The Curator #19

The Curator #19

We are living in the time of greater environment crisis. Our land, air, and water are heavily polluted. It has become so common and dangerous that we have even turned a blind eye towards the issue. As if it is not happening. Many rivers in our country are extremely polluted. They churn out chemical foams. The thick smog in many parts of the country have risked thousands of lives. Have we ever thought what can we do about these issues? As artists, curators, teachers, pedagogues, art lovers how can we use art to raise our voice against this situation. Most importantly, how can we use curation to address this issue? How can we shake up people who are ignoring this ecological disaster? Can curators and artists across the world come together and imagine a possibility to create an awareness, and throw some light on the magnitude of the situation? Art and curation are not only to create beautiful exhibitions, but they are also tools for social change.

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In this issue of Art1st’s “The Curator” series we discuss about the ‘Yamuna-Elbe. Public.Art.Ecology’ curated by Ravi Agarwal (Delhi) and Till Krause with Nina Kalenbach (Hamburg). We will see how by bringing two rivers from different countries Yamuna and Elbe, curators have tried to connect the ecological issues. We will also see how artists from these two countries created art projects by their involvement with these two rivers.

 

The Curator #19

Curators: Ravi Agarwal (Delhi) and Till Krause with Nina Kalenbach (Hamburg)

Exhibition: Yamuna-Elbe. Public.Art.Ecology, 2011

Venue: Yamuna and Elbe

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Ravi Agarwal

Ravi Agarwal is an artist, environmental activist, writer and curator. He has pursued an art practice integrally with his other pursuits. His earlier work, in the documentary oeuvre, encompasses ‘nature’, ‘work,’ ‘labour,’ and the ‘street.’ His current interest span questions around ecology and society, urban space and capital in interrelated ways. He works with photographs, video, and public art.

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Atul Bhalla

This was a public art and outreach project initiated by the Ministry of Culture, Hamburg, and carried out in the framework of “Germany and India 2011-2012: Infinite Opportunities”.

The participating artists in the two cities were:

Delhi: Asim Waqif, Atul Bhalla, Gigi Scaria, and Sheba Chhachhi from India and Nana Petzet and Jochen Lempert from Germany, with contributions by Vivan Sundaram and Till Krause.

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Gigi Scaria

Hamburg: Atul Bhalla, Navjot Altaf, Ravi Agarwal, Sheba Chhachhi, and Vivan Sundaram from India and from Germany, Daniel Seiple, Anna Möller, Jochen Lempert, and Ines Lechleitner with in collaboration with Prof. Vikram Soni from Delhi.

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Asim Waqif

As part of this project various school outreach activities were conceptualized which included

Art installation making from collected trash, Interschool poster-making competition, Interschool debate on urban development and sustainability, and Eco-walks.

This also featured

River Walks: Historians such as Sohail Hasmi and environmentalists such as Vimlendu Jha will conduct walks around the Yamuna as well as Delhi’s water systems to sensitize the general public as well as school children to their natural heritage and the impact of urban development on it.

Public Discussions on subjects related to the river and the environment will also take place.

Films and Musical Concerts: Films on the water and the Yamuna will be screened. A classical musical event will be organized by the river Yamuna.

Writing workshops

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According to Ravi, “With the city appropriating the river back into its gaze, there is fresh demand to ‘clean’ the river, especially from the city elite. This is the new ‘view.’ Though there have been major plans and a huge amount of money already spent to clean the river in the past, all have failed. The current proposals however are the most ambitions in terms of resources needed. There are demands to channelize the river to a small narrow flow, instead of the wide riverbed. This, it is said, will allow land to be freed up for fresh commercialization and urbanization. Linked to the idea of a clean river is the new requirement of land for those who can afford such housing and it is invested in by international capital. It is no surprise that the Commonwealth Games village has been built by a large international developer and its flats are being allotted to the rich and powerful.”

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Elbe Walk

 

The exhibition connected two different rivers, and two cities but with an interconnected future. It emphasized that river ecologies have been cradles of civilization and some of the most vibrant cities in the world lie along them. Today as local interconnectivities become more global, contesting views of the river, predicated on technology and capital have emerged. Rivers are increasingly seen as mere water channels, or even real estate. New threats of climate change have complicated the challenge. This exhibition tried to foreground these issues.

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Project partners for the outreach and educational activities included:

Toxics Link, World Wildlife Fund, Swechha, Foundation for Indian Contemporary Art, KHOJ International Artists’ Association,A Wall is a Screen, and several important historians and environmentalists in their individual capacity.

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Sheba Chhachi

Let us discuss how can we use art and curation to address issues of environmental crisis. How can we do an exhibition on the ecological crisis. Feel free to share your thoughts, comments, and suggestions.

  • Premjish, Director-Outreach, Art1st

 

 

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The Curator #4

In the last few posts we saw how curators weave a narrative around the existing collection to make it viewable and legible, and how some redefine collections. But how would you curate something which is not there? Something which is absent and whose presence is anticipated. Something which will appear much later in the curatorial process. These are complicated questions, but these were some of the important questions which Raqs Media Collective had encountered while curating the seminal exhibition Sarai 09. Earlier we had discussed about looking at curation itself as a process and how to not see the final exhibition as the most important aspect of that journey. Curation is a map of that journey, and the final exhibition is one of the halting points. But where does the journey end. That is another important question which was raised by Raqs, “When does curatorial work end?” It is an important question which draws our attention to the practice of curation itself. With the conventional form of exhibition making we assume that once the exhibition is open for public viewing it starts its life cycle and once the works are taken away on the closing day, the exhibition is over.

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Sarai 09, Courtesy: Raqs Media Collective

In Raqs Media collective’s own beautiful description, “To curate is to offer, metaphorically speaking, not just old wine in new bottles, or even new wine in no bottles, but also all that is entailed in so far as the cultivation of a vineyard, running of a distillery, maintenance of a cellar and the animation of a tavern are concerned, and all at the same time. It is to create the conditions necessary for the intoxication of what is called ‘rasa’ (aesthetic jouissance) in the Indic traditions to occur, and for sobriety to be called into question, as an aide and afterthought to the revelry, all the time. The curator is the distiller, bootlegger, tavern-keeper and barmaid of rasa, or aesthetic experiences.” Here we see the varied roles of the curator. As the world and the object domain of the contemporary art expands the functions of the curator too broadens.

In the fourth issue of “The Curator” series we present artist collective and curators Raqs Media collective.

The Curator #4

Raqs Media Collective: Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta

Exhibition: Sarai 09 

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Raqs Media Collective:  (L to R) Shuddhabrata Sengupta, Jeebesh Bagchi, Monica Narula and

“The Raqs Media Collective enjoys playing a plurality of roles, often appearing as artists, occasionally as curators, sometimes as philosophical agent provocateurs. They make contemporary art, have made films, curated exhibitions, edited books, staged events, collaborated with architects, computer programmers, writers and theatre directors and have founded processes that have left deep impacts on contemporary culture in India. Raqs (pron. rux) follows its self declared imperative of ‘kinetic contemplation’ to produce a trajectory that is restless in terms of the forms and methods that it deploys even as it achieves a consistency of speculative procedures.”

 

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Sarai 09, Courtesy: Raqs Media Collective

 

Sarai 09 was stretched across nine months as a series of propositions, in an empty space, ‘like a blank space” which would eventually unfold into objects, situations, utterances, gatherings and questions. I had a chance to visit the final exhibition in Devi Art Foundation. The energy there was tremendous. Viewers moving from work to work, interacting with the artists, works, and performances. Even few of my friends who were part of the exhibition found the experience very useful. It helped them to see art making and participating in an exhibition as a process and a collaborative experience. The exhibition too featured different kinds of “works” which we do not see as art works in a conventional manner but which had a deeper sense of belonging to the contemporary world in terms of its content. According to Raqs, “the term “artist” got thoroughly dismantled and explored by each protagonist; it became elastic. Our role as curators in this situation was also to observe overflow.”

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Sarai 09, Courtesy: Raqs Media Collective

This democratisation of participation, the expanded notion of what is art, and the emphasis on the process and seeing curation as an ongoing journey has made Sarai 09 a memorable experience in Indian art. As far as the important question of when does curatorial work end. I would say curation is an incomplete work, it is an ongoing journey. Once started it keeps on traversing the landscape of art and history. It accumulates new meanings, interpretations, responsibilities, and attracts new “consumers”. The work of curation never ends.

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Sarai 09, Courtesy: Raqs Media Collective

The details of this exhibition could be found in the Sarai catalogue Sarai 09 with the proposals of the artists and the curatorial note of Raqs (http://sarai.net/sarai-reader-09-projections/). Here is another important interview with them on the exhibition which appeared in On-Curating magazine ( http://www.on-curating.org/issue-19-reader/interview-with-raqs-media-collective-on-the-exhibition-sarai-reader-09.html#.WZbaWfig_Mx ). The magazine is free to download and also look for other topics which interest you.

We wish you a happy weekend. Please share, comment and discuss.

-Premjish, Director, Outreach