Reena Saini Kallat’s Woven Chronicle: Tashi Tobgyal. Photographer: Jonathan Muzikar. We think of the border as defining or tracing the edges of territories and sovereignties and nations, but the world and its histories are comprised of migratory movements. It has a sound component—take a moment and listen. Mumbai-based Reena Saini Kallat’s memories of her father’s stories of growing up in Lahore before the Indian Partition in 1947 deeply affected her, as did her extended family’s need to flee and leave everything when ‘more than ten million Hindus, Muslims and Sikhs scrambled to get to their preferred side of newly formed borders based on religious lines.’. A giant world map incorporating webs of coloured wire was turning heads as artist Reena Saini Kallat put the final touches on the installation at the Vancouver Art Gallery’s Offsite space last month.. Visitors to the exhibition initially encounter Reena Saini Kallat’s “Woven Chronicle.” Kallat’s piece uses electrical wires to create a large world map delineating borders and regions. Woven Chronicle, a new version of which she has made for Bangkok, takes the form of a global cartographic wall drawing, woven out of electric and barbed wire. Featuring a major installation by Mumbai-based artist Reena Saini Kallat, Woven Chronicle (2015), alongside works by many other artists, architects, and designers who respond to the complex circumstances brought about by forced displacement, this exhibition focuses on conditions that … Electrical wires, speakers, circuit boards, and fittings; single-channel audio (10:00 minutes), approx. Are.na is a platform for connecting ideas and building knowledge. Installation view, Vancouver Art Gallery Offsite. In the context of Vancouver’s changing urban and cultural landscapes, Woven Chronicle returns to the very origins of ethnic and cultural diversity. “Woven Chronicle.” 2011/2016, “Insecurities: Tracing Displacement and Shelter”, detailed view Chorus. From installations to photographs to paintings to sculptures, Reena’s work reflects the constant churn of definition and redefinition. Everything which affects some of us, almost immediately affects us all.’. (Courtesy Jonathan … Reena Saini Kallat’s piece titled “Woven Chronicle,” part of the Institute of Contemporary Arts’ newest exhibition, “When Home Won’t Let You Stay.” On display until Jan. 26, 2020, it explores themes of migration and displacement. The first thing viewers see upon entering the exhibition is Woven Chronicle, an artwork by Indian artist Reena Saini Kallat, created between the years 2011 and 2016. 2559. Reena Saini Kallat Leaking Lines 2019 (Installation view, Chemould Prescott Road, Mumbai) Reena Saini Kallat Chorus 2017 272×302×190cm. Reena Saini Kallat. She currently lives and works in Mumbai. For her, this work reflects ‘the rise of narrow nationalism amidst the many conversations across borders through technology. Reena Saini Kallat b. *Installation view of the exhibition, "Insecurities: Tracing Displacement and Shelter." 11 x 38 feet (335.3 x 1158.2 cm). From being a forum that brings artists from all over the world to the one that will focus on South Asia, India Art Fair (IAF) has changed its course over the nine editions since it debuted in 2008. With Woven Chronicle we're not just looking at a map of the world, we're looking at migratory paths, lines of movement, lines of movement that are fundamentally difficult and politically charged. Chorus is ominous at first sight; it is modelled on World War II acoustic surveillance devices meant to track enemy aircrafts and Kallat infuses it with the beauty of birdsong. Reena Saini Kallat Woven Chronicle 2016 (Installation view, Museum of Modern Art, New York) 1447×322×30cm. Woven Chronicle was completed by an artist named Reena Saini Kallat. “Woven Chronicle” … Reena Saini Kallat Woven Chronicle With Woven Chronicle we're not just looking at a map of the world, we're looking at migratory paths, lines of movement, lines of movement that are fundamentally difficult and politically charged. With Woven Chronicle we're not just looking at a map of the world, we're looking at migratory paths, lines of movement, lines of movement that are fundamentally difficult and politically charged. They suggest a movement of goods, of animals and humans, of which we are all part. In the case of this project, though, each line of movement is akin to a barbed wire, and we could imagine that the movements of individuals throughout the world are continuous and dangerous at the same time. Reena's works attempt to re-imagines the relationship between public art, its space and audience. Reena Saini Kallat - Woven Chronicle (2011) Hamutal Levin artists. *Installation view of the exhibition, "Insecurities: Tracing Displacement and Shelter." Reena Saini Kallat. Insecurities: Tracing Displacement and Shelter. The exhibition collects more than forty works by twenty artists from a dozen countries, all created since the turn of the millennium. 10 min Single Channel Audio. with Dane Mitchell and Ong Puay Khim. Reena Saini Kallat, Woven Chronicle, Vancouver Art Gallery Offsite. It has a sound component—take a moment and listen. Jun 3, 2018 - "Woven Chronicle" - Reena Saini Kallat installation Lands that are geographically far from one another are linked with long strands of the wire woven together. Reena Saini Kallat leads with her global tapestry installation, ‘Woven Chronicle’ Portrait of Reena Saini Kallat. Today, even as we tighten national borders amidst fears of the virus travelling through our bodies, we increasingly realise our interdependence. Spanning nearly 50 feet, Woven Chronicle is an immersive, multilayered world map hand-woven by the artist with electrical wire. October 01, 2016 - January 22, 2017. By the way, this style of art exhibits a strong view of social commentary. Narrator: We are looking at Reena Saini Kallat ‘s Woven Chronicle from 2011. (2011-2016). Reena Saini Kallat, Woven Chronicle, 2015, circuit boards, speakers, electrical wires and fittings, site-specific installation at Vancouver Art Gallery Offsite. Installation view, When Home Won’t Let You Stay: Migration through Contemporary Art, … Are the electrical wires that are woven together to form your maps partly referencing this history? Mumbai-based Reena Saini Kallat’s memories of her father’s stories of growing up in Lahore before the Indian Partition in 1947 deeply affected her, as did her extended family’s need to flee and leave everything when ‘more than ten million Hindus, Muslims and Sikhs scrambled to get to their preferred side of newly formed borders based on religious lines.’ ความทรงจำเกี่ยวกับพ่อที่เติบโตในเมืองลาฮอร์ก่อนการขีดเส้นแบ่งอินเดียในปี พ.ศ. Reena Saini Kallat (born 1973) is an Indian visual artist. Reena Saini Kallat Woven Chronicle 2018 (detail) Textiles – particularly weaving and knitting – is an art form that has, historically, often been associated with women makers. Photographer: Jonathan Muzikar. As borders shift, the colours and divisions articulated in Kallat’s 'Woven Chronicle' works also change. Reena Saini Kallat, Woven Chronicle, 2011–2016. And what Reena Kallat's moving work illustrates is that we could redraw the map of the world based on these migratory movements. October 01, 2016 - January 22, 2017. Reena Saini Kallat (Born 1973 in New Delhi) Woven Chronicle, 2011-19 Electrical wires, speakers, circuit boards, and fittings; single-channel audio (10:00 minutes)Approximately 13 x 42 x … Kevin IBM Vintage Computers. This # texturetuesday, explore Reena Saini Kallat's monumental installation Woven Chronicle, (2011–16)!. It is also a wall of sound with bleeps of telecom traffic, the screech of high-voltage currents, the buzz of drones, the honking of ship’s horns and factory sirens, intermingled with the songs of migratory birds. Reena Saini Kallat. Reena Saini Kallat’s practice, encompassing drawing, photography, sculpture, painting, video, and installation, engages diverse materials, imbued with conceptual underpinnings. For Bangkok, she will be weaving this work using locally sourced wires, cables, motifs and sounds that take into account local viewpoints and migratory patterns. It took SITE's highly-skilled team of preparators 4 … Narrator: We are looking at Reena Saini Kallat ‘s Woven Chronicle from 2011. The Museum of Modern Art, New York. Some take a big-picture approach. 2490 ส่งผลกระทบอย่างมากต่อ รีนา ไซนี กัลลัต ศิลปินที่อาศัยและทำงานในเมืองมุมไบ เช่นเดียวกับความต้องการของครอบครัวเธอที่จะหลบหนีและทิ้งทุกสิ่งไว้ข้าง, Woven Chronicle ทำซ้ำครั้งแรกในปี พ.ศ. 2554 และเวอร์ชั่นขนาดใหญ่ของผลงานจัดแสดงที่พิพิธภัณฑ์ศิลปะสมัยใหม่ (The Museum of Modern Art) ในมหานครนิวยอร์กในปี พ.ศ. (2011-2016). It is a poetic network of auditory and human conduits set against a visual matrix of national obstacles, yet its lines, colours and densities trace the movements of travellers, migrants, labour and trade across borders. Her work (that incorporates sculpture, drawing, weaving, photography and sound) is a response both to this and to subsequent sectarian unrest and violence. Woven Chronicle. 2015. circuit boards, speakers, electrical wires and fittings. 1973, Delhi, India Lives and works in Mumbai, India Reena Saini Kallat was trained at the Sir J.J. School of Art, Mumbai between 1991-96. Despite shelter-in-place orders and a remote academic environment for Stanford students, Stanford's Institute for Diversity in the Arts, the Cantor Arts Center, and The Anderson Collection continue to seek events that engage artists, the community, and students through virtual programming. Woven within the map itself are a number of speakers. As an artist, she is strongly interested in displaying art to help remember the past: she calls this style of art “memory play.”. 4506VV4010.jpg — Are.na. Reena Saini Kallat maps various routes of the movement of people and goods across oceans with twisted and barbed wires in the site-specific installation Woven Chronicle (2011-16). The Museum of Modern Art, New York. Tecnologia Mitica Informatica Computer Per Videogiocare Vecchi Computer Computer Museo Tecnologia Schizzo. Reena Saini Kallat's "Woven Chronicle," as seen installed at the Museum of Modern Art, will be included in the ICA's exhibition. Early life ... become painstakingly woven entanglements that morph into barbed wires like barriers. Covering a whole wall in the first room of the exhibition, Reena Saini Kallat’s “Woven Chronicle” (2011-19) draws on data to trace global movements of migrants and labor. Woven Chronicle. Woven Chronicle. This sense of movement exudes freedom, something that Indian artist Reena Saini Kallat both encompasses, and challenges in her free public art installation “Woven Chronicle” now on display at the Vancouver Art Gallery’s Offsite space on West Georgia Street and Bute in Vancouver. Check out the upcoming programs from some of our arts partners at Stanford's Vice Presidency for the Arts. หลังเมื่อ “ชาวฮินดู มุสลิมและซิกข์มากกว่าสิบล้านคน ต้องดิ้นรนข้ามพรมแดนที่เพิ่งขีดขึ้นใหม่โดยเอาศาสนาเป็นที่ตั้ง ไปยังฝั่งประเทศที่ต้องการ”, ผลงานของรีนาที่ผสมผสานประติมากรรม การวาดภาพ การทอผ้า การถ่ายภาพและเสียงเข้าไว้ด้วยกัน เป็นการตอบสนองทั้งต่อการขีดเส้นแบ่งอินเดียและต่อความไม่สงบและความรุนแรงที่ตามมาจากการแบ่งแยกทางศาสนา Woven Chronicle ซึ่งเป็นเวอร์ชันใหม่สำหรับจัดแสดงในงานบางกอกอาร์ตเบียนนาเล่ 2020 โดยเฉพาะ สร้างสรรค์ออกมาในรูปแบบภาพวาดแผนที่โลกบนผนังถักทอจากลวดไฟฟ้าและลวดหนาม มีเครือข่ายท่อร้อยสายเสียงที่เป็นตัวแทนกระแสการเคลื่อนที่ของมนุษย์ โดยเส้น สีและความหนาแน่นจะเปลี่ยนตามการเดินทางของนักเดินทาง ผู้อพยพ แรงงานและการค้าข้ามพรมแดน และมีฉากหลังเป็นอุปสรรคระดับชาติ นอกจากนี้ยังส่งเสียงต่างๆ อย่างเช่นเสียงการจราจรทางโทรคมนาคม เสียงกระแสไฟฟ้าแรงสูง เสียงโดรนบิน เสียงบีบแตรเรือ และเสียงไซเรนโรงงาน ผสมผสานกับเสียงเพลงของนกอพยพ สำหรับเธอแล้ว ผลงานชิ้นนี้สะท้อนให้เห็นถึง “การเพิ่มขึ้นของลัทธิชาตินิยมคับแคบท่ามกลางกระแสบทสนทนาข้ามพรมแดนผ่านเทคโนโลยี ทุกวันนี้แม้กระทั่งในขณะที่เรากำลังกระชับพรมแดนระหว่างประเทศท่ามกลางความกลัวการรับเชื้อไวรัสเข้าสู่ร่างกาย เราก็ตระหนักถึงการพึ่งพาซึ่งกันและกันมากขึ้น “ทุกสิ่งที่ส่งผลกระทบต่อเราบางคน ล้วนส่งผลกระทบต่อเราทุกคนแทบจะในทันที”, สำหรับงานบางกอก อาร์ต เบียนนาเล่ 2020 เธอจะถักทอผลงานชิ้นนี้ โดยใช้สายไฟ สายเคเบิล ลวดลายและเสียงที่หาได้ในท้องถิ่น โดยคำนึงถึงมุมมองและรูปแบบการอพยพในท้องถิ่น, © Bangkok Art Biennale 2020 All Rights Reserved, A Child’s World in the Days of Adults, 2014-2016, How to Vapourise a Whale? 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