1?

Goutam Ghosh
'
Bodhisattva Chattopadhyay
Charmy Sadhana Jayesh

Courtesy: Indian Foundation for the Arts

Supported by: Titan company limited.

Echo of the Rann

Can we move the sacred stone.
What is beneath the sacred stone?
A myth has been conducted long ago to secured the
stone.
There is a sleeping snake under the stone.
The stone is the epicentre of the place.
the next generation will travel through time, like us, but in a different direction. Things
we learn now will be unlearned, what is dug now will be covered and dug up again, we
walk, they will swim, the earth will remain.
.... they both become one swaying screen.
In the rough desert land, when the sun's
rod is unbearable, a curtain of water forms
in the corner of the desert eye. We also
know this phenomena as Mirage or
illusion.
Somewhere in the no-man’s land in
the border area- a pool with full of
bacteria has recognised. A alga from
the pool had found dancing with a
lonely solider .
Our task here is to find possibilities of rebooting life, and gather fossil evidence of our ancestors if we
can find any Some forms of sand are helpful in preserving fossil life, but I am not certain this is the Earth
we are looking for.
She was the river goddess, Darya Devi, leaving deep marks on the face of the earth for many
reasons. Kalpa. Her last incarnation was on a British ship sailing between India and Mauritius, trade
merged with avarice and the blood of conquest, but the rivers began flowing as she stepped on the
land. Salty grey land in the shape of the tortoise, the land of the Kurma avatar.
She was
forgetting
everything, as
she raced to
the future. Too
many
memories, too
little space for
them all. But
she was
happy. The
real future
would have
made her
miserable. We
used to laugh
at her great
forgetfulness.
‘In the meantime, water had begun to dry up, a
huge salt marshland had appeared. Last
melted snow dried and froze into the first salt.
The white in the horizon kept coming back
again and again. The wide spreading line in
the horizon that separates ground from the sky
is the last hope of our senses. After walking a
few kilometres in the salted barren land, the
midday sky began to reflect on the ground and
ground reflected it back to the sky again. This
exchange went on again and again until the
line in the horizon disappeared.
The landscape is the desert, in which there is and there is not the shape of the tortoise, coming into
view and then disappearing again into the softness. The shape of the tortoise is in and not in the
dunes, ever-morphing, ever-transforming, becoming something else, sometimes taking on the shape
of a camel, sometimes of a dog, sometimes of things even our dreams cannot capture but wishes it
did. This temporal passage, the continual appearance and disappearance, is captured in the
zoomorphic gaze of the alien. The aliens on the alien landscape, the desert, investigate the comings
and goings of the animate inanimate as they leave behind traces and patterns of their movement. Life
and non-life merge in this alien view, recording things that were and are yet to arrive. What remains
are shapes, of which the shape of the tortoise is the one that comes to the
Kalpana in the here and the now.
Index
page 1 Page 13-14

iPhone photo 5S Majazi/2020

Village Oshirawandh, Naliya, Kutch, Gujarat Installation view

Drawing (Amrita) transferred on photographic image Untitled/2020

iPhone photo
Dholavira, kutch, Gujarat
Page 1-2
Ivory/2019
Amrita/ 2020 Engravings on aluminium sheet.
crayon drawing on parchment paper scroll 125 cm x 175 cm
1 145 cm x 190 cm

Sacred Stone/2019
Maa, 2020
Kodak 35 mm film
Framed photographic print on German
Etching paper, vinyl lettering, 21.5×15.5 cm,
8½×6¼ in, Edition of 3 + 1 AP
Page 3-4 Made in collaboration with Charmy Sadhana
Jayesh
Shape of the tortoise/2019
Installation view
Cement-concrete, iron rod & air ball.

Pluto/2019
35 mm kodak film
Page 15-16
page 5-6
Caravan/2019
Installation view. Shape of the
Flamingo, 2020 Tortoise
Brasso, beeswax, spray paint and carbon paper on aluminium sheet, Iron rod, carbon paper, air
100×130 cm, 39¼×51¼ in, Unique bags

Salt-Line/2018 Untitled
Susanne M Winterling Nakhatrana, kutch, Gujarat.
Cannon D 35 mm negative B&W film

untitled/2020
Page 7-8 iPhone photo
Untitled/2020 Nakhatrana, Kutch, Gujarat
iPhone image
Banni grassland at Nakhatrana, Kutch, Gujarat Sits of Darya Devi/ 2019
Sand stone sculpture
Pool, 2020
Carbon paper, coloured paper transfer
and beeswax on plywood, 150×150 cm, 59¼×59¼ in, Unique

Page 9-10
Page 17-18
Pool party at no-mans’s land /2019
Darya
Soft pastel drawing on paper
Devi/2019
Sand stone
sculpture
Page 11-12
Untitled/2020
Evidence/2020 35 mm B&W
Shot at Kodak colour negative 35mm film negative film
Village Motivirani, kutch, Gujarat
Page 19-20
Page 31-32
Healing pool/2020
35 mm B&W negative film Geographer Journalist Anupam
Place is anonymous Chakrabarty with Eco
Untitled conversationist Mr Jugal Kishor
iPhone image/2020 Tiwari at Nakhatrana /2021
Motivirani, Kutch, Gujarat.
Open at the shore/ 2021
Desert times/2020 iPhone image
Installation view, Kunstverein Freiburg
Curated by Heinrich Dietz & Antonia Lotz
The Shape of The Tortoise
Installation view 2019

Page 21-22

Air bags/ 2019 Page 33-34

The Shape of The Tortoise Graveyard in the Lakhpat fort
Installation view 2019.
juxtapose with collected fossils /
Untitled/ 2020 2020
iPhone photo iPhone image

Page 35-36
Page 23-24
Grand day / 2021
Sits of Darya Devi Installation view from the
Neon red light on sandstone exhibition ‘Crust’
The Shape of The Tortoise At Tanya Leighton,
Installation view 2019 Berlin, 2021

Terrine at Motivirani, kutch in Gujarat. 2020

Page 37-38

The Shape of The Tortoise

Installation view 2019
Page 25-26
iPhone images from banni
Desert times/2020 glassland and Dholavira Fossils
Installation view, Kunstverein Freiburg park / 2021
Curated by Heinrich Dietz & Antonia Lotz

Page 39-40
Page 27-28
Installation view from the exhibition
‘Crust’
At the panchi Pir Dargah in northern kutch a walking priest
At Tanya Leighton, Berlin, 2021
Ismail bhai a respected painter from Oshirawandh at his home .

Maa, 2020
Framed photographic print on German Etching paper, vinyl Page 41-42
lettering, 21.5×15.5 cm, 8½×6¼ in, Edition of 3 + 1 AP Index

Page 29-30
page 43-44
Last hope of our senses /
2020 At Nakhatrana / 2021
Shot at 35 mm B&W iPhone image
negative film
- Dreaming is a moving network of ancestral
sensibilities the differentiated temporalities of
dreaming morph into and through different registers
of dynamic processes of meta kinship of the human
and nonhuman. Thereby the ancestral land is not a
means to be exploited to meet the human and. As
an elder form of central Australian Randall puts it
“not only is the natural environment a source of food
it is also the expression of dreaming”. Where
expression medical references rituals and dream or
layered in the geological start of land the complex
creation Of a more than human unconscious starts
to oscillate....’’ - Samrat Banerjee (Ancestral knot)