Artists’ absence is reclaimed via the placement of remnants of buildings placed at different venues, each piece standing in for a lost presence.
This project served as a rendition to the complex position of an artist with broken remnants of buildings (caused by earthquake) wrapped in shiny silver foil reclaiming the space of their unique artistic voices. Celebrating creativity as a whole, those stones became precious monuments for all the artists who were at the time of the Kathmandu Triennale somewhere in Nepal and elsewhere creatively active.
I remained anonymous for the entire duration of the Triennale, refusing in this process any recognition as an invited artist. Instead, the room allotted to her artistic identity transformed into a space with labels of 600 registered artists’ names collected from the art colleges and institutions of Kathmandu. It reflected a collective struggle that aimed to represent the art world and the structure of our institutions.
An extension into the issues of radical hospitality, the new space risked to facilitate tension caused by ego clashes as a result of intrusion in other’s domain- a step closer to rebuilding existing relations through a provocative trigger altering the liaison of everyone involved. The idea was to create a platform of change challenging institutional etiquettes and questioning artistic freedom.