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As you access one of the close apartment of Shilpakala’s Gallery-1, you apprehension a television with a tap absorbed to its screen. From it, red aqueous always flows bottomward into what looks like a bloodied pitcher. It is set adjoin a bank collaged with war photos. On the TV screen, scenes of bombing and abolition credible in approved intervals. One could, at any time, about-face it all off application the alien ascendancy agilely hidden abaft the pitcher. But cipher dares to. Everybody stares at the comedy that is Imran Hossain Piplu’s Story of Red River and Grey World (2018). It’s a belittling appraisal of the how advertisement media has fabricated a comedy out of all-around tragedies—an addendum of which is realised aback crisis-struck account segments are adored with the accomplished Television Rating Points (TRPs).
The tap in Piplu’s assignment is one of those magic-trick toys actuality awash in roadside hawker’s markets—you can see baptize always breeze bottomward from it into a pitcher, but there’s no waterpipe affiliated anywhere. Aback I aboriginal saw one of these in the bazaar a while back, I was boggled. I searched for the antecedent of water, looked central and approved to amount out the mechanism, and betrayal the abracadabra trick. Similarly, perhaps, the visitors of the Biennale were abashed as to how this works—where is that goddamn blood-soaked baptize advancing from? The screen, announcement a river of red, cannot be the source. And while best of us absolved it as a full-proof trick, few analytical assemblage wouldn’t let it rest. I witnessed one such company activity advanced with his basis feel acicular out. He flicked his feel at the active water, hitting what seemed like a cellophane pipe, and again aqueous red all over the wallpaper fabricated of war photos. This was apparently the distinct best agitative moment of my art-viewing experience, one which I will characterize for years to come.
Perhaps I could abode about how this act took the artist’s assignment a footfall ahead, the red aqueous bloodying the war-struck wallpaper, spilling some added on the floor, evocative of claret stains. Yet, I know, actuality present at the moment, that this act absolutely abundant from the naïvety of that man who didn’t apperceive any bigger and alone acted aloft his curiosity, abundant like I did aback I saw one of these curtains in the hawker’s market. I admiration if the artisan had anticipation of the achievability of addition testing the installation. I absolutely achievement that he did because the man I witnessed was not the alone one, affluence others were cheating affairs at “exposing” this art-trick. Conceivably these are bodies who are not accustomed with the “do not touch” adage of museums: the alternation of art with this array of audience, as empiric in the adventure above, produces a arresting appraisal of the amplitude of exhibition itself.
This is the bond aloft which the 18th Asian Art Biennale sets itself—the absurdity of aerial art and “mainstream” viewership. The abridgement of opportunities to collaborate with institutionalised accomplished art creates an artful acumen chargeless of any accustomed angle of what should be advised (good) art. Majority of the admirers are alien with theories of form, medium, and aesthetes. Their affinity appear any art-pieces is directed by their accustomed instinct. And that exact actuality disturbs the braggadocio of high-art. In this way, it feels like the Biennale itself embodies the archetypal agitation on viewership. And in this accessible domain, artists are faced with the claiming of how their concepts can be pared bottomward to abode to an admirers above the art community.
Mohammad Hasanur Rahman (Reaz)’s Traumatized World (2018) explores this abode alike further. Traumatized World is a all-embracing accession that puts a bound library calm as accomplishments to a carve of an ostrich with its arch in sand. The library is host to baby birds with abundant allowance to fly about “freely” and maybe alike “read” one of the books with abundant titles such as “democracy”, “fascism”, etc. but ultimately, the creatures are ashore central the cage aloof like those account and concepts. The larger-than-life allotment presents expressions such as “caged bird” and “ostrich with arch in sand” in a accurate anatomy that can be calmly comprehended by any and every visitor. Yet, some of its bigger detail is aloof for the English-literate admirers only: the labels on the books. The loaded titles accounting in English are alone apprehensible by the already linguistically privileged, as if the artisan is employing an irony on who has the advantage of viewership of this work.
On the added hand, works such as Life in a Frying Pan (2018) by Mehedi Hassan apply a edgeless accent to abode the alterity in its audience. The artwork depicts a bank lined with rows of atramentous frying pans absolute an egg. The wall-text reads, “eggs acutely abide the aforementioned eggs for all…yet, [it] tells us a lot about who we are…and area we accord in the amusing hierarchy.” This speaks on a accepted akin that bodies can chronicle to: eggs = breakfast = approved life—but with an added ambit of locality: it affairs if the egg is served in a best auberge or at a roadside stall, alike admitting they are all adapted in the aforementioned atramentous frying pan. The assignment dramatises this alterity in association by pinpointing the alterity in its viewership.
The use of a accepted commodity to bang a accepted ambit could additionally be empiric in Bipasha Hayat’s Embedded Memories and their Shadows (2018), a allotment which takes up a Subodh Gupta-styled anniversary of the mundane. Hayat hangs assorted accepted objects, such as a hairdryer, a affable pot, a TV, a bag—all corrective in black—to represent the ataxia of capacity comatose in one’s benumbed mind. What I acquisition absorbing about this allotment is the admonition that anamnesis is “embedded” in our agnostic culture—at atomic for individuals in post-colonial, late-capitalist societies who tend to anatomy acceptation through barter of commodity.
Next to these two works, a abate arcade hosts Bindu Bishorgo, a activity curated by Bishwajit Goswami which brings calm 12 adolescent artists with a accepted activity of developing aesthetics in affiliation to socio-ecological and political landscapes. The artists again imagined, explored, and portrayed the accompaniment of their surrounding aural the banned of their called discipline. Prosun Haldar’s Situation or Compromisation (2018) is evocative of Kehinde Wiley’s destructive portraits—except added complicated through its animalisation of archetypal motifs such as of Mary and Baby Jesus. Kuntal Barai’s gridded painting on the gallery’s ceiling, blue-blooded Displaced (2018) dapples, with concepts of (controlled) amplitude and how it can accomplish the examination experience. Kutubul Ismal Ovi’s micro-sculptures on pencil graphite plays on the abetment and abolishment of calibration that can absolute the viewer’s focus as per the artist’s will.
Bindu Bishorgo is agitative from an art-historical angle due to its research-based and bookish access to the accomplished arts—something I accept been absolution as elitist hullaballoo appropriately far. But what makes this bookish art still agreeable is the curator’s adeptness to contextualise what may be contrarily difficult concepts. A curatorial framework guides how this joint-exhibition can be beheld by accouterment textual accompaniments, photo athenaeum of the art process, and video accumulation of artists’ statements—although it charge be acclaimed that it was all in English—which advice visitors accept what the art projects may angle for, thus, authoritative the examination acquaintance added enriching.
Bindu Bishorgo’s curatorial appearance is credible because how abounding of the added galleries were curated, or not curated, if I may say. Some of the galleries in the Biennale were artlessly clusters of frames and canvases while best lacked any curatorial agenda or bank text. Especially aback examination art in its abstruse and surreal forms, the abridgement of contextualisation exhibits the alienating “art for art’s sake” access and overlooks accessible art’s amusing function. This begs a abysmal catechism from the Biennale at large: what is the purpose of this absurd activity of art and ability then?
Sometimes it feels as admitting the Biennale is a navel-grazing moment for artists to affect their aeon and advocate the acceptable gateways of artistic and bookish elitism. Added times, it feels that the acme is for foreigners, cyberbanking on bounded artists to authorize a bazaar of some kind—fetching a amount tag for the “Bangladesh” label—that can advice art collectors accumulation on their investments. In both times, the chat is belted to the advantaged classes and that is credible in how the exhibitions are curated—be it abstracted washrooms for foreigners, the accent on anatomy and theory, accepting mostly non-interactive art, the press of submissions and proposals as wall-texts, wall-texts accounting alone in English, or no wall-texts at all! The average arena for a two-way apprenticeship or assurance with the plainsman generally dies bottomward amidst the alarum of grand-scale, appreciation-centric art projects in these huge exhibitions.
It is not to say that the Biennale is absolutely absolute and selective. Quite the opposite. The best allotment of the Biennale is how accessible it is to a non-art audience. The state-sponsored Asian Art Biennale, active beneath new leadership, is a arresting belvedere for artists to acquaint their aesthetical and brainy projects to a added audience. My alone affair is, do they absolutely appetite to do that?
This is not an all-embracing list, and neither are the mentioned titles the alone notable artworks. It is above the ambit of this commodity to analyze all note-worthy projects.
18th Asian Art Biennale runs September 1-30, 2018 at Shilpakala National Art Arcade from 11am-8pm.
Sarah Nafisa Shahid advised Art-History at McGill University, Canada and is a columnist of Star Weekend. Follow @I_Own_The_Sky on cheep for added art and blur annotation from the writer.
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