FORM 3 FROM FORM 2 : MADRID, SPAIN, 2015
Form 3 from Form 2 continues with Forager Collective’s preoccupation with space and forms.
In the process of constructing, forming or building something, tangible or otherwise, there is a constant compromise of ideas. In the spaces – and in its many definitions – that result, there is thus a compromise that prevails.
Space – lived, perceived or imagined – is, in many ways, constantly being formed and unformed, built and built.
Form 2 from Form 1, an installation, accompanied by reading of a text developed by Forager Collective, performed by Meenakshi Thirukode.
In the process of building something, anything, there is an element of displacement. With the removal of sand, rock, mud or some other material from one place, there is a construction of a vacuum, even as a form of some sort is created in another place. Weight is depleted from one place and added elsewhere. Thus there is constant shifting of vacuum, mass, form, weight, thoughts, etc., at the same time constructing a void in the place it used to be.
This placement itself is a construction of a form. Sand bags are ubiquitous, familiar fixtures in all spaces that are being constructed, personal, public, urban or otherwise. We do not seek to change the object, but in the process of sand being packaged so, we recognize the displacement that is being created, from the river bed, into the sack. Likewise, when the bags are transported elsewhere and moved, there again is a construction of a form, in what is removed and what is left behind. The space and its meanings in architecture are constantly shifting. When something is removed, there is a building of something else elsewhere and the building of something where the displacement occurs. This building and building continues in the stacking, storing, transporting and use of sand bags.
Guest Lecture by Forager Collective at Academy of Media Arts, Cologne, Germany, 06.06.2015
In March and April 2015, Forager Collective’s Sunoj D spent a month as an artist-in- residence in Kampala, Uganda. Apart from pursuing his own project there, he presented, as part of the Collective, a series of soirees at 32º East | Ugandan Arts Trust, Kampala called Same Differences.
It was conceived as evenings where there would be readings, songs from the kitchen, documentary screenings, exchange of stories, etc., followed by a dinner of Indian food. The main dish was always a vegetable that was widely used in both Indian (cuisine from the southern state of Kerala, in these cases) and African kitchens, albeit in wholly different ways. For instance, by making jackfruit curry with coconut for a people that only ate it as a ripened fruit, and with other vegetables and roots, Forager Collective highlighted the differences, yet the underlying similarities between the two cultures.
The hugely successful soirees brought diverse groups of people together each time and led to many impromptu sharing of songs and stories about food from folklore and old memories.
Below is an assortment of photos from each of the six such soirees that were organized over a period of seven weeks.
In Same Differences 01, Forager Collective collaborated with Ugandan poet and performer Ife Piankhi who read a piece by Editor Deepa Bhasthi, called ‘Boiling Coffee, Burning Beirut’, from The Forager‘s first issue.
Forager Collective at The Knowledge Project, Kochi-Muziris Biennale Collaterals, Jew Town, Fort Kochi
13.12.2014 to 12.02.2015
Table of Contents: Genesis
Used wooden table, recycled paper, colour pencils, 2014
The relationship between money and agricultural activities is a complicated one. The transposition of farming symbols from currency notes and coins on to the table explores the influence of money in food structures and farming practices, a connection that is deeply pervasive and always visible, but scantily acknowledged.
Viewers are encouraged to take an impression of the carvings and take back, on pieces of paper, images that are faintly familiar yet not something that can be immediately placed.
The Forager magazine launch
Screening of Maryam Jafri’s MOUTHFEEL
2014, 2K High Definition, 21.34 minutes