#Whitechapel discography zip series
Groundwork will act as a series of accessible mini-encyclopaedias with all the references artists use to develop a final artwork. It explores the extensive research behind five artists’ proposals for Back To Earth, Serpentine’s multi-year project focused on instigating change in response to the climate crisis.
Groundwork is a collaboration between the Serpentine and WePresent. Scientists Find Half-Billion-Year-Old Ancestral Mountains In The Himalaya. Rene Daumal, Mount Analogue: A Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing.Mark Doman and Katia Shatoba, Tracing the path of destruction in India’s Himalayas.Mangalesh Dabral, The places that are left.Manan Kapoor, The Country Without a Post Office.KW Institute for Contemporary Art, 12–30 December 2020. Lin+Lam, KW Production Series 2020: Lin+Lam.Himali Singh Soin, static range letter in Hebrew and Arabic.Himali Singh Soin, static range letter in English, German and Hindi.Himali Singh Soin, Ancestors of the Blue Moon.Daniel Kurjakovic, Every One Of Us Is A Radio Transmitter – Etel Adnan.Alejandro Jodorowsky, The Holy Mountain.I inconvenienced your understanding of the whole: you thought of place as territory, I suggested a world, a collection of fragments.” (Text VII: The Supine Demoness). “Suppressed by your ritual dagger I lie, a splayed demoness. “The idea was to give them life, and to give them body, and to give them their own stories and their own biographies,” Himali says. The texts each embody deities from across the Himalyan plateau, including Bla and Nāsadyaḥ. Media anthropologist Viveka Chauhan will send long-distance healing to the mountain using a mixture of sound and poetry which, combining with the Nagada drums, will undo the toxicity of the nuclear radiation.Īncestors of the blue moon is a collection of flash fictions produced during Himali’s writing residency at Whitechapel Gallery. As in ancestors of the blue moon (2020), in which she gave voice to unheard, local deities, Himali looks beyond religious boundaries while also recovering ancient rituals. “The place of the spiritual in India right now is a contested space, in a regime which is constantly co-opting religion and spiritual thought,” Himali explains. Static range is also concerned with secular empowerment via the project’s healing initiatives. “The infrastructures of post-colonisation are amplified by both nuclear testing and accidents, through the lack of protection or excessive exposure of certain groups of people.” “For those of us working with nuclear discourses and materials, living and working with invisible contagion is part of everyday life,” she writes of the link between radiation and Covid-19. Her curatorial research into nuclear culture investigates the contemporary aesthetics of living in the nuclear anthropocene through commissioning new work, field research, writing, and curating exhibitions. With the pandemic making this unviable, the animation became yet more fictive and hypnotic: cobalt blues and turquoises blur in and out of focus as the stamp leaks under exposure.Įle Carpenter is a curator, writer and researcher in politicised art and social networks of making. She had planned to attach the stamp onto film and pass it through airport X-ray machines to observe the effects. Working with Ele Carpenter, a curator and writer on nuclear culture at Goldsmiths, University of London, Himali traced the effects of radiation on film and photography to inform the animation. “There’s so much that’s speculative about the very process of radiation,” she says. Himali often extends fragments of information beyond their truth to shape narrative. just as the mountain is pushed by tectonic plates, so a human is borne from quiet and then emerging.” Writing in English becomes a decolonial and ecological exercise. “Geology and the natural world are not fixed, but constantly shifting, like identities. peek into the future and i will be omnipresent too.” How does Himali view this process of writing the non-human into being? “I feel like I’m so deep in these voices that they’re no longer inanimate to me,” she says. The spy later tells the mountain that “you are the omniscient narrator.