The curatorial concept informing the exhibition, “My Colour on Your Plate”, is to use the idea of a “map” as a metaphor, rather than a literal image. It seeks to move beyond the practical history and function of maps as the representation of territory and the boundaries of nation states, towards the way maps embody our desires, as a society and as individuals, to constantly make, unmake and remake our own identities. It also attempts to explore our relationship- as human beings, artists, citizens- to the familiar and the unfamiliar, the Self and the Other. Experienced and perceived through various kinds of difference and similarity it will seek to look for what we hold in common, as well as what we struggle to communicate across limits and distances.
What we acknowledge as “my” and regard as “your” is a space bridged yet kept unique and distinct by the diverse practices of art. In talking about “colour”, the exhibition invokes the notion of a plural sensorium of possibilities. It also gestures towards a political or collective understanding of identity and difference beyond the purely individual and the intimate. Be it in the United States, Europe, India or farther East – the participating artists are from all over the world. How does art arise out of but also transform, unsettle, complicate or transfigure, particular experiences of culture, society, race and other ways of being and making in the body and in the world? In this wider understanding of what maps might come to mean, what is the relationship between the private and the public, between space and place, and how does location become inextricable from the experiences of subjective as well as geographical realisations of dislocation and displacement? To think of the “plate”, one’s own as well another’s, is to bring to the perception of our place in the world, the intimacy and the sensuousness of eating, something that all human beings must do in order to live both alone and with others. The works in the show do not need to necessarily reference maps but reflect the artists’ own sense of their own existence, individually and in relation to others.
They work perhaps along, or against, the grain of these ideas, images and metaphors. This is an exhibition curated by an artist whose own practice has imagined and absorbed the whole range of images and experiences suggested by the words, “colour” and “plate”, to forge an entire realm of connection and possibility that would be essential to this curatorial vision.
Image Credits: Daphne Le Sergent, (Still from the video) Geopolitics of Oblivion, 2018