The installation took the previous inquiry of using smog as a metaphor of obscurity ahead. Responding to the current scenario, where I strive to question the duality of our existence amidst troubled times. We are living two different realities and the distance between them is a few feet at times. This was an attempt to implicate myself and vis-à-vis the viewer.
The site chosen to display was an abandoned amphitheater and the old props were the debris that was used to create a post war/ post conflict space. Walking in a pitch-dark corridor the viewer first encountered a strong pungent smell. I worked with a perfumist to create a scent that would generate the affect of violence.
One had to tread cautiously and navigate through the obscurity of darkness to find isolated spaces that were lit. One window had a shaft of light with the smoke coming out near it, an old door with the text, “except for the fact that the war was still going on, it was a perfect morning” was on the floor and an old CRT television set in one corner of the site.
The television set kept flickering, almost like channels changing where I attempt to navigate the struggle of the visual media in the realm of violence and its relation with aesthetics. I hope to question the position of privilege and of viewing the world from a filter of technology.
Title for the text is an excerpt from "Kafka on the Shore" by Murakami. The installation was shown at Kalakar Theater and was part of the show, “Saavdhaan - Regimes of Truth” an Apex Art exhibition curated by Shaunak Mahbubani.