Sound installation ‘Akashwani’ reminds me of growing in the 1980s and 1990s, photo credit: Angry Chandravanshi
What to do with a woman sitting on a table with several versions of her own versions rolling a huge concrete slab on open land – folding and reflambing a napkin in different ways? Probably, nothing. Do images from long -held memories maintain meaning and connection in the same way over time? How do memories really morph and fade? And what are the remains of a memory shared? These were some of the questions that came to mind while experiencing the exhibition of Nimi Rabindran, ‘Forget to forget to forget’, forget ‘forget’, recently held in Shoonya in Bengaluru.
Through the film, art installations, recorded music and a non-formal performance (complete with disclaimed and a promiter), Nimi led the audience through this layered work journey, showing it. A childhood description without a mirror at home describes how the only mirror occurred in the house. By this point, the audience met her mother, who conquers a streamlined amount in a singing competition through her stellar “Playback Singer Voice”, and thus, buy a cupboard with a mirror. The mirror, however, was accidental and closed. What was not accidental was the metaphor of the mirror in the context of this work.
Memories of Nimi (and the experience they reflect), at some point, a mirror for others in the room. A viewer member echoed his own mother -in -law’s experience with the experience of dealing with memory loss. Many shades of growing up in the 1980s and 90s – with ‘Chitrahar’; In public sector income families, in families who wrote letters in proficiency and did justice to those with zero fear of being called politically wrong – was detected in the demonstration.
Bottled memories with an interactive installation ‘Library of the Lost’. Photo Credit: Angry Chandravanshi
Among the art establishments, the ‘Library of the Lost’, with its neatly bottled memories and photo booths, emerged as a favorite, with its layered view and Karna input. Random methods in which we remember (and forget) were outlined by art installations.
Neem of work work more than once in the last decade, “None of it was planned.” She started writing it as a drama, but soon realized that she wanted only a daughter’s story that she forgot her mother was struggling to remember everything. ” The more she remembered, the more the “fact blur” became aware of a “dramatic reconstruction”. Her intention “in photos, in objects, on film, and songs and sounds,” she had to navigate the vague landscape of disadvantages and memory, “she says.
An installation titled ‘Photo Booth’. Photo Credit: Angry Chandravanshi
Although her mother plays a central role in work, Nimi sees it as several characters, and more than her mother’s story. It is for him, “What do we remember and why and what we forget and how.” After being the theater and performance work creator through Sandbox Collective, he co-established, some creative aspects of the project discovered that others, others, such as new media parts, were found to be challenging. She says that the colleagues whose skills informed various aspects of work, she said a lot, she says.
Nimi Rabindran on exhibition. Photo Credit: Angry Chandravanshi
Sujay Sapal designed the overall project, which was also playing the role of a dramaturg. Sachin Gurjale and Ban ji worked on the sound design; Cinematography and editing were done by Ben BRICS (with additional editing by Emperor Damayanti) for films conceptualized by Neem; RENCY Phillip and NIMI designed the photo booth with Aakriti Chandravanshi, which provides image design support for the same. Charaulatha Dasappa managed the production (aided by Surabhi Vashish), while Bindumalini Narayanaswamy, Pallavi MD, Mansi Multani, Deepthi Bhaskar and Nimi also contributed to the song ‘Akashwani’ exhibition. Woven by many creative voices, ‘Forget to forget’ to forget ‘is included in many memorable images and moving moments.
Published – January 21, 2025 06:35 pm IST
