Fino al 14 gennaio 2019 la galleria [dip] contemporary art di Lugano presenta SOMNIUM SEMINIBUS II. La prima mostra svizzera degli artisti indiani Thukral & Tagra racconta con ironia l’India contemporanea tra tradizione e globalizzazione.
La più antica tradizione indiana risorge i nei colori e nelle forme giocose di Jiten Thukral e Sumir Tagra. La coppia di artisti indiana, considerata tra le massime espressioni artistiche del paese, annullano la divisione tra arte e cultura pop realizzando opere in sinergia tra passato e futuro. La reinterpretazione delle narrazioni e dei simboli mitologici indiani li ha portati a riflettere sugli aspetti globali che influenzano l’identità locale.
Il loro approccio visivo è unico, le loro opere ironiche e profonde al tempo stesso. Grazie alle loro parole abbiamo provato a conoscerli meglio.
Pop language and artistic language coexist in your works. These, even if conceived in the Indian context, acquire a universal value. How do you get such a result?
Artistic processes do reflect time. Our studio practices has evolved from looking within the closed studio to larger dialogues communities and socially engaged excercise. The visual language only extend this intention of inclusivity and brings subcultural subjects of community building and sharing knowledge which is not bound by language and social borders.
Painting, sculpture, installation, video, interactive games, performance and design. Is the variety of the media you uses proportioned with the complexity of the world you are trying to depict?
The mediums shouldn’t be seen as action or the final outcome. They are mere tools to excercise the larger ideas. The intention should be considered and that should be sensitive enough to the modes we choose to operate in.
We are interested in seeing the conversation which mediums can do with eachother. We are also very keen on seeing this negotiations which every medium brings on table. The audiences response only adds to the experience of art making.
In some of your latest works, you have depicted some Indian mythological narratives with new visuals. Can the narrative aspect, (or perhaps the return to a narrative aspect), be the key to the art of the future?
The idea is the refresh the pedantic approaches to our cultural heritage. The mythological interventions are a part of our culture. We have grown with this values. We only try to understand them better by using new ways to illustrate them.
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