To The Queer Resistance & The Fragments Of Subversion
~ unwrapping the idea ‘Queering’ from the South-Asian suburban panoramic perspective.
The key spirit behind this transcendental concept will be the process of making a plural relationship between global understanding about the non-hegemonical cultural expression and south-Asian subaltern fluid perspective. The entire experience is deconstructed into four spheres, It is a panoramic situation where the idea(s) of queerness is arising from sub-versive marginal political perceptions. In this durational collective project, we tried to map the duality and the void in between performative gender and unrecognized curiosity. We are working with specific four non-binary color codes*(yellow, white, purple and black). ---------------------------------
If you are curious: *Four color codes will be the catalyst of four different conceptual keys, our first set will be 29 sets of yellow paper(visual poetry, size A4, regular print). The next piece will be an experimental video loop( we are working with queer aesthetics in the post-cinema lensing). Our third properties is a 1 meter long fragile purple textile or we can see it as inverted memories. The last experiential form will be a black box with a used rubber stamp.
In the time of research, we allowed our method to expand towards a new understanding, especially beyond the rigid heteronormative conclusion. Produce or generate few creative objects is not our curatorial interest rather we would like to create an acceptance of the South-Asian cultural metaphor. We are expecting, this durational departure will be considered as a possibility of ‘un-learning’ in the context of queer cooperative dialect than singular creative composition. The entire project is imagined under the collective research platform which is known as TAC(Tracing A City). It is an intimate collective effort to explore the various cities using individual performative cultural instincts. TAC is an open initiative for practice the essential components in the frame of cultural anthropology.
This version of the project is conceptualized for ‘Metood’ Project (Meteor International).
Collective Artist Profile: (Kaur Chimuk in collaboration with Soumya Mukhopadhyay and Keepa Maskey)
Kaur Chimuk | curator - writer - queer actionist Kaur is a practicing queer performance actionist & curator from Kolkata/Mumbai(India). As an practitioner, Kaur have interest in South-Asian political Illustration and subversive performance art language. currently, we can find kaur's major curatorial work with METEOR INTERNATIONAL as an artist & curator. These days, ze is trying to develop a non-binary critical platform(Tracing A City/TAC) where larger queer commune can interact and exchange the fluid perspective more in an unconditional frame-work. We can find more information regarding kaur's curatorial interest from the KIPAF official page (‘KOLKATA INTERNATIONAL PERFORMANCE ART FESTIVAL’(India's pioneer international radical performance art festival) & Inventory Platform(London) -website.
Soumya Mukhopadhyay, born in 1974 in Kolkata, India, has recently left his full-time job of a market researcher after nearly two decades of working at Kantar, world’s leading research, data and insight company, helming global position as innovation director to pursue his primary passion of film making and experimenting with different forms of audiovisual art. In the past few years, he has donned several hats; establishing and managing Cherrypix Movies; India’s leading boutique production and post-production studio, producing a spate of experimental fiction and non-fiction films and directing his own short and music video. He manages a blog titled marginal rambling where he shares his musings on art, culture, cinema, religion, rituals, and practices. As a visual art practitioner, Soumya is ever interested in the idioms of marginality, everyday mundane existence and the idea of 'queering' the post-truth body, space, and text.
Keepa Maskey finished her education from Marymount Manhattan College, NY in 1997. Her grandfather, Krishna Bahadur Chitrakar was an artist, who she would watch prepare panels of work for national events, as a child. But, it is her paternal grandmother, Nani Maiya Maskey, who has influenced her throughout her creative journey; a stern character with immaculate manual skills. Perhaps, that also explains Keepa’s prolific works on textiles, which she feels is inherent to her. As her practice matured and diversified, she finds herself connecting to performance art. Keepa Maskey is currently based in Kathmandu.
Metood Concept Note for Exhibition: INSPEKTIONEN FÖR VÅLD OCH OMSORG (IVåldO) THE VIOLENCE AND SOCIAL CARE INSPECTORATE* 10-13/10 2019, Malmö Konsthall
The collective agent Metood invites you to join us for a 4 day program taking place in various locations within the walls of Malmö Konsthall. During Inspektionen för Våld och Omsorg, Mikael Rakowitz work” The Invisible Enemy Should Not Exist” is on show. With care he tries to keep and maintain the histories and memories tied to places and objects that due to war and terror has been dispersed or destroyed. Claiming that ”..the objects that have disappeared need their ghosts”, his artistic mission is bent on generating them.
On this october weekend, Metood would like to generate space for ghosts of the welfare state. We will be engaging with the state of post-palliation, which implies actively living with the momentum of death as if it had already passed. Say that the final dramatization of linear life is over and done with and we stand bare under the wide firmanent of (neo)liberal humanist ontology- how would that figure? What’s there to savour but the utter incapacity to represent us in our unbecoming situation, our material and relational plight?
Living and dying in the protective folds of Swedish welfare state, we are dealing with a national body that has not been exposed to fully fledged war for decades. Experiences of war has not been normative for the institution of laws and the constitution and function of institutions. The awkwardness in facing lives under exposure is a distinctive national trait that often leads to intricate conflations of care and violence. In tackling healthcare measures, hustling for human value can be a relentless practice that some bodies have to put up with on an everyday basis, whilst others thrive in blissful ignorance and get offended at the mere mention of the perpetuation of structural violence. For a well to do, norm-abiding Swedish citizen, handling complicity with the perpetuator-perpetrator position sure seems hard. Let’s face it down.
Inspektionen för Våld och Omsorg is constituted in order to open a critical, creative field where subjectivities that stand in intimate, mundane relation to normative violence (on a interpersonal, physical or state-level) can come forth and be articulated. We will pursue the will to resistance, and the will to stick with the critical hours, days and years we might still have, in our situatedness as critical, steadily dying, material and relational subjects. Our revolutionary urges are firmly settled in the prosaic, with humble attunement to temporal duration. There will be no virile, capable and clearly cut fighters- over our dead body. Our category status is in a state of necrosis, we have already passed, down by representational death. For the sake of the interpersonal continuum, we will be dying, happening efter after and whilst death do us apart. Building community in flesh and blood, ”coming out” is not the issue- we are coming undone. Let’s articulate and interpellate mortal capital- not as reproductive waste, but as the thing that inexorably pledges our alliance. We’re going, we go on, without guarantees, with obligations (a definite lose-lose from the human capital p.o.v.). Toiling and thriving, we are on the case for a politics of representation that spans non-actualizing temporalities, counter-intuitive sequences, deferrals, phasings and subversive gut-flops. There will be no accumulative life-animation. No freedom to this, or that. We opt out!
Inspektionen för Våld och Omsorg (IVåldO) is a intrainstitutional space-making device that aims to nurture our aptitude for disidentification. It’s a matter of life and death. Diagnosis dysphoria made us do this. We’ve got nothing to plead in the face of the welfare society’s social pathology. We will push for subjecthood that disawows protocols of intelligibility reduced to self-actualization.
Together with invited artists and activists we will define this flourishing field via diverse practices: presentations of practice, performative lectures, sculptural interventions, performance and film. A care-plan covering both needs and desires will be forwarded. We’ve established a diagnosis for what is perpetuated when we submit to or ”liberate” ourselves in momentums abiding to the ontological scripts of neoliberalism. It’s the necrosocial. Let’s opt out now!
We’re hell bent, hand’s on, headed for the post-palliative resistance movement.