14 Indian artists who completed artist residencies
in Germany in 2019, 2021 and 2022 as part of our
bangaloREsidency-Expanded initiative will present the projects they developed during this enriching experience in Germany. Each one of them has an interesting tale to tell - fresh perspectives, expanding horizons and new experiences.
The Artworks and Installations will be on view
all weekend with
Sound Performances on
Saturday at
7 p.m. and
Dance Performances on Sunday at
7 p.m.
The
bangaloREsidency-Expanded was conceptualised to further intensify the reach and sustainability of the highly successful
bangaloREsidency project, where artists from Germany are invited to residencies with our partners in Bangalore. We felt the need to encourage and support artistic traffic in the opposite direction. Young, emerging Indian artists stand to profit immensely from exposure to other cultures/artistic arenas. The aim of this initiative is, therefore, to establish long-term artistic exchange in a sustainable format that intensifies creative exchange through a novel practice of collaboration wherein Indian artists get to live and work in Germany, gain access to the art practice of the other culture and thereby enrich their own creativity.
Participating Artists:
Abhishek Bomanna and Shruti Rao
Abhishek Bommana & Shruti Rao@Experimental Radio, Munich 2021
Left Swipe Left
Our artistic and research interest is focused on the intersection of intimacy and internet-enabled technologies (mainly dating apps). The project 'Left Swipe Left’ broadly examines the surge in usage of dating apps during the pandemic and the changing trends in how individuals from diverse backgrounds engage with these apps. This non-fiction audio narrative work was carried out as a 'two-sister-cities' project, spanning Bangalore and Munich, in collaboration with our host
Experimental Radio. The work will culminate in a multi-episode podcast and a publication. The Showcase exhibit includes excerpts from the podcast and the process work.
© Janine Blöß
Ainesh Madan@WELTKUNSTZIMMER, Düsseldorf 2021
The Second Dance Song (Part 3)
Part 3 of The Second Dance Song, also called Zarathustra’s roundelay, is a poem that breaks out of the prose structure and is the inspiration for a solo that I created while in residence at
WELTKUNSTZIMMER, Düsseldorf. The movement does not attempt translation, but embodies the essence of the text, to motivate the viewer to engage further with Nietzsche’s writing.
Music: Abhaydev Praful
Illustration and animation: Joshua Sailo
Costume: Uli Schott
Choreography and performance: Ainesh Madan
Sunday June 26, 2022, 7.30 p.m.
© Nina Buttendorf
Aruna Ganesh Ram@Wisp Collective, Leipzig 2019
Coloured and Choosing
Man or Woman?
Masculine or Feminine?
Neither? Either? Both?
Not sure? Certain?
What does Gender mean to you?
What do you want to change?
3D sound design: Felix Deufel
Music composition: MT Aditya and Team
Sound execution: Nikhil Nagaraj
Come experience this binaural sound installation that questions your gender stance.
Register to select a slot:
25.6.2022:
https://imojo.in/1UCnYca
26.6.2022:
https://imojo.in/UEqQIo
© Jeevan L Xavier
Jeevan L Xavier@Zentralwerk, Dresden 2019
Can I see myself in you
A take on relationship dynamics between closely related individuals of polarised ideological beliefs.
The first part was a series of interventions with bright fabrics in the landscape of Dresden. Symbolic visual contrast in the cold winter landscape of Dresden, through color, a fuchsia fabric; symbolising the people of India, and a marigold orange; indicating India as a place. Dresden was a symbol of the fleeting nature of changes.
Second, an experiential performance with food “the differences that constitute you and me, the contradictions arising from these differences, the differences we repel, the differences we overlook, the differences we deal with or struggle with, the differences we embrace and the person”.
© Nihaal Faizal
Nihaal Faizal@ZK/U, Berlin 2019
Toi-Toys International iPhone Erasers
Toi-Toys International iPhone Erasers 1 - 10 (2020)
series of photographs
edition of 5 + 2 AP
8.3 x 11.7 inches
The photographs presented here are scans of erasers packaged and marketed by Toi-Toys International, a toy supplier and wholesaler based in the Netherlands. Each eraser features upon its surface a reproduction of the official screenshot image for the iPhone OS 2. Frozen at 9:42 AM (a time that has been constant on all Apple product advertisements between 2007 to 2010), the screenshot, now free from its marketing concerns, highlights a key moment in the history of technology—the iPhone OS 2 was the first to introduce the App Store. This historical image, outdated as it may be for all referential or promotional purposes, continues to persist in circulation, inscribed—as it is in this instance—in popular cultural formats, folding in the idea of technological advancement as that of both the gadget and gimmick.
© Pratyush Raman
Pratyush Raman@Lacuna Lab, Berlin 2019
tubed 3
The state of the art has philosophers, thinkers, engineers and so on, at the edge of their seats, either scared, ecstatic or just plain fascinated by the direction technology, specially AI, is to take. There are prominent and proficient positivists and negativists. However, a lack of understanding of what qualifies as intelligence in a machine, implies our ineptitude in making grounded decisions for future technologies. My focus has been to look at the relationship between AI and how we consume content online. Specifically I look into YouTube and how we consume through feeding and using recommendations, what I call “cyclic consumption”.
25.6. & 26.6.2022, 5.30 p.m.
Rakshita Mittal@Lichtenberg Studios, Berlin 2021
Rakshita’s body of work revolves around the local communities of Lichtenberg, who have seen the neighbourhood’s cultural geography change and evolve over the decades, especially through the changing political systems of Germany. Through the medium of visual art and photography, Rakshita's lens to understanding East Germany's present has been to dig into its complex past through conversations, sharing, and forging connections with its people, especially the ones who have grown up here since DDR times. The non-linearity in narrative and oral history is what draws her to document the personal stories of people.
© Sameer Raichur
Sameer Raichur@basis, Frankfurt 2021
Impressions from Frankfurt's Bahnhofsviertel
I have extensively documented Frankfurt’s (in)famous ‘Bahnhofsviertel’ named after the central train station or the ‘Hauptbahnhof’.
The Bahnhofsviertel is perhaps best known for housing Frankfurt’s world famous red-light district. It’s also home to scores of drug addicts from around Germany whose addiction regularly spills out, often viscerally and disturbingly, onto the streets. This is a source of chagrin to the residents, many of whom pay high rents for the vibrant and ‘multi-culti’ vibe that the Bahnhofsviertel affords.
The Bahnhofsviertel has witnessed unprecedented gentrification in the past decade which has brought in swanky cafes, restaurants, bars and speakeasies that cater to the proximate financial district. As a result, junkies, hipsters, sex-workers, artists and suits jostle for space in its history-laden streets. The amalgam of viewpoints witnessed in the Bahnhofsviertel urged me to document it. As I began to feel comfortable on its streets, I used the outsider’s advantage - objective perspective - to gain access to intimate perspectives. The images I made feature some of the unique spaces that give the neighbourhood its unique character and serve as a portrait of what I consider the most interesting place in Frankfurt.
© Sarasija Subramanian
Sarasija Subramanian@Zentralwerk, Dresden 2021
ban the old, dry methods
‘Ban the old, dry methods’ is an excerpt from a larger project, stemming from an engagement with the Deutsches Hygiene-Museum’s collection in Dresden, centered around the ways in which structures of the State and science have viewed the body of the individual, and how in turn such perspectives are co-opted by consequent political regimes, amongst other structures of power.
The drawings draw from three key aspects of the collection – the objects on display, the histories that are mapped out in their descriptions, and the English audio-guide – to re-contextualise the museums founding ideology which stressed on ‘seeing’ and consequently ‘knowing’ our bodies as the cornerstones of keeping assuredly healthy, without a shadow of doubt.
© Kirthi Kumar Barik
Sonia Soney@WELTKUNSTZIMMER, Düsseldorf 2021
Purpose
The project Purpose has and will always aim to amplify the voices of the vulnerable. The work reflects different patriarchal and misogynistic experiences from society and its effects on women. The choreographer is currently researching on how she can best translate the essence of the work in a society whose members do not want to relate or understand, mainly because they are in a place of privilege.
Various forms of corruption are deep rooted in our country. Rewiring, relearning, creating that healthy shift for healing and for the good of people is what the dancer wants to reproduce through the performance. The peice is a promise that the dancer will listen. That she is here. That she will try.
Who decides what is beautiful? Who decides what is ugly? Sonia’s work aims to break the stereotype with respect to toxic standards, with regard to gender, body type, mentalities and so on. She looks forward to a peaceful and harmonious world, helping open doors to humanity through movement art.
Sunday June 26, 2022, 7.00 p.m.
Photo: Dominik Kautz © ZKM | Center for Art and Media Karlsruhe
Sultana Zana@ZKM, Karlsruhe 2022
Now is the Only time, Where Are You? - spatial composition, 35'
In this piece, I take the audience on a journey that is metaphysical, that starts at the surface of perception. As we move in space, time and sound, layers emerge, and contact with all that lies below the threshold of consciousness is possible.
Saturday June 25, 2022, 7.00 p.m.
© Wisp Collective
Umashankar Mantravadi@Wisp Collective, Leipzig 2019
Brahma Wearable by Umashankar Mantravadi, Felix Deufel, Albrecht Meissner
Umashankar Mantravadi built 'Brahma Wearable,' a portable 8-speaker mobile 3D sound system, mounted on the shoulders. This would help audiences better hear the ambisonic recordings he collects at archaeological sites. While we are experimenting with augmented sound trying to change disturbing and stressful noise into more healthy and relaxing soundscapes in real time, Umashankar is building version two in Bangalore. Next steps: implementing live input and developing artificial intelligence for the system to make our aural surrounding more pleasant.
Photo: Dominik Kautz © ZKM | Center for Art and Media Karlsruhe
Yashas Shetty@ZKM, Karlsruhe 2022
Approximation of the Sea
The ‘drone’ influences Western minimalism for almost 60 years now. Beyond its influence on Western classical music, its presence has extended into popular music as well, with early bands such as The Velvet Underground to some German Krautrock groups borrowing heavily from the concept. Its influence reaches deep into popular music and culture of today. Yet, the historical narrative of the drone has always been a one-way street. It’s a story told by American composers in which the early origins of this transfer of technology are shrouded in mythology and mystification.
Developed by sound artist Yashas Shetty in collaboration with
ZKM | Hertz-Lab sound engineer Benjamin Miller for tanpura, piano, and electronics, the composition explores both the technical and aesthetic challenges of composing with surround systems. It is designed especially for the ZKM_Cube.
Saturday June 25, 2022, 7.30 p.m.
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