|Tuesday 11th of September 2018|
|Nepal Art Council, Babarmahal|
|36 min read|
"My House Belongs To The God" - Subas Tamang
Medium: Wood Cut print on Nepali Handmade Paper
Size: 91cm x 121 cm
Subas Tamang has been intensively going-over the historical events, cultural practices and rituals of Tamang Community of Nepal through his series - ‘Study of History’. 'My Home Belongs to The God' is one of the work from this series, where he deals with the ‘Bhairivi Jatra’ of Lachyang village at Nuwakot, located in northern part of the Kathmandu valley. In the festival the local villagers of Tamang community were forced to carry the chariot since 1825 BS after the invasion of Prithivi Narayan Shah, and later the Land Reformation Act of 2021 BS occupied the land of locals and officially passed it in the name Bhairivi Guthi .This left the native Tamangs landless. The locals have filed the case demanding the land ownership document in the Supreme court of Nepal but no decision has been passed yet .
"75 portraits of Contemporary Nepal" - Hit Man Gurung
Medium: Mixed Media
Size: each, 66 cm by 96.5 cm (Triptych)
Hit Man Gurung’s series ‘I Have to Feed Myself, My Family and My Country’ addresses labour migration, a phenomena prevalent in South Asian countries like Nepal. The laborers, most of whom are young and middle-aged, come from marginalized and underprivileged backgrounds. They leave their families back in the homeland with dream of pursuing better life for themselves and their families. Sadly, migrant laborers are often subjected to exploitation. Abuse, slavery and untimely deaths are common among migrant workers.
Gurung’s various media of artworks is also a reflection on Nepal’s rapidly changing socio-political, socio-economic scene, ten years Maoist Civil War (1996-2006), unstable governments and the impact it has had on personal and professional lives of the citizens. In parallel the strong impact of global capitalism, the dramatic economic boom in Gulf countries / East Asia and their crazy investment in infrastructure development caused high demand of cheap labour workers, consequently contributing to various patterns of mass migrations.
Gurung has traveled to his ancestral homeland and different part of country conducting research in order to explore how the social fabric of Nepal has dramatically changed over the years because of migration.
"My Father My Ferry" - Bikash Shrestha
Medium: Digital print on Hahnemuhle paper
Size: 30.4 cm by 91.4 cm
The bareback father with his child on his shoulder is looking at the disaster is the story of the hundred of thousands of people who are killed and displaced every year. The geopolitics of country being the most prominent factor of this vicious cycle.
"Weaving the stories of my heart" - Sheelasha Rajbhandari
Medium: Sheep wool, raw thread, golden frame.
Size: Small portrait with frame : (10 pieces), 54.4 cmx 49.5cm each
Sheelasha Rajbhandari in collaboration with Urmila Khaiju , Bina Koju , Kesari Suwal , Sapana Basukala , Juneli Basukala , Unita Kasula , Rabina Koju , Saru Basukala , Ani Khaiju , Rabita Thapa.
This is a collaborative art project conceptualized with ten female community members from Thulo Byasi,in the aftermath of the disastrous 7.8 magnitude earthquake of April 25, 2015 . Most of these women are skilled knitters. Like many other women employed in the home-based worker industry, the women of Byasi contribute to Nepal’s burgeoning textile handicraft export in their own ways. In the foreign markets, these handicrafts are marketed as rare luxury goods and are appreciated for their artisan qualities. However, the women and the community members view their work as something menial.
After discovering these refined skills among the Byasi women, Sheelasha began encouraging them to use their skills to cope with their stress and gain self confidence. After the earthquake, over a span of six months, Rajbhandari facilitated discussions and workshops with the women. Collaboratively, all ten women knitted their self-portraits with black and white wool. For them, black and white were the only colors that suited their chaotic circumstances. The portraits are presented inside ornate golden frames in order to emphasize the important roles women play in their families and societies, as well as in the country’s economy, a fact that is often ignored.
The portraits were originally exhibited as part of ArTree Nepal’s “12 Baisakh, Post-earthquake Community Art Project” inside the small corrugated tin and old timber temporary shelter.
"Give Me Blood And I Will Give You Freedom" - Lavkant Chaudhary
Medium: Acrylic on canvas
Size: Triptych, Two Painting 50.8cm x 76.2cm , One Painting 60.96 cm x 76.2 cm (Total size : 60.96 x 228.6cm)
In 2015 after new constitution was drafted , various minority groups including Tharu from Southern part of Nepal protested saying the new constitution will divide the country into seven federal states, which would discriminate against them and give them insufficient autonomy. During the series of protests a brutal clash occured at Tikapur.According to the government reports,seven police officers and a two and half year old child were killed. Different investigations were done from the government’s side to find the root cause of the incident but non of the reports were publicly announced.Later Lawyer’s Association for the Human Rights of Nepal’s Indigenous Peoples(LAHURNIP) published its report, stating there needs to be investigation in free and fair manner.While locals claim they are being arrested under false cases.Their houses, shops were looted and burnt down.Thousands of Tharus escaped Tikapur in the fear of being tortured.
In the two paintings with the bullet, Lavkant Chaudhary wrote those reports by (LAHURNIP). While in the central painting with Self-portrait Chaudhary wrote the sentences from the New constitution of Nepal drafted in 2015.
"Nothing will come about dwelling here, you too leave. Everyone who is abroad has outcome" - Mekh Limbu
Medium: Digital Print on Canvas
During the Maoist civil war, internal and international mass migration increased exponentially. After the civil war, continuous political conflicts and an unstable government have ignited violence, chaos and uncertainty in the country. This has caused an unexpected rise in mass migration, especially over the past decade, and especially to the Middle East where Nepalese continue to go in unprecedented numbers in search of employment and a better livelihood. As more and more Nepali citizens aspire for foreign jobs and depart their homeland, profound changes have occurred in the socio-economic fabric of the country. Although the labor migration phenomenon has emerged as an alternative livelihood opportunity for many Nepali households, it imposes new challenges for the government and policy-makers in implementing and managing safe migratory flows between the countries of origin and destination.