory that flowed together with the wind caressing the leaves visible from the tree house.The sound flowed together with the city sounds that we could hear from the top of the hill. I thought of the city as a sea I had dived into and from this tree house we heard the waves of sound breaking on the shore. I felt amalgamation of thoughts as materials, empty papers that with the touch of writing and slender movements produced various visual scribbling, later this transformed into performances and video works.  

-->
Sometimes a scream was disorienting and confronting me with clashing characters. Lost in diverse routes and roads the potential of different projects never have ended and broke this geographical barrier. Something new was born and these different thought processes could be sustainable somehow. After residing in Kochi, these experiences captured with video and photography were edited in new forms and visions with a team of four people- Nupur Nanal, Radhika Murthy, Renuka Soraisam and Lalthlanchhuaha. In this way, setting up the works as well as editing the works of 51 persons from 5 states- Assam, Meghalaya, Tripura, Mizoram and Manipur- has been a collaborative process as well. Using this method, the format collided with the way the material was created in the first place. The work stays in continuous flux of different thoughts. New initiatives within this rich cacophony of sound and visuals projected on the walls of Kottacherry Brothers are deriving from the North East to the South.