AN ART EXCHANGE PROJECT & EXHIBITION - HOWRAH-MALMÖ
This project is an exploration of the distinctive characteristics of two vastly different cities, focusing on their visible and hidden dimensions of labor and the ways in which it is perceived. Howrah and Malmö each possess a unique visual language, but they share a profound understanding of human labor, the evolving urban lifestyle, the development of society, and its concealed challenges. |
Howrah, situated on the opposite bank of the river from Kolkata, the former British capital, has a rich history deeply etched into its architecture and living culture. This history encompasses labor-intensive industries, grassroots movements, a significant Naxalite history, and the current political landscape, marked by economic liberalization, a migratory labor force, new political tensions, and a fresh appreciation for neo-social spaces. Conversely, Malmö, although relatively small, has its own labor-industrial history. It was once home to the massive shipyard industry, Kockums, until its relocation in 1998. The city also had a number of textile factories that closed down during the 1950s and 60s. Additional prominent industries in Malmö included ADDO, which manufactured office equipment, Ljungmans, known for producing petrol pumps, and Cementa, which continues to produce cement. More recently, Malmö has transformed into a hub of knowledge and education since the establishment of the university in the city. Notably, Malmö boasts the highest population in Sweden of Middle Eastern origin, with individuals engaged in various enterprises such as food stores, tailoring, barbershops, as well as professions such as dentistry, medicine, and law.
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Documentation from the exchange program-Howrah(left) and Malmo(right)
Curatorial Proposition: In any space, there are always two sides. The outer surface, which is physically more visible, becomes mundane over time. During its journey, it leaves its own impression in the space, and observing these impressions can be one of the classical ways to understand a space and its historical context. On the other side, hidden within history's marks lies a wealth of tension and conflict. This conflicting aspect contradicts our perception of time.
In general, society often views a space as an inhabited object and carries preconceived notions about it. Therefore, this project aims to challenge the traditional way of perceiving a space. The real question arises when we consider what happens to these spaces during conflicts and how our interpretations evolve within conflict zones. In this project, space is narrated through the artists' observations and expressions of solidarity. The displays will be situated in different landscapes, each with a distinct political narrative. The artists will have the freedom to choose their own communities, cultural expressions, and spatial politics for exchange with other spaces.
This project will explore two key focuses. The first is how space shapes our experience of conflict and how we respond to the constraints of physical space. The second focus is how artists relate to conflicts from their recent past and current positions within the ever-changing landscape. Throughout this process, three major stages will be involved, and the curator will assume different roles in each stage. Initially, the curator will focus on selecting the artists and spaces. In the second phase, collaboration with the artists will involve exploring and establishing connections between existing ideas and the artists' perspectives. In the final step, attention will be directed toward execution and display design. As curators, we will nurture and maintain the connection like an invisible thread of collaboration.
In general, society often views a space as an inhabited object and carries preconceived notions about it. Therefore, this project aims to challenge the traditional way of perceiving a space. The real question arises when we consider what happens to these spaces during conflicts and how our interpretations evolve within conflict zones. In this project, space is narrated through the artists' observations and expressions of solidarity. The displays will be situated in different landscapes, each with a distinct political narrative. The artists will have the freedom to choose their own communities, cultural expressions, and spatial politics for exchange with other spaces.
This project will explore two key focuses. The first is how space shapes our experience of conflict and how we respond to the constraints of physical space. The second focus is how artists relate to conflicts from their recent past and current positions within the ever-changing landscape. Throughout this process, three major stages will be involved, and the curator will assume different roles in each stage. Initially, the curator will focus on selecting the artists and spaces. In the second phase, collaboration with the artists will involve exploring and establishing connections between existing ideas and the artists' perspectives. In the final step, attention will be directed toward execution and display design. As curators, we will nurture and maintain the connection like an invisible thread of collaboration.
Curatorial Collaborators
Tamara de Laval(Sweden) is a painter from Malmö, Sweden who graduated MFA from Royal College of Art, Stockholm in 1981 and has since worked full time as painter and later occasionally as free lance curator.In 2003 she started the artist group Meteor, with senior and younger artists collaborating on art projects in public space.Meteor are part of The Area,a group of artists working as a platform for social art projects in the stigmatized area of Sofielund in southern part of Malmö. Tamara has exhibited widely since the 1980s in Sweden,India and in other countries like Mexico, Colombia,US,Egypt,Denmark,Germany,Norway,France. In India curated Sites of Recurrence at Dakshinachitra 1n 2003 and curated the workshop and seminar Fluid Signs,Perceptions and Identity at Dakshinachitra and Lalit Kala,Chennai.”My work is about life experience, consciousness, and feminism. I feel the vibrance of nature and our connection to it. I agree with Deleuze and Guattari's discussions of the negative effects of patriarchal systems on women's independence and control over their bodies. I also find inspiration in their theories of rhizomatic, nonhierarchical and nonchronological ways of thinking, networking, collaborating, making connections and disseminating ideas.”
www.tamaradelaval.com
Kaur Chimuk(India) is considered a queer flexitarian by choice. In everyday life, Zie’s majorly functioning as a performance actionist and as well as a curatorial researcher with a special interest in trans-disciplinary curatorial practice. Zie completed grad. with a specialization in graphic design from India, in the final year dissertation/thesis, they got a scope to work on user object-oriented web architecture design for the public health sector. Kaur also pursued an advanced diploma in Multimedia Design with a specialization in two-dimensional graphic animation. While studying in the final year, zie accepted an offer to work with an international artist collective which is majorly working from Shantiniketan-Kolkata-Delhi, where they had a wonderful time together to study various cultural methods both in terms of participatory practice and action research program. In the year 2014 - Kaur started exploring the body of work beyond the digital screen and its synthetic synchronicity - zie discovered that they have deep down interest in political performance tools as well. Currently working from India also has a working base in Sweden(meteor international) & UK(inventory platform). In the last couple of years, zie has shared a special interest in non-binary viewership and the participatory curatorial model. Recently, zie has started a curatorial research platform in India which is also known as - TAC or Tracing A City, where you can find most of their collective working research and initiative. As an individual practitioner, zie likes to explore the body as a political space for nonbinary action field and as well as a platform for fluid visual poetry
kaurchimuk.weebly.com
Tamara de Laval(Sweden) is a painter from Malmö, Sweden who graduated MFA from Royal College of Art, Stockholm in 1981 and has since worked full time as painter and later occasionally as free lance curator.In 2003 she started the artist group Meteor, with senior and younger artists collaborating on art projects in public space.Meteor are part of The Area,a group of artists working as a platform for social art projects in the stigmatized area of Sofielund in southern part of Malmö. Tamara has exhibited widely since the 1980s in Sweden,India and in other countries like Mexico, Colombia,US,Egypt,Denmark,Germany,Norway,France. In India curated Sites of Recurrence at Dakshinachitra 1n 2003 and curated the workshop and seminar Fluid Signs,Perceptions and Identity at Dakshinachitra and Lalit Kala,Chennai.”My work is about life experience, consciousness, and feminism. I feel the vibrance of nature and our connection to it. I agree with Deleuze and Guattari's discussions of the negative effects of patriarchal systems on women's independence and control over their bodies. I also find inspiration in their theories of rhizomatic, nonhierarchical and nonchronological ways of thinking, networking, collaborating, making connections and disseminating ideas.”
www.tamaradelaval.com
Kaur Chimuk(India) is considered a queer flexitarian by choice. In everyday life, Zie’s majorly functioning as a performance actionist and as well as a curatorial researcher with a special interest in trans-disciplinary curatorial practice. Zie completed grad. with a specialization in graphic design from India, in the final year dissertation/thesis, they got a scope to work on user object-oriented web architecture design for the public health sector. Kaur also pursued an advanced diploma in Multimedia Design with a specialization in two-dimensional graphic animation. While studying in the final year, zie accepted an offer to work with an international artist collective which is majorly working from Shantiniketan-Kolkata-Delhi, where they had a wonderful time together to study various cultural methods both in terms of participatory practice and action research program. In the year 2014 - Kaur started exploring the body of work beyond the digital screen and its synthetic synchronicity - zie discovered that they have deep down interest in political performance tools as well. Currently working from India also has a working base in Sweden(meteor international) & UK(inventory platform). In the last couple of years, zie has shared a special interest in non-binary viewership and the participatory curatorial model. Recently, zie has started a curatorial research platform in India which is also known as - TAC or Tracing A City, where you can find most of their collective working research and initiative. As an individual practitioner, zie likes to explore the body as a political space for nonbinary action field and as well as a platform for fluid visual poetry
kaurchimuk.weebly.com
Supporters
(This edition was curated project For Srinagar Biennale 2017)
(This edition was curated project For Srinagar Biennale 2017)
Project Supported By
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Presentation Supported By
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Outreach & Extended Project Supported By
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SPACETIMETRAINS - Sunshine Socialist Cinema - Spinneriet Urban Art
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Changers' Foundation Paribartak - Råfilm Film and Activist Collective
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Media Partner
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