TUESDAY 12 NOVEMBER 2019.
Durjoy Bangladesh Foundation (DBF), with its mission to support the presentation and awareness of South Asian art on the global stage, is pleased to announce their collaboration with Homelands: Art from Bangladesh, India and Pakistan at Kettle’s Yard, University of Cambridge, UK.
Participant Artists: Munem Wasif, Yasmin Jahan Nupur, Iftikhar Dadi, Elizabeth Dadi, Seher Shah, Bani Abidi, Desmond Lazaro, Sohrab Hura, Nikhil Chopra, Shilpa Gupta, Zarina.
DBF will play a part at the end-of-exhibition Symposium for ‘Homelands: Art, con¬ict and displacement in art from Bangladesh, India and Pakistan’, which will conclude the complementary public programming beginning in November.
Kettle’s Yard is internationally renowned as a unique document of modernism in Britain. It is also the single major centre for twentieth century and contemporary art in Cambridge. Over a hundred artists are represented in the collection including works by Henri Gaudier-Brzeska, Barbara Hepworth, Joan Miro, Constantin Brancusi, David Jones, Naum Gabo, Henry Moore and both Ben and Winifred Nicholson.
Kettle’s Yard reopened in February 2018 after a major building project to create improved exhibition galleries, an education wing, and a new entrance area and cafe. Last year 260,000 people visited from across the world to enjoy the collection and exhibition programme.
Event address: Kettle’s Yard, Castle Street, Cambridge, CB3 0AQ
How to get here: https://www.kettlesyard.co.uk/visit/getting-here/
Exhibition continues until 2 February 2020
Iftikhar and Elizabeth Dadi
(b. 1971 Pakistan, lives in Ithaca, USA)
Works from the Efflorence series (pictured: Padma and Cocoxochitl)
Neon, bulbs, aluminum, mixed media.
Image Courtesy : Jhaveri Contemporary .
Production and Commission support : Durjoy Bangladesh Foundation ( DBF)
The series currently consists of:
Cocoxochitl – dahlia [Mexico]
Karkadé – hibiscus [Sudan]
Mokran – magnolia [North Korea]
Efflorescence denotes radiance, the blooming of a flower, and the flowering of civilization, but also bears negative valences such as discoloration. This double meaning of the word provides an apt title for this series of large-scale illuminated sculptures of the national flowers of contested regions. Inspired by popular commercial signage, the works jump scale in their materiality and dimension: their industrial artifice acknowledges the manner in which delicate natural forms are deployed as fixed emblems to vindicate intangible claims of identity.
