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The Rise of the BROWNationals, New works by Vishal K Dar in collaboration with Kaushik Bhaumik and Siddhartha Chatterjee    18. Dez , 2012 - 12. Jan 2013

Fountain of Transformations
Vishal K Dar, Kaushik Bhaumik and Siddhartha Chatterjee
Fountain of Transformations, 2012
 
Fountain of Transformations (DETAIL)
Vishal K Dar, Kaushik Bhaumik and Siddhartha Chatterjee
Fountain of Transformations (DETAIL), 2012
 
Girl on a Swing
Vishal K Dar, Kaushik Bhaumik and Siddhartha Chatterjee
Girl on a Swing, 2012
 
Landing Strip
Vishal K Dar, Kaushik Bhaumik and Siddhartha Chatterjee
Landing Strip, 2012
 
  
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The Rise of the BROWNationals seeks to present to the public a sculptural invocation--both organic and digital--of possible sensory happenings in our unconscious of the space bounded by India Gate, Rashtrapati Bhavan and the Parliament House in New Delhi, a space considered the centre of governance for the Republic of India. The project presents a set of juxtaposed visual elements that brings out the ironies arising from the misfit between the nation-state’s efforts to 'civilize' its citizens, an idea signified by the 'planned' architecture of the space, and the organically florid and unruly lives of Indian BROWNationals that overflow all such disciplinary grids.

Vishal K Dar is a visual artist based in Delhi. Dar's art displays a playful approach to the use of material, media and technology.

Kaushik Bhaumik is a historian based in Delhi. He has written extensively on film, art and media with a special focus on urban and 20th century histories.

Siddhartha Chatterjee is a media arts practitioner and anthropologist of design, who works out of Delhi on urban arts, museums and new media forms of public engagement.

The Rise of the BROWNationals is a sequel to Vishal K Dar's critically acclaimed BROWNation show of 2010. Here, Dar continues his digital sculpturesque exploration of the conceptual ironies underlying life in BROWNation India in dialogue with the film and media theoretical musings of historian Kaushik Bhaumik and the visual-cultural and broadly spatial mediations of Siddhartha Chatterjee.

What we get therefore this time around is an explicit and substantial encounter of the ideas underlying Dar's curation of the first BROWNation show of c.2007 (and the subsequent solo show of 2010) with the cinematic and the urban-spatial set amidst the centre of BROWNational power.

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