In Kathmandu Triennale 2077, a central position is occupied by artists working with and from within multiple aesthetic and cosmological perspectives and meanings in their works, manifesting the multiplicities that construct our kaleidoscopic global reality. These include practices that have been systematically excluded from the realm of art and designated by a colonial ethnographic gaze as craft, folklore, or at best, "traditional" art, even though these practices often perform analogous cultural and social functions in their communities as art does in the system of global society, and are also constantly evolving and embodying the traces of their contextual transformation and of this often-disobedient instability. In this line of thinking, Kathmandu Triennale 2077 is particularly interested in contemporary practices where Indigenous perspectives operate in the field of technology, where bodies and traditions are queered, where masks and rituals are the site of continuously negotiated identities rather than essences, and where folklore is the battlefield of decoloniality, counterculture, and criticality. Kathmandu Triennale 2077 seeks to expand the consideration of contemporary artistic practices to include materiality and media from various communities in Nepal and from around the world, including different forms and lineages of object, image, and sound making that transversed or unfolded in parallel to the fractures of the modern. The Triennale discusses appropriate frameworks of understanding and bringing together these multiple aesthetic and cosmological lineages active today, from paubha painting in Nepal, ink art in East Asia, and barkcloth in the Pacific to body marking and weaving around the world and other artistic languages often marginalised in global discourses on contemporary art. But the Triennale is also looking beyond the dominant traditions in these contexts, showcasing practices from communities that have often been subjected to processes of internal colonisation by their own, often post-colonial, state and its official cultural narratives.
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300+ ARTWORKS 130+ ARTISTS 40+ COUNTRIES 5 VENUES
BAHADUR SHAH BAITHAK 10AM - 6PM PATAN MUSEUM 10:30AM - 4:30PM KESHAV NARAYAN CHOWK S UNDARI CHOWK Sundari Chowk closes at 2:30 on Monday, Closed on Tuesday
NEPAL ART COUNCIL 10AM - 6PM SIDDHARTHA ART GALLERY 11AM - 5PM TARAGAON MUSEUM 10AM - 6PM #KT2077
All venues are open 7 days a week except Sundari Chowk in Patan Museum
काठमाडौँ ट्रिएनाले २०७७ को केन्द्रमा ती कलाकारहरु छन् जसले आफ्ना कृतिमा अनेक सौन्दर्यशास्त्र तथा ब्रह्माण्डलाई हेर्ने दृष्टिकोण र अर्थनिर्माण अन्तर्गत रहेर हाम्रो रमणीय र रं गीन विश्व कल्पना गर्ने बहुलतालाई यथार्थ बनाउँछन्। यसमा सुनिश्चित रूपले कलाको मान्यता बाहिर पारे र औपनिवेशिक मानवशास्त्रको दृष्टिद्वारा हस्तकला, दन्त्यकथा तथा बढीमा ‘परम्परागत’ कलाको संज्ञा दिइएका अभ्यास पनि पर्छन्। यद्यपि यी अभ्यासहरुको आफ्नै समुदायमा सांस्कृतिक तथा सामाजिक महत्व, मुल्य र मान्यता रहेका छन्। यस्तै भूमिका तथाकथित् समसामयिक कलाले विश्वव्यापी मञ्चमा खेलेको छ। यी अभ्यासहरुको आफ्नै अस्थिर परिवेशमा समय संगै निरन्तर विकास र परिवर्तन भइरहेका छन्। यस्तै विचारधारा अन्तर्गत रहेर काठमाडौँ ट्रिएनाले २०७७ को विशेष चासो त्यस्ता समसामयिक अभ्यासमा छ जसमा आदिवासी दृष्टिकोणहरू प्रविधिको क्षेत्रमा सक्रिय छन्, जहाँ शरीर तथा परम्पराहरूलाई क्वयेर बनाइन्छ, जहाँ मुकुण्डो र रितिरिवाजहरू यथास्थित मात्र नभई पहिचानको निरन्तर बहस हुने स्थान ओगट्छ, जहाँ दन्त्यकथा औपनिवेशवादको प्रतिकार, प्रतिसंस्कृति तथा समालोचनाका रणभूमि हुन्छन्। काठमाडौँ ट्रिएनाले २०७७ को ध्येय समसामयिक कला अभ्यासको दायरालाई फराकिलो बनाउँदै नेपाल तथा विश्वका विविध समुदायमा प्रयोग हुने सामग्री तथा माध्यमलाई संलग्न गरि आधुनिकतासँगै फैलिएका एवम् समानान्तर रूपमा विकास वा प्रसार भएका वस्तु, आकृति र ध्वनी निर्माणका विभिन्न प्रारूप तथा परम्परालाई समावेश गर्नु हो। ट्रिएनालेले नेपालको पौभा चित्रकला, पूर्वी एशियाको मसीकला र प्रशान्त महासागरका टापूहरूमा रुखको बोक्राबाट बनेका कपडा देखि संसारभरका विभिन्न बुनाईको विधि र शरीरमा बनाइने छे दना जस्ता हाल क्रियाशील तर समसामयिक कलाको चर्चाबाट प्राय: सिमान्तकृत गरिने परम्पराहरुलाई एकै ठाउँ ल्याउन र बुझ्न उपयुक्त ढाँचाहरूका बारे छलफल गर्दछ। तर ट्रिएनालेले यी सन्दर्भमा निश्चित प्रभुत्व जमाएका परम्पराभन्दा बाहिर पनि हेर्दैछ। उत्तरऔपनिवेशिक कालखण्डमा राज्यको औपचारिक सांस्कृतिक भाषाले मुलुकभित्रकै आन्तरिक औपनिवेशिकताका प्रक्रियामा पिल्सिएका अभ्यासहरुलाई प्रस्तुत गर्ने प्रयत्न पनि गरिएको छ।
These are nevertheless more than formal exercises that seek to open a wider conversation about different cosmologies and meaning in the realms of spirituality, forms of healing, memory preservation, representation of mythology, and collective celebrations. Broadening the field of what gets counted today as art has political implications; it is part of an effort to decolonise our conscience, moving beyond the category of art as defined by the colonial legacies of many specific contexts as well as of our shared global culture. These are shown in parallel with an effort to revisit the reception and influence of several figures from decades Nepali art history. The Triennale is also crucially interested in Indigenous knowledge that is active and subversive, working towards the upending of patriarchal structures and dominant national frameworks, creating a new global solidarity of places and communities of resistance. Works from across continents are being exhibited, placing Nepal on a different geography, beyond the regions that it is commonly considered in. Bringing new constellations of coordinates is also pursued by thinking about Nepal among a list of other countries who have defined their modern identity along the complicated and imprecise narrative of being the sole countries in their regional contexts to not have been colonised, including Thailand and Tonga, creating many common experiences including delaying the urgency to decolonise their cultural narratives. Decades of political tragedy, the layers of destruction that have brought both trauma and resistance to the fore, and the shared experience of contemporaneity as a recent and precarious bridgehead over catastrophe creates a community of memory alongside Nepal, drawn from different geographies, from Southeast Asia to Latin America. Nepal’s status as a country of mass emigration opens up yet another definition of an internationale. Artistic director Cosmin Costinas, co-curators Sheelasha Rajbhandari and Hit Man Gurung
तर यी प्रयत्न औपचारिक अभ्यासमा मात्रै सीमित छै नन्। यीनले आध्यामिकता, रोगनिर्मूलनका विधि, स्मृति संरक्षण, मिथक प्रस्तुति तथा सामूहिक उत्सवउल्लासका क्षेत्रमा भिन्न ब्रह्माण्डज्ञान तथा अर्थनिर्माणका मार्ग खुलाउन्छन्। के कुरालाई कला मानिन्छ र तत्कालिन कलाको क्षेत्रलाई फराकिलो बनाउनुमा राजनीतिक तात्पर्य पनि रहेको छ। यस्ले हाम्रो चेतनाको औपनिवेशीकरण भंग गर्छ साथै विभिन्न औपनिवेशिक विचारधाराबाट हाम्रो साझा विश्वव्यापी संस्कृति तथा रै थाने सन्दर्भका कलालाई वर्गीकरण गरे को स्थापित परिभाषाबाट अलगिने अवसर पनि दिन्छ। यो मुद्दाको समानान्तरमा नेपाली कला इतिहासमा कैयौँ दशक देखि कार्यरत व्यक्तित्वहरुलाई कसरी ग्रहण गरिएको छ र तिनको प्रभावको पुनरावलोकन गर्ने प्रयत्न पनि प्रस्तुत भएको छ। पितृसत्तात्मक संरचनाहरू र नियन्त्रणात्मक राष्ट्रिय ढाँचाहरूलाई उल्टाएर विभिन्न स्थान तथा समुदायबीच एउटा नयाँ विश्वव्यापी एकता निर्माणमा संघर्षरत तथा सक्रिय आदिवासी ज्ञानहरू प्रति पनि यो ट्रिएनाले प्रखर चासो राख्दछ। विभिन्न महाद्वीपका कृति यहाँ प्रदर्शन हुँदै छन् जसले नेपाललाई प्राय: सोचिने क्षेत्रभन्दा फरक भौगोलिक दृष्टिमा राख्छ। छरिएका ठाउँहरूका अनुभवलाई जोड्न नविन तरिकाले संजाल बुनिएको छ। आफ्नो भौगोलिक क्षेत्रको सन्दर्भमा आफू कहिल्यै उपनिवेश भोग्नु नपरे को भन्ने अस्पष्ट तथा जटिल इतिहासका सेरोफेरोमा आधुनिक पहिचान निर्माण गरे का थाईल्याण्ड र टोंगा संगै नेपाल पनि सूचिकृत छ। यी देशका आफ्ना सांस्कृतिक वर्णनमा अन्तर्निहित औपनिवेशिकता भत्काउन ढिलासुस्ती गरे को मिल्दोजुल्दो अनुभव रहेको छ। दशकौँका राजनीतिक दुर्घटना, प्रतिरोध तथा आघातलाई अग्रभागमा ल्याइदिने विध्वंसका तहहरू तथा विपतको सन्दर्भमा समकालीनताको नवीन, अस्थिरत र साझा अनुभवले नेपाल सँगसँगै दक्षिणपूर्व एशियादेखि ल्याटिन अमेरिकासम्मका विविध भूगोल गाँसिन्छन्। ठूलो संख्यामा नागरिक विदेशिने गर्दा नेपालमा “इन्टरनास्योनाल”को थप अर्को परिभाषा पनि समेटिन्छ। कलात्मक निर्देशक कस्मिन कोस्टिनास, सह-क्युरेटर शीलाशा राजभण्डारी र हितमान गुरुङ
Kathmandu Triennale 2077’s five venues are located across three clusters - Patan Durbar (Patan Museum and Bahadur Shah Baithak), Babar Mahal (Nepal Art Council and Siddhartha Art Gallery), and Boudha (Taragaon Museum). Below are the names of the artists exhibiting in each space.
Taragaon Museum तारागाउँ संग्रहालय Boudha
बौध
Siddhartha Art Gallery सिद्धार्थ आर्ट ग्यालरी
Babar Mahal बबर महल
Nepal Art Council नेपाल कला परिषद्
Babar Mahal बबर महल
U D N A ँ ौ M ड ा H म T ाठ ाल A K कAL, नपे P E N
Bahadur Shah Baithak बहादुर शाह बैठक
Patan Durbar Square पाटन दरबार
Patan Museum पाटन संग्रहालय
Patan Durbar Square पाटन दरबार
Daniel Boyd Ekaram Singh John Pule Köken Ergun + Satyam Mishra Köken Ergun + Tashi Lama Krishna Manandhar LAB Liliana Angulo Cortés Liu Kuo-Sung Mae Clark Mary Dhapalany Nikau Hindin Nyima Dorjee Bhotia Patrizio Di Massimo Subas Tamang Uma Shankar Shah Urgen Dorje Sherpa Wing Po So Youdhisthir Maharjan
(Keshav Narayan Chowk)
(Sundari Chowk)
Baachi Devi + Manjula Devi Thakur + Palati Devi
Ana Mendieta
J.D. 'Okhai Ojeikere
Bal Krishna Banamala
Andrew Thomas Huang
Lam Tung Pang
Bhakta Bahadur Sarki
Antonio Pichillá
Lok Chitrakar
Chet Kumari Chitrakar
Ashmina Ranjit
Dal Bahadur Gurung
Batsa Gopal Vaidya
Mona Vătămanu + Florin Tudor
Freddy Mamani
Brittney Leeanne Williams
Hung Fai
Chan Kwok-yuen
Hung Fai + Wai Pong Yu
Chenda Singe Lama
Ion Grigorescu
Chija Lama
Jivarama
Citra Sasmita
Korakrit Arunanondchai + Alex Gvojic
Dedron
Lok Chitrakar
Emma Kunz
Puran Khadka
Gopal Kumal + Buddha Man Kumal + Dukharam Chaudhary + Sahadev Tharu + Chotu Tharu + Tulsi Ram Tharu
Sakarin Krue-On Seema Sharma Shah Shraddha Shrestha Tan Zi Hao
Gyempo Wangchuk Izmail Efimov
Patrizio Di Massimo Sheroanawe Hakihiiwe Tamu Pye Lhu Sangh Urgen Dorje Sherpa Wing Po So
Andrew Thomas Huang
Mohamed Bourouissa
Aqui Thami
Nagendra Gurung
Arhant Shrestha
Olga Chernysheva
Artree Nepal + Urmila Gamwa Tharu
Pacita Abad
Ashmina Ranjit
Pooja Gurung + Bibhusan Basnet
Aziz Hazara
Pavel Mikushev
Bári Raklóri (aka Emília Rigová)
Pramila Giri
Indu Tharu
Pranika Koyu
Pramila Lama
Irina Giri + Sonam Choekyi Sawangwongse Lama + Keepa Maskey Yawnghwe Joydeb Roaja Shashi Bikram Shah Jwala Shah (Sama)
Hitesh Vaidya Kabi Raj Lama Mireille Delismé Thảo Nguyên Phan
Alina Tamrakar
Simon Soon
Anil Shahi
Subas Tamang
Artree Nepal + Urmila Gamwa Tharu
Sunita Maharjan
Bidhyaman Tamang
Uriel Orlow
Bijay Dutta Mani + Mira Devi Dutta + Priyanka Karna Bo Wang + Pan Lu Chang En-Man Cian Dayrit Dominique Gonzalez-Foerster Hung Fai Katerina Teaiwa
Karan Shrestha
Shubha Kayastha + Deepti Silwal
Lok Chitrakar
Karnali Arts Centre
Subas Tamang
Komal Purbe
Subash Thebe Limbu
Madhumala Mandal
Sudhira Karna
Manjula Thakur + Madhumala Mandal + Rebati Mandal + Sudhira Karna
Mihaela Drăgan
Thảo Nguyên Phan
Mircea Cantor
Zamthingla Ruivah
Madhumala Mandal
Naufus Ramírez-Figueroa Rebati Mandal
Trevor Yeung Vvzela Kook