Interrogating Everyday

The project nterrogates the concept of everyday through the prism of different practices of the participants. Through of art interventions in various public places around Guwahati, the workshop attempts to test the constellation of everyday within the  critical imaginary of public art discourse.

Location: Barge “MS Stralau”, Berlin

In an attempt to deterritorialize the project Periferry (2007–), an alternative artist-led space and residency program situated on a ferry docked on the Brahmaputra River in Guwahati, India, the artists recreated another temporary laboratory in flux in Berlin.

Video of my Native by Dorendra Singh I Location - Manipuri Basti, Guwahati

Trying to come to terms with concept of identity, nationality, fact and fiction, Dorendra Singh, a young artist from the northeast India, initiated this project - a series of film screenings, video workshop and discussions.

Crossing the edge

Engaging with the concept of pedagogy as medium, Periferry conducted several experiments in terms of workshops, seminar and other forms to test the "pedagogical turn ". In this context, our first event CEMA PAAR @periferry was organized in Guwahati in November 2010, at Periferry, and in Shillong at Sikkim Manipal University, Shillong Centre.

Christina Stadlbauer (Austria/Belgium) and Bartaku (Belgium), were at Periferry for a residency program

Body Water - opening the archives - Christina Stadlbauer
A wrap up of investigations in kitchens, gardens, buses and paths of Assam crystallizes in a periferal archive of Assamese knowledge compiled from everyday medicine in everyday life; Body Water is accessible via tea-talking, singing the plants and interactive cooking, aided by flowerpots, gamuchas and water visuals.

A Slow Flow - Bartaku
Micro-interventions, workshops cum experiments fused by the exposure to The Periferry, icon of the petrol era, The Zoo cum hidden Botanical Garden, The Misrepresentation of the Gandhi Mandap, The Wild Edible Power Plants from Assam, North-and South-Bank Knowledge and The Brahmaputra with the strongest –well hidden- flow.
Part of the artistic research project PhoEf: The Undisclosed Poésis of the Photovoltaic Effect.

Artist - Sanchayan Ghosh

This project is about exploring the transforming relationship of a river and a city in relationship to Brahmaputra and Guwahati.This is a research and documentation based interactive project will try to locate the different forms of economic and cultural transactions that happen with the river Brahmaputra as a host, and in the floating space between labour and economy, migration and identity, industry and culture in relation to the stranded ferries of Brahmaputra and the life on the river bank.

Isabelle Rouquette

The climate is one of the components that create and environment and the moment when we get a sense of this is when the blue and yellow become green, but also indigo, turquoise, emerald green and saffron. In the project 'Tidal Bore' I intend to create a framework that mixes acoustic qualities recorded in India with visual ones registered in Finland in order to pose the problem of the author. This work allows me to study the right of the author and to raise the question of authorship in the globalization of industrial societies, that has as a consequence a new hostility in our environment of life.

Technicolour Dreams2 is a Musical play sketching contemporary Nagaland on stage addressing identical questions of the people living in that particular geographical terrain. Approaching to tell the tale of contemporary Nagaland, Technicolour Dreams2 weaves few personnel history along with documents and informations of civil uprisings, movements, underground identical movements yarning for self determination. The personnel histories about up bringing, at academic institutions, friends and families, generations, ethnic connections and lost will be juxtaposed with it.

Open day of a three week internship
“Everything in this world has got an interesting facet to be explored. Sometimes, though mysterious or nonsense they are, visually pleasing.”
It is interesting!
But I haven’t noticed it!
What it means?
First, it is a surprise to see something new, if it was not observed or recognised it becomes a question. Second comes reasoning Why, Where, When and How. This had been tried through an expression, as a gesture to preserve the past.

Participant artists:
•    Tribeni Devi, born in 1986, had done her BFA in Graphics Art and presently pursuing MFA in Kala Bhavana, Viswa-Bharati University.
•    Shravan Kumar Pendyala, born in 1987, had done her BFA in History of Art and presently pursuing MFA in Kala Bhavana, Viswa-Bharati University.

Sanchayan Ghosh is an artist and reader working in the department of painting at Kala Bhavana, an acclaimed and distinguished centre for visual arts practice and research founded by the Nobel Laureate Rabindranath Tagore at the Visva Bharati University in West Bengal, India.

Sanchayan’s work currently focuses on exploring methods of participation in multiple public sites and evolving site-specific community based art activities. This approach has afforded Sanchayan the opportunity to work with and reach a wide variety of people including three generations of Asian communities in Bristol, the weavers of the Bodo communities of Assam in eastern India and a number of migratory communities in Calcutta and wider India. In collaboration with Periferry, Sanchayan plans to develop an interaction with different cultural and ethnic communities living on the banks of river Brahamaputra, with reference to their evolving memories in relation to the city.

Naming, Deframing: a lexicon for contemporary curatorship

‘Unspeakably More depends on what things are called than on what they are. (...) Let us not forget that in the long run it is enough to create new names and plausibilities in order to create new "things".’

In the course of thinking through our symposium on curatorship under the broad title Art after Space, our original concept has morphed into something else. The above statement is Stephen’s premise about how to incite a discussion, actually focus on having that discussion as the event, not as a secondary action to an exhibition or what has been termed the “pedagogical turn” in contemporary art.