墟場+域
That Ruined Place

2014. 08. 09 - 2014. 08. 17
Opening: 08. 09  20:00
Artist talk: 08. 09 20:30

策展人｜Mateusz Bieczynski
藝術家｜Shaurya Akshay Kumar














































“為了未來的需求，過去的將遺失”

“為何探問我從何處來，噢 居住在東方的人兒，
知曉我無家可歸，你訕笑，你嘲諷
德里曾是世界上被神選定的城市
僅有被選定的行業駐於此;
然而上天掠奪了它並任它荒涼，
我是這墟場的居民。“
- Meer Taqi Meer
(Meer Taqi Meer(1723-1810)，為印度蒙兀兒王朝時期，以烏爾都語Urdu創作詩歌的先鋒。烏爾都語是屬於印歐語系印度-伊朗語族的印度-雅利安語支。是巴基斯坦的國語，也是印度的24種規定語言之一。)


「墟場+域」呈現當代社會中的歷史邊緣化。藝術家以多媒體作品反映作為身份認同及主體驕傲的自身歷史，如何逐漸消逝、碎片化，甚至完全迷失，遺落在快速發展的城市邊緣。作品讓觀者窺見時間的遺跡如何在自然摧殘、時間歷程、與人類的忽視下墮入消亡。伴隨著沒有任何證據證明他們的存在或任何復興、恢復原狀之期望，他們的存在如同影子一般，黑暗無光、碎裂，也幾然全覆無存。Shaurya Kumar的作品描繪了這個“忘卻、擦除以及健忘”已然成為我們所居的現實之中的新常態。

Shaurya Kumar 印度德里人，2007年畢業於美國諾克斯維爾的田納西大學藝術學院，專修版畫及繪畫。2001年起，Kumar開始進行許多研究計畫，如印度繪畫研究(26部關於印度繪畫傳統的紀錄片)；印度手工(印度手工藝傳統百科全書)；即西元六世紀佛教阿旃陀石窟壁畫數位典藏等。 Kumar的研究著重於使用新媒體的同時也強調永久的危險性，以及真實與虛擬間的斷裂。他的作品是對藝術與科技的探索，也呈現兩者之間的裂縫。他的作品也是關於場所的對話，探討場所如何影響資料，乃至於整個社會、文化、人群、及個人。



“For the want of future, the past was lost”

"Why ask where I come from, O dwellers of the East,
Knowing my homelessness you laugh as you taunt.
Delhi that was once a select city in the world,
Where only the chosen lived of every trade;
Then the heavens looted it and left it desolate,
I am a citizen, of that ruined place."
- Meer Taqi Meer


That Ruined Place presents the idea of marginalization of history in contemporary societies. In this multi-media exhibition, the artist reflects on how our past that was once our identity and a matter of pride, is getting increasingly obviated, mutilated, sometimes entirely lost or pushed to the extreme fringes of rapidly urbanizing societies. These works offer a glimpse into the fate of relics that have succumbed to harsh natural elements, passage of time, and blows of human neglect.

With no evidence remaining of their existence or a hope of revival and restitution, they exist in shadows – dark, fractured, and almost annihilated. Shaurya Kumar’s works depict this “obliteration, erasure and amnesia” that has become a reality of the new normal we live in.


Shaurya Kumar

A native of Delhi, India where he studied printmaking and painting at the College of Art; Shaurya Kumar graduated with his MFA from the University of Tennessee, Knoxville in 2007. Since 2001, Kumar has been involved in numerous prestigious research projects, like “The Paintings of India” (a series of 26 documentary films on the painting tradition of India); "Handmade in India" (an encyclopedia on the handicraft traditions of India); and digital restorations of 6th century Buddhist mural paintings from the caves of Ajanta.

Kumar’s research is focused on creating works which appreciate and appropriate new media while highlighting the dangers of its longevity; and the disconnect between the virtual and the real. His work is an investigation of art and technology, and the rift that lies between. Ultimately, his work is a dialogue about site, how site effects and affects data and therefore a society, a culture, a people and ultimately a person.

Kumar's work has been showcased in numerous national and international exhibitions across the US and in countries including India, China, Poland, South Korea, Taiwan, Thailand, Belgium, Bulgaria, Italy, U.K., Norway, France, Australia and Finland among many others. His works have been installed at venues including the Dr. Bhau Daji Lad Museum (formerly Victoria & Albert Museum, Mumbai); UNM Art Museum, Albuquerque; SCA Contemporary, Albuquerque; Queens Museum, NYC; Seoul Museum of Art, Seoul; Lakeeren Gallery, Mumbai; New Art Center, NYC; Los Angeles Center for Digital Arts, Los Angeles, CA; Museum of Fine Arts, Georgia; Schneider Museum of Art, Oregon; Charleston Heights Art Center, Las Vegas among many others.


Kumar is the Graduate Coordinator and an Assistant Professor in the Department of Printmedia at the School of the Art Institute of Chicago. He has studios in Chicago and New Delhi and is represented by Lakeeren Gallery, Mumbai; Artifact gallery in NYC and Craig Anderson Art Consultants in New Mexico.