Project curated by: Sumana Aktar & Chimuk
Exhibition curate by: Imaran Ahmed, Sumana Aktar & Chimuk
This curation was conceived after a very intimate dialogue between Chimuk and Sumana where they tried to understand three parallel critical situations they feel inside their practice. It was nota exhibition projected to later help them to open up more interesting spaces. In the beginning, it was just a parallel exchange: in one hand, Sumana tries to make a dialogue with the existing crisis at Sundarban. She tries to involve herself from her practice in order to understand how she can articulate the movement inside her journey. On the other hand, Chimuk, who is fundamentally interested in art performance curation. He, rather than considering this crisis as a the crisis of one particular delta, tries to connect all the dots in a way where the crisis is a prolonged ecological emergency in human civilization, especially after the Industrial Revolution and the development of neo-urban life. There are three main triggers for this project. First, understanding the relation between land and water, as we try to trace the harmony of the human–river relationship, at the same time locating the imbalance and destabilization of both. Second, we have been thinking for a long time within the collective how art can be influenced by the current crisis, and simultaneously, how the same art can be practised as an activism different from the conventional one. Our practice of art is Conceptual, expanding the aesthetic boundaries of the politics of the consumerism. Third, a very personal anecdote by Sumana, that we thought from thecuratorial side it should be published along with that internal dialogue:
… আমার দেখা ছোট্ট বেলার নানু বাসার সেই বড় পুকুরটি আজ নিশ্বাস নিতে পারছেনা ময়লার ভিরে। সাঁতার সেখার পরে যে পুকুরটি সাতরে বেরিয়েছি ঘন্টার পর ঘন্টা , মা ধরতে আসলে অপর পাড়ে সাঁতরে গিয়ে বসে থাকতাম , আজ সেখানে অসংখ্য মানুষের বসবাস, আমার নিশ্বাস নিতে বড় কষ্ট হয়। ছোট বেলার আমার ভলোবাসার সেই বাগানের বড় গাছগুলো আর নেই, ভাইয়ের সংসার বড় হযেছে ঘর লাগবে তাই গাছ গুলোকে কেটে ফেলতে হলো । আমার খারাপ লাগার কথা গুলো নিজের মধ্যেই রেখে দিলাম , শুধু ভাইকে কয়েক বার বারণ করেছি । উন্নয়নের নামে আমার প্রিয় চারুকলাকে আজ পরিনত করা হয়েছে ডাষ্টবিনে ….. আমরা নিজেদের জীবনকে সুসজ্জিত ও আধুনিকরণ করতে গিয়ে নিজেরাই পরিবেশকে প্রতিনিয়ত ধ্বংস করে ফেলছি নিজের হাতে ।দেশকে আধুনিকতার রোল মডেল করতে গিয়ে ধ্বংস করে ফেলছি আমরা আমাদের সুন্দরবনকে,যে সুন্দরবন আমাদের মায়ের মত আগলে রেখে সকল বিপদ-আপদ থেকে রক্ষা করে ।
This part displays the intimate feelings and ideas she has shared about the land and its crisis. Somehow we feel that this resonates with the great speech BANGABANDHU’s 1972, also about the same land of SHUNDARBAN. We quote a part
... আমরা গাছ লাগাইয়া সুন্দরবন পয়দা করি নাই। স্বাভাবিক অবস্থায় প্রকৃতি এটাকে করে দিয়েছে বাংলাদেশকে রক্ষা করার জন্য। বঙ্গোপসাগরের পাশে দিয়ে যে সুন্দরবনটা রয়েছে এইটা হলো বেরিয়ার। এটা যদি রক্ষা করা না হয় তাহলে একদিন খুলনা,বরিশাল, পটুয়াখালী, কুমিল্লার কিছু অংশ, ঢাকার কিছু অংশ এ পর্যন্ত সমস্ত এরিয়া সমুদ্রের মধ্যে চলে যাবে …… একবার যদি সুন্দরবন শেষ হয়ে যায়—তো সমুদ্র যে ভাঙন সৃষ্টি করবে সেই ভাঙন থেকে রক্ষা করার কোনও উপায় আর নাই।... -— বঙ্গবন্ধু ‘’ , with love and solidarity, let's remember and share with everyone – ‘yes, there is still a beautiful place called Shundarban’.
Sumana Aktar & Chimuk
Yonggu Shin is a performance artist who presents a work showing combination of installation art, visual art, and performing art. He has steadily released works made up of exhibition and performance with a theme going with Circulation, Dream, Wind, A Skein of Thread in a Maze, Vitiation of String, Collecting the Pieces of Dream. In addition, he has various experiences such as directing dance performances, producing arts exhibitions, and etc. Yonggu Shin conveys messages through visual methods and symbolic objects and pursues performances with exhibition and performance united. He dreams artistic communication using the works of time, space, and environment under the larger theme, nature and human. He searches for a new role of art in the society by suggesting the spheres of art world in multiage through combining various genres of art such as installation art, visual art, and performance, and want art to be drawing of process and a part of a life's journey. He is continuing his work vigorously for about 20 years locally and internationally. He participated in British Museum, Thames Festival, Germany tollwood Festival, Sarajevo winter festival opening performance, Australia Woodford Festival, Spain Festival Valladolid, Portugal cerveire bienal, Turkey Cana kale Biennale, Pyeongchang Biennale and presented exhibitions and performances in 30 countries.
My practice of performance is direct or some time I will be correspondence of my act, Death and memory and witnessing of all in space history and fiction narration of such space. Allow me to work and deal with different method, through the image making wit body or photography, I believe i am a painter I am using photography as a painting method, here All space is from my native city Deoghar (Jharkhand) where I grown up since then I visit my city, and water problem day bay day increasing in city, and there is no any resource, there is rain river emerge in monsoon day after that in summer it get dry, so my memory the river in child hood as well now total change and it was all most death space, even the sand is big issue of land Mafia, as well stone are using for cement factory and building making all are political and lace issue which we are dealing with, lot of murder case for all mafia now in survey of environment after 15 year there is no water, water lave1 will draw so deep, so there possible to not excess water from won, every one buying water thought the performance making or before I visit space for knowing and understating the situation and history I thought is very hidden process of performance and convection between me and my body, space and fact of survey. Then I perform in the space, so for me; I am re performing in same space, and that is reference with the death happen before so many time for water, land, sand and stone. Therefore my action is repletion of all those real and fictional fact of space.
A group of Floaters lived in the middle of nowhere. They had a faint connection with the main land like a tail of a body. They wanted to believe that they were part of the main body and the body did not care much about them. On the other side they always felt the presence of the sea, with which they had an affective relationship. The Sea was keen to close in on them. The Floaters were almost aware about their destiny. Two Floaters among the group could not take the suspense any more. They finally took the decision of taking the voyage, leaving behind their companions. In this performance the performers tried to act as media for the voyage to act out the predicament of the Floaters.
Conceptual axis: "Colombia beloved country" piece made under the concept of the motherland and the struggle that each day to live in nations that are explotadas. México and Colombia conquered and colonized countries since its discovery five centuries ago by the Spanish conquest that does not end by the United States of America; where our lands are governed by neoliberal interests and traditions imposed by economic, political and social. Traditions and customs that fade over time in which an acculturation and syncretism, which is dissipating along with the love for the land where we live, in this sense, the concept of "Motherland" relates to the nation becomes visible originally; nations that are no longer ours in which high taxes are paid and constant social dispute. The homeland devoured and devastated its fauna, flora, minerals and their land by the inhabitants themselves. Under this conceptual axis, which the central theme of the Festival with dining and post conflict actions are framed. I walked toward the center of the place assigned, dressed in black with a ski mask of the same color of my mouth came a beef tongue with the written legend of the Colombian shield "Freedom and Order" in the center of the room a table was a grill, frying pan, a cutting board, a knife, a spoon for cooking and some vegetables. Later I began to chop the vegetables and poured it into the pan with oil to season, I left it to simmer. After a few moments, I cut my tongue out of my mouth to rip it up, note that the beef tongue is a typical dish of the region, in addition to cutting tongue use it as a method of torture paramilitaries. By drawing the tongue chopped and cook, she told a brief story with important dates, within which violent acts and internal war which the country has been framed.
A quadrate forms a very temporary barrier in an agricultural landscape in southern Sweden. The industrialized agriculture can place seeds and fertilizer with precise distance and depth. Sensors minimizes spillage to this randomless monoculture. The control of seeds in a monoculture is the opposite for the water that flows through the massive drainage system of this flat land Meandering streams have been straightened out and open ditches have disappeared. The root system of trees keeps the soil and water and protect the crops from wind, but many rows of trees is also removed in the landscape. The agricultural landscape in southern Sweden almost completely lacks the barriers and protection to combat erosion and eutrophication. Who owns and controls our common landscape? For whom are the barriers and shelters of the landscape formed.
When I have seen by Time's fell hand defaced.The rich proud cost of outworn buried age, When sometime lofty towers I see down-razed,And brass eternal slave to mortal rage; When I have seen the hungry ocean gain Advantage on the kingdom of the shore, And the firm soil win of the watery main, Increasing store with loss, and loss with store; When I have seen such interchange of state, Or state itself confounded to decay; Ruin hath taught me thus to ruminate. That Time will come and take my love away. This thought is as a death which cannot choose. But weep to have that which it fears to lose. William Shakespeare - Sonnet 64 & I created the shelter for a plastic world.