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


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.

B Ajay Sharma


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.

Tapati Chowdhury


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.

Ruth Vigueras


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.

Annelie Nilsson


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.

Pinar Derin Gencer


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.

Anirban Datta


Roots of trees hold land and soil erosion. We all have read in our schoolbooks. In the Oak forest I saw a chunk of land including a section of the mountain trail had subsided and slid down into the stream. Not a big landslide, but a rather small one. A chestnut tree and an Oak tree managed to hold the rest of the ground. I felt extremely curious to observe the slide, as it looked like a miniature of a big one, exposing the layers of the underneath in a cross section. The slide spans about 50 feet in length and about 20 feet in height at the maximum. I cautiously climbed down to the stream to have a look at the cross section. It showed exposed roots of the trees alongside the earth and broken stones. On careful observation of the loose earth around the slide I found the complex network of the very soft and delicate roots thin as thread that prevailed around the sides of the slide that prevented it from further slide. A large section of the patch around the center of the slide I noticed doesn’t have trace of any roots. I felt the power of the small. I realized the reason of the slide and pondered on an installation work around it. The idea was to have a work that helps to hold the land and to prevent it from further slide.I choose soft red colored wool as my material -- wool because it is a natural fiber, soft and delicate as the roots and it will not decompose as fast as the other natural fibers like cotton threads etc. And red is a color that would contrast well against the color of earth stones and the green foliage of the forest. This is a place far away from our exhibition space hidden inside the Oak forest. Only possible audience will be some curious shepherd and some people who would come to visit the Binog Mountain Quail Sanctuary, whose territory lies on the other bank of the stream. Red color will draw attention of the occasional visitors of both the banks of the stream. I started tying the roots with wool to make an elaborate complex mesh of wool and roots along the surface of the loose earth. To begin the work I needed to climb about 15 feet over the soft and loose earth of the slide and balanced myself carefully holding the soft and delicate roots that would break if I gave them a pull. I started to tie wool to the roots and moved along. To my delight, I found the tied wool gave strength to the roots and the new network of roots tied with wool was actually been able to take my weight as I moved on the loose earth on the slide. I also felt a strong performative quality of the process, as I was carefully balancing myself and moving along extending the wool network. It was a bit risky as at places it would be more than 20 feet steep fall onto the rocky mountain stream. I managed to extend the network along the whole span of the slide, which would be about 50 feet in length. My old collaborator and performance artist ChiMuk was observing what I was doing from the trail little above and started intervening by pelting stone around me. I felt great joy not fear as I felt he could connect with the performative quality of the work independently. It gave me a greater challenge as it reminded me of the risk. I returned to the work one more time and in two days I made a three-layer network with roots and wool. This is pre-monsoon time and I feel over this network leaves and earth washed down in rain will form a layer which will allow algae and moss to grow and slowly form an alive surface that stops it from sliding further. The installation will then no more be visible on the surface but will be a success hiding underneath.

Nicola Fornoni


Within a forest, a man and a naked woman bind with medical gauze restricting movements engaging and conforming to the trees and to themselves by distorting the identity.

Amal Akash


মানুষ বিদ্যুত খেয়ে বাঁচতে পারে না। সুন্দরবন আমাদের নানা ভাবে বাঁচিয়ে রাখে। তাই সকল মানুষের প্রচেষ্টায় এ বন সুন্দর থাকতে পারে। যদি রাষ্ট্র-সরকার এর বিরুদ্ধে গিয়ে পাওয়ার প্ল্যান্ট করে তাহলে প্রকৃতি একদিন তার প্রতিশোধ নেবে। তাই এই পারফর্মেন্স এর আহ্বান, আসুন আমরাই সুন্দরবনকে বাঁচাই।

Bisaji Gadekar

Urban anxiety is durational performance series of 5 performance artist where all the work based on around the anxiety of urban habits and its crisis We choose one element from the nature to express and explore the curiosity. Bhisaji took the subject WATER and it’s body and politics. He takes a long walk which is more like an invisible protest of what exactly going on these days regarding water as a physical crisis. He knocked door to door to collect the water and after a while, the pot gets filled up. The intense of his work intense is hidden in his long walk which actually provokes us towards a question of “power-politics & pani”. green-grey.html

Harindar Langayan


The use of typography in my work is with a purpose to convey my ideas and understanding in a neutral way. Simple quoted lines which has the essence of common scenario of every body’s life is yet been repeated with the help of relative medium so as to reach the whole idea of the message to the audience. The medium plays a vital role in creating my art work, formed the ideas, hence expands it. It varies with the use of organic as well as man-made materialistic media. About my work, Sarsarahat:-Like our every emotion with us and the nature, it also like our other remembrance of what is left in the past. Everything we lose except our memories of the particular thing or the sensation of that past experience. I did this particular work for the nature, where in every season nature changes. It blooms at a particular seasons and in the other it left behind dry death leafs. This is the cycle of nature, where nothing is left at the last, everything dies in time. But here I try to reconstruct the nature with the sense of ‘Sarsarahat’. It is a very emotional play with the wind, dry leafs, sensational sound of dry leafs and the ‘Sarsarahat’, the murmuring of these leaf.

Graham Martin


For the exhibition 'How to view a Death Delta' I have moved the action from the Sundarban to the UK and Western society implying that the threat to the Delta is connected to global economic forces and its policies. In fact the notion of the 'Death Delta' covers much of the world and threatens the planet. On thinking about this brief I realized I could only do it from where I lived the UK. I also thought Tigers cannot save themselves only mankind can do that because that is what threatens the Sundarban and its tigers, its river life and ecosphere.

My initial research found the Bollywood movie 'Roar' which featured gangsters with guns, a gold bikini clad singer and real and CGI tigers. It was shot in the Delta its ethos is entertainment for the masses and selling product. I also thought of 'onesie' playsuits of superheroes and animals which are popular here popular as a sort fun piece of leisure clothing. I imagined marrying the two. This video isn't sorted yet (mainly because the footage is in a friends phone who seemingly has no time to send to me) so I shot myself wearing a tiger onesie on location in a friends flat. I imagined the tigers domesticated and debauched, finding fun through a parody of themselves, wildness and of tigers. Such playsuits are part of any number of distractions served up to entertain and divert (and make profit) the western masses. The onesie is also a live action version of cuddly animal toys that make us into a 'performer'. In contrast and counterpoint I also thought of William Blake's famous poem Tiger which is a revolution tome about natural being. Can we remember and safeguard our planet and our humanity. To save the Tigers, To save the Sundarban we need to save ourselves but also in saving the Tigers we save ourselves. We are all connected. The images are intended to be funny and tragic - a collision and confusion - our confusion. Our unnaturalness. Preserve our naturalness. The images in the context of the title of this exhibition are a cry for the real and its preservation. We are living in a world that manufactures tiger onesies whilst tigers face extinction. After I finished shooting I checked the label of the onesie which I bought on ebay – it was Primark. Its website said all its clothing was made globally and that it operated an ethical policy in its outsourced production. Yet Guardian research still shows degrading sweatshop production continues (which the proposed power plant would power along with other stuff) in Bangladesh. Not much has in fact changed since multiple deaths in the collapsed Rana Plaza building outside Dhaka on 26 April 2013. The onesie is 100% polyester a derivative of oil which reminds me of the oil spills in the Sundarban. The black stripes of the Onesie Tiger are literally made of oil. Western culture and lifestyle is a derivative of oil!? Sentient life as derivative of global capitalism (or so they would have us?).It's all connected - the pollution, the industrial development, the onesie, the tigers, global capitalism, wealth inequality, poverty and entertainment, unconnectedness and our behavior. Cheap clothing / cheap tigers. SOS / SAVE THE SUNDARBAN

Francesca Finni


OFELIA NON ANNEGA (Ophelia did not drown) is an experimental feature film, written and directed by Italian video artist Francesca Fini. The film reinterprets with a surrealist twist the epic of the Shakespearean drama, but from the point of view of young Ophelia. The film was produced in collaboration with Istituto Luce - the national film archive devoted to the documentation of Italian society since 1927 - and integrates heterogeneous and seemingly incompatible languages: the sociological national archive and original performance art pieces designed and staged by Francesca Fini expressly for this project. The result is a visionary narration that speaks to you at an unconscious level, free and fluid par excellence, deeply nomadic and metamorphic like the element of water. Water is in fact the common thread of the entire movie, in its three states of liquid, solid and gaseous. At the center of it all is an Ophelia who is very different from that of the literary tradition: not the fragile teenager in love, but many women of different colors, features and age. An Ophelia who eventually did not drown, renouncing her destiny of romantic heroine to become a "person".

FerialI Afiff


Lot of mangrove forest in Indonesia gone along with the development of the industry. Not only mangroves, other organism also affected by that. Even worse, this condition polluting the water. Some of the factories waste gone into the river or to the sea. This end up with the extinction some of the living creatures. On the other hand, human is the first agent who contributed to the nature degradation, individually destroy the nature with the littering habit, or wrong way of farming. It's like a dream to wish that all citizens of the world to reduce the waste production, or industrial/globalization development. In the image Ferial was perform (photo by Ali Mugny) in front of steam-electric power plant, the dress was made (by Ziggy Zeaoryzabrizkie) from recycle material (plastic & textile waste).

James Needham-Walker


STATEMENT ON SUNDARBAN These images come from a performance in April 2016 in Tasmania, Australia. The performance titled ‘We All Stand' was inspired by the ancient Italian tales of the ‘Benandanti’. The Benandanti were thought to be people who at times could leave their body to roam the land to protect the landscape, the earth, the rivers and fauna from evil that threatens it. Like the Benandanti we can all take responsibility to protect the earth. In this instance the crisis in the Sundarban. Artists can take a lead role do draw attention and protest against ecological destruction It is vital that we all stand in solidarity to protect this vital and unique ecosystem.



Neda Godoy


This action wants to show the body affected by the weight and balance at a given time, time that determines one's body in its resistance. And also accompanied by elements that for me have a symbolic/significance, I've been working this time last article. Wood as the labor force, the bandages as one of the control systems to the sick body and water as a basic need. Water worker wants to unveil a future reality by escaces of our basic and natural elements, where the workforce is transformed for and against the human being.

Lilli Tolp


During two weeks residency in Gram Art Project, Lilli and Mai built a hut and prepared a Butoh Dance “Warrior Nuns”.Performance took place in Paradainga Village during a Seed Festival 2016. Dance was inspired by local land and extremelyhot climate. It’s well known, that Central Indian farmers are having very hard times caused by lack of water. Hardly any plant besides Cotton grows under burning hut sun and in thick dry soil. Two main problems why thousandsof farmers are attempting suicides are empty wells and over exploited soils. Warrior Nuns - Lilli and Mai mirrored thestruggles of planted seeds. They where dancing in an empty pond when temperature reached 48 degrees Celsius.

Juan Carlos


Human beings are part of nature. If nature dies, we die (like all other living things). As simple as that. With my work on nature I meant that if my mouth is shut to speak by palm trees that die on my island, then my mouth, sooner or later, will be closed for my body to receive the water it needs to stay alive. All of us must speak and fight for our planet. It is the only one we have ...

Samudra Kajal Saikia


Samudra had a similar exercise before in March 2012 in Kolkata, on the Bank of River Ganges. There he wrote in Bengali –
–এস নদীর ধারে একটু বসি নদীটা শুকিয়ে যাওয়ার আগে - আহাঁ পাৰেত অলপ বেহাঁ নদীখন কাই যাৱাৰ আগেত।
Let’s sit a while on the bank before the river dries up.
Samudra Kajal conceptualized this as a long term project to continue the same sentence again and again on the river banks in multiple places. But this time he added two lines newly. May be over the period of time it will take a shape of a long poetry consisting multiple languages, according to the space. So in a way it can be briefed as: Samudra Kajal is writing a multilingualpoem in multiple places over the period of time, not with pen on paper but with materials on river banks.

Nikhar Daneil


Open your eyes and your soul then you will be able to see the truth, its right there… in front of you… you just can’t see yet… until you blink and focus. Why you do not say something? React something? ‘’We are only as blind as we want to be.’’ - Maya Angelou After completed my graduation from Art’s Collage, Chandigarh, I started theatre and start getting indulges into current affairs like politic and society, etc. Understanding this all, I’ve got a war in my mind against the useless norms of the suffering society and I don’t remember when my anger developed towards the wrong doing in the world we are living in. My artwork is the result of my anger that I have in my mind towards the endless destruction happening around the world. Through my work I show ‘Hope for humanity’. Cruelty, scandal, wickedness, diplomacy, blind- patriotism are the fear of life which I can’t deny by watching with my own eyes. Whoever kills an innocent life it is as if he has killed all of humanity. I’ve been working on digital art in the past two years. These days I am also exploring the possibilities of new media art – performance and installation using waste material, paper and wood. My work is often a three-way negotiation between myself, my immediate physical surroundings and what I receive whether through the internet, books, history or collective knowledge. So, at the beginning of the work if you say, it is a peaceful new beginning. It doesn’t, not yet anyway. Things need improving, they need improving beyond comprehension. Heart need to open. Humanity need to be reborn. Fear need to be erased.

Khursheed Musthtaq Ali


In political conflict region which lead artist to work on many domination subjects. The Association of Disappearance Persons is celebrating annual day of disappeared people. The occasion is watched under the authority. As Performance artist, the body narrates itself different concepts. The performance was in open space, and I performed in half nude with written text, poetry written by my own. I have heard the stories by my relatives. The victims, the families of disappeared persons participated in this event holding the photographs of their disappeared ones. Though this performance makes me victim not holding any photograph but the text written on my body. Though this performance is a kind of protest against enforced disappearances and solidarity with the victims. The piece was performed at the common place where the parents of disappear persons used to sit every month. My intervention in this happening was body and text.

Sergio Muro


As a creator I try to critic the system mixing images -mostly celebrities, adverts, wars, violence, sex, slogans- fro m magazines and TV. As a performer I try to involve audiences in my ideas, using humor and funny situations, to create a happening where everyone can blow off steam as a catharsis. Sergio muro (1974. Saragossa, Spain)

Manjot Kaur


Specific performance and installation at Velavadar, Gujarat at Global Nomadic Art Project 2015. This piece explores the inner spirit of the existence and the collective psyche of the individual. The costume acts as a doorway in order to reach the core of the personas of other beings that live in this site. I explore the notion of oneness by switching my personality with other beings like that of a Blackbuck, Harrier, Frog, Soil, Water, Air and Space, while performing in the space. The structure near my body is that of a Human DNA. The whole act is viewed as if happenings taking place in a dream inside one’s memory.

Rohan Dumbre


This performance was done in 2015 at kanha forest Madhya Pradesh. It was done on banks of a river in Kanha, on last day of the performance art workshop conducted by artist Nikhil Chopra. The location was besides the river in Kanha forest. During this performance I have used all props and materials that were already available. It stared with colouring the rock with turmeric and bowing to sun made on sand using turmeric. I have incorporated all that was taught in last 6 days of workshop. It also included intervention to a fellow artist which was part of my act. Its duration was 3.5 hrs. The idea of stone age artist came into mind after several visits deep into the forest land which was part of workshop. I just wanted to potray how an artist in stoneage era would have existed.

Marta Lodola


Site-specific performance and installation at Velavadar, Gujarat at Global Nomadic Art Project 2015. This piece explores the inner spirit of the existence and the collective psyche of the individual. The costume acts as a doorway in order to reach the core of the personas of other beings that live in this site. I explore the notion of oneness by switching my personality with other beings like that of a Blackbuck, Harrier, Frog, Soil, Water, Air and Space, while performing in the space. The structure near my body is that of a Human DNA. The whole act is viewed as if happenings taking place in a dream inside one’s memory.

Ridwan Rau Rau


I come from the Republic of Indonesia, I am here to feel something not good in Sundarban. here I cannot seek more help to you there, but I try suport in other forms like the photos I took at the beach Tanjung Lesung Banten Indonesia. I gave a title (saya merasa sangat kecil dialam semesta yang luas) in english "I felt very small in the vast universe".

Shubho Saha


Performative installation at Dhanmondi Lake, Dhaka, Bangladesh. This performance focuses the environmental pollutions and the natural reformations. The color Blue represents the toxicity in the environment. I performed with the installed pieces of art, and have framed the specific compositions of the nature and its belongings. Every day we have lots of involvement with our surrounding nature and environment. But most of us do not measure these daily relations. Even relation with the grasses or a seedling beside the road is out of our thinking. So the fact we do not feel importance of the nature, so we do not care. I constructed the performance ‘Frame your view-2’ to invite people look closer, feel closer and react closer with an specific view of their own choice in the nature.

Right from Cave Paintings to Contemporary mixed medium… talk about any art from, the experience of the art form – its color, texture, sound, feel… everything changes in accordance with the format of its exhibition.

How to view a Death Delta, is one such exhibition, where different art forms have come together and become one. The unique and insightful depictions of the Performance Artists, captured by the creativity of the Photo Artists… have merged together though a contemporary medium – the Web!

Sunderbans is an extraordinary creation of nature – the unique mix of its air-sky-rivers-mangroves-animals and natives makes it so. “How to view a Death Delta”, is an effort to pay respect to this natural beauty of the Sunderbans.

Imaran Ahmed

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