Art Aia - Creatives / In / Residence and Uronto Artist Cummunity have been collaborating in the 8th and 9th Episode of a Residential Art Exchange Program at The Dubolhati Palace in Naogaon District in Rajshahi Division in Bangladesh
Teaser URONTOArt Aia - Creatives / In / Residence
URONTO is an Artist-Led Open Collective in Bangladesh, founded in 2012, in order to enforce a new organic platform for creative practitioners and researchers from all possible disciplines to collaborate and enhance their trans-disciplinary works to inspire local and Global community. At the same time upholding their Artistic responsibilities toward the Society. URONTO works toward making ART a strong tool to change the way people look at everything.
The Uronto Residential Art Exchange Programme is one of the major yearly initiatives of Uronto since it is formed. In this VR video you can explore the work of some of its artists.
Artistic responsibilities toward the Society
For the last seven years the Artist Community has endeavored to archive heritage, by harnessing the power of artists’ multidisciplinary interventions through interactive ‘pop-up residencies,’ artist exchange programs and workshops at sites that are mostly abandoned and/or soon to be demolished.
What Remains by Fouzia Mahin Choudhury
Everything ends, no matter how big, how mighty, how glorious one can be. Time that heals, kills too. Once an incident, becomes a story, then history, then a myth with time; only remains in words. But words also have their life times. If not spoken, or written, or repeated, they die…like dusts, like smells. Mahin’s work is a step towards restoring the history of Dubolhati rajbari in form of a poetry.
What Remains (2020) by Fouzia Mahin ChoudhuryArt Aia - Creatives / In / Residence
It’s an over two hundred years old zamindar bari that belonged to Haranathan Roy Chowdhury who were no less then a king with a palace consists of 300 rooms, 3 cars, elephants, horses and 17 ponds.
She transformed her poem into a Pattachitra which is an ancient traditional painting style where Mythological narratives or folktales are inscribed on a cloth base surface with drawings.
In Between by Davide Tagliabue
The intervention concerns the creation of a bamboo bridge structure, with an appearance similar to the temporary scaffolding used in traditional Bengali construction sites, painted blue and which connects the Court room (Adalot/kachari), the only building where subjects could make their voices heard by bringing their requests to the king, to the central building, housing the king’s son.
The need of future care
This sabotage (trick), in addition to ideally indicating that there is no longer a distinction between public and private through this transition from a semi-public space in the past to a totally sacred and private one, wants to draw “material” attention to the building, rekindling the curiosity of the inhabitants about its possible use and its future.The intervention was completed with the help of local, paid workers and the help of the community, in order to introduce new capital into the local economy of the village and to empower those who took part in it to ensure future care.
In these photographs, artist used the darkness of the palace at night, as an opportunity to highlight the haunting details and the transverse historic myth by using artificial light. By transforming the Palace in such manner, artist hope to preserve the mundane ambience and perennial leftovers of the time, its history, now and the transformation of space it used to be.....
Photo about the structure of the palace (2020) by Sounak DasArt Aia - Creatives / In / Residence
The walls stand in silence in a house where a king and his family once lived. Only the fading patterns and forms of the structure echo through the void.
Reconnect with lost memories of forgotten places
Uronto believes that if we lose a heritage building we lose a part of our sense of ‘belonging’. Through artistic labor, they intend to reconnect with lost memories of forgotten places and create opportunities to share the joy of connecting to cultural histories through co-existing and co-creating, gaining access to memories that inspire creative workers and empower current generations with knowledge.
Jewel Chakma intended to use the natural elements around the house to create a work which will merge into the space with a strong message inside. Using the coconut leaf as the core element he wived his reactions and realizations about the palace. Jewel felt that the palace is standing without the skeleton and can not hold on for longer.
The artist realized a workshop in collaboration with Local community kids
Her impressions of the Rajbari and it’s surroundings are in these personal notes in a form of postcards to Bau, who is friend of her in New Zeland. As her memory fades with time, she find herself documenting places this way. Gives her access to memories irrespective of time and space.
Postcards from Dubolhati Palace (2020) by Saria SaguaroArt Aia - Creatives / In / Residence
Birgitta usually prints the bark of old and special trees. According to her, the trees record the history of their place and of its “clandestine” inhabitants. It was a magical encounter for her, when she saw, how many Bangladeshi and local mythical stories unfolded from the plaster. For the first time she was taking prints of a wall or a plaster surface and she describes this experience as a new dimension to her practice and passion.
Artist at work (2020) by Birgitta VolzArt Aia - Creatives / In / Residence
While looking at the romantic ruins of Dubolhati palace, she felt inspired to print some of the rotten plaster structures of the decaying palace walls.
Adam and Eve (2020) by Birgitta VolzArt Aia - Creatives / In / Residence
Adam and Eve
Sadya Mizan -Founder and Curator of URONTO Artists Community (2012). She is also one of the founding trustee of Art Initiatives BD (AIB) since 2018.
Uronto Artist Community - Art practices in the non-Western world
Artists : Fouzia Mahin Choudhury, Davide Tagliabue,
Sounak Das, Jewel Chakma, Saria Saguaro, Birgitta Volz and Reetu Sattar.
Curated by Giovanni Morassutti and Sadya Mizan
Location : The Dubolhati Palace in Naogaon District in Rajshahi Division in Bangladesh.