why binary should have all the pun
Poonam Jain | India
Artventilation, Poonam Jain, Artventilation is an installation of Poonams research practice on the patterns and circulations of art works beyond the institutional frame. Her research is focused on how to used storaged artworks and bring them into new social circles. | This can’t be a title, Poonam Jain,
Tamara De Laval | Sweden
"Tamara became a painter because she felt that visual grammar is an entity of its own, a language she commands better than the written language. She elaborates with the help of literary analogies: like poetry, her pictures, her narratives, are often more abstract in their expression. Or they can be like a philosophical text, alternating between dense to clear depending on what she wants to pass on and express. She tells us: “I paint and draw constantly, daily. I have a lot of sketches and photos that I spread around me on the table or the floor, and then using them as the starting point I begin to paint. The pictures emerge of their own accord, sometimes quite independently from the sketches.” Tamara’s works are based on her life experience and her reality. The works are largely about relations, as well as being politically and feministically aware, and political processes and events that take place while the work is taking shape also influence the painting’s final presentation. “I mostly paint women,” she says, ”but it is perhaps because I can most easily identify with them.” Into her paintings she also weaves her other reality: a vibrant closeness to nature, which she describes as a sort of spirituality. Tamara is inspired by the theories of philosophers Deleuze and Guattari of a rhizomatic, non-hierarchic and chronological way to think, network, cooperate and spread ideas. She also shares their opinion on the negative effects that gender norms and the patriarchal system have on women’s independence and control over their own bodies. For a long time she lived in countries where the effects of the patriarchal society were evident and distinct – but she says that she perceives these patterns to exist here too, although more concealed, insidious. She experienced it most clearly in her formative years."
Text credit : kulturhusetkomedianten.se
Marco Cesarec | Sweden The last plant
My grandfather worked in a paint factory in Austria as a refugee after World War II. After each working day, all workers got a liter of milk to drink in order to minimize the risk of lead poisoning. In Austria, there was also a coal mine where my father worked. In a mine gallery burned an unquenchable fire that raised the temperature in the other aisles where the work was going on. When I lived in Malmö (Ystads street - Lantmanna street) Sweden in the early 1980s, I felt on several occasions a strong caustic smell that seemed to come from the former PLM factory at Lantmannagatan. Later came reports that the children and staff at a nursery nearby had unexplained rashes and breathing difficulties.
Greenhouse effect, climate change, pollution and other environmental threats become a part in everyone's life. This “last plant” in metamorphosis tries to start the forces that is needed to make a change. All the pieces of the artwork kept together with an hidden interconnecting, monumental spatiality as repeats in the artwork, seal remains of a starsky. Open irregular random shapes with macro and micro worlds interweave each other. Wants too transform, in a voyage in time and space.
Rhine Bernardino | UK/Philippines
Learning along with understanding initially and primarily takes place in ourselves, but it is processed and nourished in a collaborative and social manner. Certain external conditions such as location, weather and time, among others, contribute to the facilitation of these collaborations and interactions. The capacity to listen is one of the faculties that is easily impaired when there is high level of agitation or anxiety, whether internal or external. No Drama is a space that aims to subside the effect of the omnipresent heat, in order to provide a temporal physical relief coupled with mental expansion so that our ability to listen may be highlighted. Cool down, chill, no drama.
Hediyeh Azma | Iran/Norway & Sumedha Bhattacharyya | India
Personal mythologies, Sumedha
Personal mythologies is a experiential choreographic response to the structured forms of Indian classical and Iranian national dance. It is a video-dialogue between Sumedha Bhattacharyya and Hediya In 'our' structured forms of Indian classical and Iranian national dance, we are sharing an experiential choreographic response over the time of the residency real and virtual time in Pune. We explore the everyday-ness in 'morning', our micro-narratives,in the socio-cultural context of Oslo and Pune.
Together, we attempt to find an in-between space for our binaries such as beauty, musicality, narratives, storytelling, performance, time and space.
Yogesh Barve | India
STRUGGLE FOR CHANGE
DALIT POETRY AND LITERATUE
DEC 2017 – ONGOING
YouTube Channel
Globalization definitely affects culture and literature. This is because, through the internet and literature, we encounter so much information about lifestyles of other cultures, that our best choice becomes to not to focus on what’s different, but rather try and connect with what is alike. Though globalization has its own drawback, it certainly can help us move forward towards the future.
The impact of globalization on culture and literature is quite significant. And as even more ideas and beliefs are spread to more parts of the world through information technology and has a wider access, what has been traditionally defined as culture and literature begins to undergo a change as newer understandings are integrated into traditional conceptions of good. This in turn kind of creates a sort of new vision of what culture encircles and how literature is reflected into it. Along with globalization, it is nearly impossible to stop the spread of ideas, for its very nature brings to light the inter connectivity of all individuals. And due to this, the changing conceptions of literature and culture are almost bound to happen in the mind.
This is where we, with our channel "Dalit Poetry and literature", aim to spread literature in terms of ideologies like Dr. Bhimrao Ambedkar, Shivaji Maharaj, Mahatma Jyotiba Phule, Savitribai Phule, Gautama Buddha and many more old and contemporary figures. Help us to educate our own by broadening the concepts of literature.
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MAPPING ATROCITES THROUGH MATERIAL
In collaboration with Saviya Lopes
2019
Visual of atrocities…
Materials/things which we use/see/feel everyday,
YOU ARE VERY MUCH PART OF IT!
If you deny…?
Your denial is my acceptance of, you denying the equality.
Julian Juhlin | Denmark
The Virgin Tour is an extended method of investigating objects and space through a position of virginity. The work is a lab wherein the artist experiments in-between the private and the public through mythical or mystical historical perceptions, trying to map the binaries through the journey of magic realism.
Prabhakar Pachpute | India
Title: The surface and spreading socities
Starting from the own geographical stories to
travelling around Latin American, Asian and European mining places.
I came to the point to use the documentation of the mining community,culture and landscapes.
The constant degradation of nature through mining made us ending up having a abandoned/lunar landscape,displacement life. These geographical changes are almost looks similer everywhere around the world. some of the countries have succeed to reclaim these landscape but the other are beyond it's lose.
How do we connect or locate ourself in this moving geography?
Avon Bashida | Denmark/US
In the 1800s Danish knowledge of foreign countries came from the military, where soldiers were trained in drawing and painting in order to collect evidence. These images from the imperialistic explorer and the tales told from an ancient view of the exotic, still to this day takes precedence when thinking about “the East” (a term that itself exist from a European perspective of mapping the world). Today it is possible to gain knowledge through google, but in order to truly know, you have to experience it firsthand. When creating a piece for an exhibition in India, without being there, it is impossible to circumvent old ideas of a nation, as googling automatically includes old perspectives and enforces imperialistic imagery, and the idea of creating for ‘the people’ in ‘the country’ where I am not, instead of creating for people and their surroundings. Perhaps the European denial of how old structures implement themselves in the present, is comparable with denying capitalism when living in a country of capitalism (as I write, I am typing on an iPhone). The denial of these old structures, on occasion replace a true perspective which could be implemented into a greater global sense of togetherness, instead of staying in political correctness.
Sabitha Sofia Söderholm | Denmark
Escarpment, Sabitha S. Söderholm: Escarpment is a video work dedicated to Sabithas biological Indian mother and motherland India from where she was adopted at the age of four. The work describes an ambivalence and interconnection between Sabithas current life in Denmark, as she is trying on her red saree, and her past, and current trips to India to visit her mother.
Keepa Masky | Nepal
I see it as an inverted dress. Something to do with inversion.
I am not able to pinpoint at the moment quite firmly. Freeing out of the norms.
Pursuit to serenity. The subtle arc like descending form giving a way to move forward.
The allowance in ambiguity. I see this work as an opening to the journey ahead.
Afshana S. Zuma | Bangladesh
Anonymous, Afsana S. Zuma: Afsana have been collecting natural materials from Pune and installed them in two site-specific installations, one on the roof and one in the yard of Tifa. In these two installation Afsana is giving the materials new formats, like spirits or through handpainted stones, each carring one of her childhood memories.
Taxi - Suman S. and Sourav R.C. | India
EXI(S)T
All conditioned things exist in a constant state of flux. In reality there is nothing that ultimately ceases to exist; only the appearance of a thing ceases as it changes from one form to another. The most striking paradox about the act of existing is that it neither is nor is not. It follows that existential activity as such can neither be affirmed nor denied. This activity cannot be denied because such a denial would deny that the thing is. A sign of this is the truth that the thing continues be-ing as long as it is. Yet, the allure of the question of existence and the challenges of navigating the paradoxical space it inhabits has encouraged us to explore the state of urban beings. Three images of a metropolis have been reduced to their fundamental, aesthetic constituents—pixels. Each pixel inhabits a grid square, overlapping within the graph-paper forming a mechanic, repetitive framework. Thus, pixels can be viewed as modern transformations of the ancient grid structure. Transformations are limitless, thus creating a paradox when they collude with the rigid and reliable square. Miniaturized and multiplied within a grid, squares become the foundation for physical existence. Presented on a graph paper, the grid evolves into the ideal structure for transformations of new forms. The curiosity around existence persists as no answer truly satisfies, for impermanence characterizes existence. Every being exists in a state of tension between its noumenal and phenomenal states and thus, cannot be available to the intellect as a static object or stagnant state of being. The constraints of the gridded pixels offer an avenue to explore the ambiguity of existence.
Arijit Bhattacharya & Balaram Koley | India
Lenin Visits Gujarat
In our eyes, individual terror is inadmissible precisely because it belittles the role of the masses in their own consciousness, reconciles them to their own powerlessness, and turns their eyes and hopes toward a great avenger and liberator who someday will come and accomplish his mission." Trotsky wrote in his article named 'Why Marxists oppose Individual Terrorism'. So today what happens when the great avenger himself is obliterated? "Being with Lenin for 6 Years" wishes to respond to the existence of this core question.
Rupali Patil | India
Title : "Dilema of other Space"
While living in an urban architecture I feel the capitalism is inescapable. Shrinking the life between nature, ugly urban architecture creates an unwanted dilemma and Psychological binary. That anxiety of searching something yours is a question I am searching an answer of.
Amol Patil | India
Peep in
My recent work “What is Human Becomes Animal” deals with situations faced by sanitary workers in Bombay, their work conditions and caste discrimination, persisting even today. With extremely indecent working conditions, they often succumb to diseases and alcohol abuse, necessary to overcome the smells and degradation endured daily. Through discrimination and inequality, what is labour? Peep In is a turning point between the micro and the macro, looking at the humblest forms of labour, precisely the workers dwarfed by scaffolding. Amols work is a tribute to the unnamed heroes of our ever-growing megalopolis, as well as questioning the aftermath of centralized urbanization. Amols work investigates the gestures between structures and the people of a hybrid city.
Nikhil Raunak| India
Mark by night,
Mark by night, Nikhil Raunak & Mark: Mark by night is collaboration between Nikhil Raunak and Mark,
a former employee of a call center in Pune. In this collaboration, they track down Mark’s story through a visual mapping from the time he was working in a call center until he lost the job.
Natacha Voliakovsky | Argentina
It is an open question is a site-specific performance carried out during the march Ni Una Menos in Buenos Aires. The action was to unfold from arm to arm, in front of the chest emulating a human shield, a black flag with the phrase IS AN OPEN QUESTION printed in white letters. This presence in the public space, in coexistence with the rest of the participants, generated different reactions, both empathy and violence, which closed the meaning of the action.
Curaduria of Mariana Rodriguez Iglesias.
Mono-channel video, 2017.
The action was to unfold from arm to arm, in front of the chest emulating a human shield, a black flag with the phrase IT IS AN OPEN QUESTION printed in white letters. This presence in the public space, in coexistence with the rest of the participants, generated different reactions, both empathy and violence, which closed the meaning of the action.
The printed phrase has its genesis in the radical feminism of '69 and references the idea that the personal is political. The coexistence with the uncertainty for the integrity of the women's body belongs to the private sphere, but its need for political construction is a public issue. The link between this individual action - the impact produced in each body by the news of femicide and the various abuses of gender - and its collective manifestation - a single body composed of thousands, a single voice engineered by many - is thought in this poetic context from its symbolic power, maintaining a tone of recollection and remaining in the question posed.
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"It's an open question."
Site-specific action carried out at Ni Una Menos, a women's march that takes place since since 2015 in Argentina and other Latin American countries. Curaduria of Mariana Rodriguez Iglesias. Mono-channel video, 2017.
This march stems from the initiative of journalists, artists and activists, and then spread to the rest of society, with the purpose of raising awareness on the issue of femicide in Argentina (where a woman is murdered every 30 hours) and the demand for public policies on this matter. The action consisted in unfolding, from arm to arm in front of the chest, to black flag with the phrase IT IS AN OPEN QUESTION (IT'S AN OPEN QUESTION) printed in white letters, emulating a human shield. This presence in the public space, coexisting with the rest of the demonstrators, generated different reactions, both empathy and violence, which gave meaning to the action. The phrase printed on the flag has its origin in radical feminism from the late 1960's and it makes reference to the phrase "the personal is political". The relationship with the uncertainty for the integrity of women's bodies is a matter, but the emergency for its political construction is a public matter. The connection between this individual action (the impact produced in each body by the news of femicide and abuse) as well as its collective manifestation (a single body composed of thousands, a single voice made up by many) are thought in this context from its symbolic power with a less combative tone than the poetic and permanence in the question.
Sayli Kulkarni Joshi | India
Grey Fantasies
Grey is a point where black and white meet, depicting a balance and a calmness, as well as a lack of clarity, ambivalence or blurring of distinctions. Grey Fantasies is Sayli’s responds to a line of questions collected from the people of the city, urged to ask a question to the world.
Vidhi Vora | India
Fidget
Fidget is an exploration of fabric textures and its dynamics with threads. What if their 'roles' between fabric and thread change, keeping in mind their practical uses that binds both materials? The exploration of the fabric is movitaved through Vidhi’s reaseach and dialogue with people of Pune, in where she have been collecting responses of people with their open questions to the world.
Saviya Lopes | India
The construction of beauty is something that fulfils certain economic goals. Also, the cosmetic industry thrives on its customers and makes them feel inadequate if they don't adhere to the standards set by the society. Apart from the social, economic, political, psychological and physical effects of these industries, they also help in creating and maintaining the differences between two sexes and solidifies binaries such as ugly/beautiful or maybe terming someone as masculine/feminine in the society. The case of, " it is a woman's choice to beauty herself" must be re-examined or re-thought as a choice itself since it's a part of the social construction. The linear drawings are based on understanding how the relationship between beauty and female identify works as a binary