Sun. Mar 3rd, 2024


One of her greatest achievements is being invisible. Her presence in her absence suspends the complete work within the Visual Arts part in an inhibited area. There is a centre, however artworks are allowed to maneuver freely, resolve on their areas, and discover their very own future. A sure freedom by no means leaves the fragile thread that touches the whole lot that has been created. Long after you have got seen/unseen all of the artworks, a realization of their togetherness erupts – not with pressure however with quiet camaraderie.

‘Turning: On Field and Work’, curated by Vidya Shivadas, writer and curator of the Visual Arts part (together with Veeranganakumari Solanki) on the lately concluded Serendipity Arts Festival in Goa introduced collectively round 18 artists and establishments together with Niroj Satpathy, Amol Patil, Benitha Perciyal, apart from collectives like Panjeri Artists’ Union and Britto Arts Trust from Bangladesh.

During the Covid pandemic, Shivadas, additionally the Director of the Foundation of Indian Contemporary Art (FICA) created a studying discussion board to affiliate with artists who’re working with agriculture/farming. “They were interested in questions of indigenous farming and the lack of value and different concerns as well. This got me thinking, how does one think of farming and philosophize about it? How do we talk about the environment and other urgent questions?”

This had been rising in her thoughts for a very long time. The curator notes that although artists for a very long time now had been spending in depth vitality on analysis, weren’t bringing this (analysis) facet to the foreground. The identical holds for archives as nicely. “Many artists’ work encountered at Serendipity are embedded in materials and come from deep-rooted knowledge. Now, interestingly, two people do not experience the same place in the same way, and neither do not follow the same methodology. Thus what emerges is something truly enigmatic, ” notes Shivadas.

Stressing that as a curator, she is happy that the exhibition managed to maneuver folks at completely different ranges as a complete and never simply by means of the prism of single objects. “People could feel the connections. There is an interest in transformation, and witnessing a relationship being formed with everything around — the want of being related to something. All the projects, in the most artistic of ways brought forth points of connection. Multiple themes came together and also stood out. I am glad the festival could support around seven major projects and several new projects also saw light of the day.”

Involving each senior and younger artists, the curator has at all times been within the choreography of labor, pondering first concerning the work after which the artists. “One whole wing looked at work and the materials that are around us: Bricks, seeds — their qualities. The other one was about archives and collectives rising while the third dealt with displacement.”

Talking about FICA (Roshini and Parul Vadehra are the trustees), which supplies grants to artists and is concerned in artwork training, the curator says, “The artist community is not that very well supported and that is where we come in to create bridges. There is also a library, which can be transformed into a space for talks and interactions. There is a project space where inhabit it. The idea is also to think about how artists are creating.”

Observing that loads of younger artists are curating themselves, she smiles, “ Maybe artists are more resourceful than the curatorial community. Interestingly, I see a whole generation of new writers (art writing), that is emerging, ” she concludes.

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