CORIOLISEFFECT
MIGRATION&MEMORY
InternationalResidency|16Aug-4Oct2016
OPENSTUDIODAY|29SEPTEMBER2016_6:30-9:00PM
AndrewAnandaVoogel,ChibuikeUzoma,JoãoOrecchia,LizaGrobler,MaheshShantaram,Malini
Kochupillai,PersisTaraporevala&SwatiJanu
Whathappenstoyouridentitywhenyouloseyourplaceofbelonging?Whatarememoriesofhome
andplacethatyoucarrywithyou?Howdoesthecollectivememoryinformasenseofbelonging?
With these questions in mind, the second edition of Coriolis Effect extends its original curatorial
intention of tracing cultural and historical exchanges in the Indian Ocean Worlds, and invites
speculationsonideasofmovement,displacementandtheformationofnewandinformalmodelsof
21st century communities. The artists selected for the residency represent a diverse geographical
spread,andhaveapproachedtheprojectconceptthroughvariedandabstractedperspectives.The
artistsalsoemployanincrediblediversityofmediaandmaterialintotheirpracticeincludingphoto
and video installations, live interactive-media projects, experimental sound performances and
textile-basedimmersivesculpturalworks.
FortheOpenStudio,SwatiJanuwillcontinuetoruminateuponhercentralconcern:informalmodes
ofmediasharingviaimaginativeusesofcheap,low-techelectronicdevices.Closinghertemporary
Khirkeestorefront,Januwilltransposethearchiveofsongs,moviesandvideoclipsthatshehasbeen
collectingoverthepastfewweeksintopublicspacesaroundKhoj,invitingthelocalcommunityand
audience to curate and re-play live content. During her time at the storefront, Janu continuously
ruminateduponherrelationshipandpositionwithinthischargedpublicspace,observingthegaze
thatshebothreceived,andprojected.Thenotionofthe‘gaze’andmovementwithinpublicspace
hasalsobeenpivotalinAndrewAnandaVoogels’work.Inadditiontohisongoingsculpturebased
pieces which addresses his durational interest in migration and transient cultures, Voogel will
present a set of distinguishing ‘phrases & keywords’ in the form of carefully embroidered textile
panels,whichforhimbecomeemblematicofunderstandingandrespondingtotheviewershipand
voyeurship in the context of Delhi. Both Voogel and fellow resident Liza Grobler have extensively
explored the possibilities of incorporating textile, embroidery and other locally sourced and
produced methods into their work. Grobler responds to the ideas of Coriolis Effect through a
complete abstraction of form. Her studio transforms into a viscerally immersive space, where one
canreflectonhernotionofmigrationasamovementofideasandinspiration.Groblerincorporates
a variety of rich, brightly coloured materials and textures into her work, including pipe-cleaners,
embroideredfabrics,glitteringpapercardsaswellasmultiplesofherintimateabstractedpaintings
anddrawings.
1
Chibuike Uzoma, an emerging photographer and visual artist from Lagos, keenly observes his
experiences in the process of leaving home, and making space in a new environment. His work
duringtheresidencyhasbeenaseriesoflayeredobservations.Oftenpositioninghisownselfwithin
thevariousstagesofthework,onecanthinkofthemeta-manipulatedqualityofhisphotographs
and drawings as a exaggerated form of digital collage. For Uzoma, memory is very important, and
throughhisworkheisattemptingtoexpressandcapturethe‘flexibilityandtranslationofmemory
into vision’. Similar to Uzoma, Joao Orecchia has also developed a set of works which are a very
organic response to his time in the spaces of Khoj, Khirkee and New Delhi. As a sound artist,
Orecchia has developed number sonic landscapes; abstract auditory sketches which extend and
reconfigure the rhythms and tones of our streetscape. During the residency, Orecchia would play
theserecordedloopsoverFM88,apirateradiostationaccessibleonlyinthedirectvicinityofKhoj
andits’makeshiftbroadcast.DuringtheOpenDay,hewillperformingmomentsfromwithinthese
sonic archives, played on various home-made instruments which bring together his nuanced
understandingofinteractivetechnologywithlocallysourcednon-traditionalinstruments.
Mahesh Shantaram and Malini Kochupillai, respectively from Bangalore and New Delhi are both
exploringthemediumofphotographyandofalltheresidents,confrontthecontemporaryrealityof
‘Africans in India’ from the most head-on perspective. Kochupillai has been a Khirkee resident for
several years; she’s had the opportunity to make strong connections with several of the African
migrantswhohaveoccupiedspacesinKhirkeeandhasbeenphotographingtheintimatespacesof
homes, kitchens and beauty parlours. Via the residency, she is working to collate her archive of
stories,interviewsandmemoriesintotheformatofmulti-linguallocalnewspaper.Primarilyworking
asaphotojournalist,Shantaram’scurrentprojectwasfirsttriggeredwhenhebecameawareofan
incident of racially charged attack against a Tanzanian female student in Bangalore early in 2016.
From that time onward, Shantaram became intrigued by the lives of various African students
enrolled in institutions across the country, and has slowly been travelling to different cities in
attempttocapturethestoriesoftheseindividuals.ThepresentationofhisworkatKhojpresentsan
opportunity to delve deeper intothe complex issues of discrimination, race and systems of power
andreflectuponthequestionsposedintheframingoftheCoriolisEffectresidency
(textbysitarachowfla,2016)
2
AndrewAnandaVoogel
LookWithLove(WorkingTitle)
Freedomtosafelymovethroughpublicspacebecomespossiblewhenthereisamutualagreement
between those present and those not present to uphold and maintain a certain level of societal
infrastructure. This includes the personal, political, economic and physical notions that govern our
understandingofsharedspace.
Freedom and safety in publicly shared space is threatened when individual and minority
interpretationsofwhoactuallyconstitutes“thepublic”becomeadominantdiscourse.
The media, government and community organizations oftentimes step in to facilitate an
understanding in relation to civil discourse in publicly shared space. With exception of community
organizations,themediaandthegovernmentgenerallydon’thaveanin-depthunderstandingofthe
day to day personal encounters that work to define a person’s public sphere, as well as their
perceivedidentitywhilemovingthroughsharedpublicspace.
OverthepastsixweeksoftheCoriolisEffectProject,Ihaveresearchedrhetoricandvocabularylocal
toKhirkeeandDelhithatassociatesitselfwithpersonalencountersinpublicspace.
Through a series of interviews, conversations, and collection of media headlines, I have pieced
together a small appendix of vernacular phrases that I feel broadly discusses the concept of the
contemporarygazeinIndia.Attimesconfrontational,atothertimesplayful,eachphraseisintended
tofacilitateadiscussionabouthowweseeeachotherinthepublic/personalsphere.
Kindness, violence, love, tragedy, romance and chaos all exist on the streets of Khirkee. In some
ways,itexistsasagrandmicrocosmtothegrowingurbanchallengesofDelhiandthebroaderworld.
Asanextremelymulticulturalspace,Khirkeehasprovidedanintriguinganddiverseplatformtowork
throughnotionsofthegaze,publicspaceandcivilconduct.
Insomeway,Ihopetohavesparkedasmallconversationofhowwemayplaywithourowngaze,in
order to cultivate a broader understanding; that we are all humans, passing each other by, on a
smallchaotichighwaytowardfutureunderstanding.
(textbyandrewanandavoogel,2016)
/
3
ChibuikeUzoma
RoseGarden
WesttotheHornistheHeart
The two projects executed during the Coriolis Effect residency at Khoj, New Delhi, are both an
extensionstoprojectsstartedinViennaandNigeria.Uzoma’sexecutionofanyprojectdependson
how he react to a space and vice versa. This informs his instincts and projects are birthed in the
formsandmannertheyappear.
The drawings, Rose Garden focused on movements of people and the flexibility of memory. The
works attempt to highlight the countless obvious or invented reasons why people move and how
fluid memory is and could suddenly even become a vision or dream. The drawings were done in
additionandsubtractivemannerusingarangeofdrawingandpaintingmaterialsandrandomweb
contentsaddressingmigrations.
In the extension to the project West to Horn is the Heart, Uzoma enacted advice and suggestions
which is frequently received in Nigeria, when one is about to embark on a journey out of the
country.Theseself-performanceportraitsweredonebybringingsomepartoftheCityofDelhiinto
thestudiowherehecouldbefreetoexplore,danceandfreezehisideas.
Just like migration, the issue of racism or matters that has to deal with the African continent and
raceisquitevastanddiverselycomplextocomeintoasinglecontext.Uzomanarrowshissearchto
personalandcollectiveexperiences.
(textbychibuikeuzoma,2016)
/
JoãoOrecchia
João Orecchia is exploring the audible patterns of movement of Delhi through a number of sonic
works. Broadcasting from the rooftop of Khoj to the immediate area around the building will be a
seriesofsonicsketches-deconstructionsofthesoundsandrhythmsofnavigationsaroundKhirkee
and central Delhi. In the studio will be a meditative interactive installation and revolving
performances on electro-acoustic musical instruments built by João during the residency. The
instruments are built from found sounds, field recordings and interactive technology. As a whole,
theseworksrepresentfleetinganddisjointedimpressionsofcityinconstantmotion.
(textbyjoãoorecchia,2016)
/
4
LizaGrobler
GreenerPastures:Thereareworldsoutthere
The project has to do with how IDEAS travel. Much like viruses, ideas spread across borders and
fluidly flits between fact to fiction. Every small interaction helps this migration along, every
associationleavesatrace.Physicalspaceandmemoryco-exist.Smallactionsreplicatedoveralong
periodoftimecreatesmass.Materialused,includeweddinginvitations,pipecleanersandseedsto
produce immersive spaces in which the viewer becomes an active participant: I am making a gold
room to reflect the viewer, a giant drop to hide in, and 200 grasspods that will migrate through
Khirkee. I seek to show connections. Connections between people. Connections between place:
CapeTownwheretheideawasborn,andNewDelhi,wheretheideahasgrown.
We migrate for basic needs, but we are the subordinates of our ideologies. The project stems not
fromadesiretoprovethatwearethesame,butthatweareallinter-dependable.Itisnotasearch
for the ultimate route, nor for the correct answer, but instead a search for better questions; for
multipleanswers.
(textbylizagrobler,2016)
/
MaheshShantaram
LookingatYouLookingatMe
:::TheAfricanPortraits:::
“In early February this year, I woke up to the news of a mob attack on a Tanzanian student in
Bangalore. It was not the first incident of violence against Africans in India, but this particular
incidentmademecuriousaboutAfricansinIndia,andthroughthem,theharshtruthsaboutracismin
our
country.”
Since that day, Shantaram has been travelling (Bangalore, Manipal, Hyderabad, Jaipur, and
Jalandhar) to meet African students learn more about their experiences in India. As he makes
friends,healsomakeportraitstopreservethatencounterinawaythatheasaphotographerknows
best.Aportraitcanhavethepowertomakeonestopandstare(whichanywayisanationalpastime)
and evoke the viewer’s curiosity about the life and condition of the subject.
Asacommunity,Shantaramhasdiscoveredthatforeignstudentsarethemostvulnerable.Theyare
part of a loosely regulated industry which brings with it certain insecurities and puts them at the
mercy of The System. These students, leaders of tomorrow’s Africa, look at India as some sort of
meccaforhighereducation.Collegeyearsaretypicallythebestyearsofourlives—fullofinnocence,
adventure, experimentation. But because of their skin colour and our legendary prejudice against
dark skin, the African student’s life in India resembles a prison sentence. Soon, apart from their
student commitments, they take on additional roles: victim, survivor, activist, revolutionary.
5
WhenShantaramstartedthisprojectinBangalore,itwasasimplematterofmeetingAfricanstoget
to know more about them. His time in Delhi and at Khoj, has unravelled many more stories. The
many conversations he has had so far with Africans as well as other scholars have served to both
broadenanddeepenaperspectiveintocomplexissues.Throughthisproject—boththeportraitsand
the accompanying stories—Shantaram want to raise awareness of how racism and xenophobia is
such
a
waste
of
human
potential.
“We are at the cusp of coming to terms with the idea of racism and how to deal with it. As a
photographerandartist,Iwillusemypowerandabilitytodrawnationalattentiontothemattersof
racialdiscrimination.AfricansareaccustomedtomeetingIndiansinhostilespaces—policestations,
TVstudios,andhospitals—wheneverthereisan"incident".AsthisworktravelsacrossIndia,itwill
bringtogetherIndiansandAfricansforaconversationinaspaceofartandculture.Imaginethat.”
(textbyMaheshShantaram,2016)
/
MaliniKochupillai
SearchingforCommonGround
MaliniKochupillai’sprojectfortheresidencyisapublicartinterventionintheformofanaccessible
and irreverent tabloid. Kochupillai has spent her time at the residency collecting and curating a
series of stories and photographs that link India and the African continent in interesting ways,
presentingamorenuancedandmultifacetedviewoftheAfricanDiaspora.
Asanunintimidatingobjectofdailyperusal,theNewspaperasanobjectofarthasthepotentialto
breakthebarriersthattraditionallystandbetweenartandthegeneralpopulation.Thecollectionof
stories and essays introduces the reader to a few of the different countries that constitute the
continent, presents personal accounts of struggles and triumphs, and references to the historic
relationshipbetweenIndiaandAfrica,toseekacommongroundbetweencommunitiesseeminglyat
odds,butdeeplyconnectedthroughoursharedhumanity.
(textbyMaliniKochupillai,2016)
/
SwatiJanu
Janu’sprojectexperimentswithinformalmodesofmediasharingintheneighbourhoodofKhirkee
Extension through the temporary rental of a local phone recharge store. Acting as public hubs of
information exchange, these shops often operate as convenience stores for everything from gas
cylinderrefills,phonerepairstoonlineticketreservations.Equippedwithacomputer,mostprovide
media downloads on mobile phones at 5 to 10 Rs for a movie or several megabytes of songs and
videoclipsinIndiancities.LessthanahundredmetresfromKhoj,herstudiointhestreetcreateda
6
multi-culturalarchiveofsongs,moviesandvideoclipsfromher‘customers’overthedurationofthe
residency.
Co-curated by the community through a barter system of media content, this intervention in
Khirkee’s micro-economy set up a digital hub for the migrant communities from different Indian
states, African nations, Nepal and Afghanistan. From Bhojpuri films to ‘Madrasi’ films dubbed in
Hindi,fromBanglatoNaijamusic,from‘bewafa’and‘bhakti’songstorapmusic–aculturalmashupwasplayedandprojectedacrossthestreet.Theshopalsobecameaspaceforconversationsover
the counter, for an exchange of stories, stories of here and stories of home. The phone memory
cardsbecameassociatedwiththememoriespeoplecarriedwiththem.
For the open day, Swati’s project will reference her practice based research process of the
communalmediaexchangeanditsco-curation.Theinstallationinvitesthevisitorsandcommunityto
exploreandinteractwiththemulti-lingual,multi-culturaldigitallibraryofKhirkee.Herprojectalso
talks of the resourcefulness displayed by the community as a response to inadequate facilities,
through its creative amalgamation of cheap China made electronic devices on which runs the
informalnetworkofpirateddigitalcontent.
(textbyswatijanu,2016)
//
7