It was a Roadside Picnic/Beyond Black Orientalism (2021)
Time Travel Across Many Worlds, 2022 BALTIC Centre for Contemporary Art UK
Format International Photography Festival UK 2022
Winner Ars Electronica Prize 2022 Austria
Curator: Kinnari Saraiya
Architectural strategy and design: Benjamin Hall
Modelling: Nick Delap & Benjamin Hall
Sound: Brandon Covington Sam Sumana
Artists: Kinnari Saraiya, Benjamin Hall, Nuka Nayu, Nicholas Delap, Salma Noor,
Megan Broadmeadow
Breathing App Consultant and Advisor: Dr. Ash Ranpura (Neurologist)
Co-pducers: Salma Noor and Helen Starr
Project :
The World as a futuristic re-imagination, existing in Time and Zones that Spring from and Move in Breath.This multiplayer virtual world focuses on co-presence as horizons shift and universes overlay each other. It is a world in constant transformation, animating in and out it’s artist-parts in a stitch across time and zones, a rhythmic circular narrative, a non sequential creation - a Spivakian Worlding.
It is built on an ancient fractal carved into the desert sand, rhythmically repeating beyond the confines of this world. In mathematics, fractals are complex patterns of geometric shapes that are self-similar on every scale. These were computed by the people of the early Indus Valley using tablets covered in a layer of sawdust or sand, slowly moving their fingers to carve and feel the math in it’s impermanence.
The world centers on a pavilion built around the principles of vāstu śāstra. A traditional system of architecture originating in India, in it, architectural constructions are living organisms and they behave like human beings. Like the living beings, they vibrate and pulsate; they breathe.It houses a breathing device, a golden orb whose pulsating rhythm will reset your body to a state of calm. Slower rhythms, slower breathing, slower theta time - a state of being rather than thinking.
It works like a dance, synchronizing us to the rhythm of the earth’s heartbeat, placing us in the breath of the sand and under the rotating orbits of the cosmos as we breathe in and out.
Rhythm does not privilege singular ways of being but rather insists, in advance, that collaborative engagement is necessary to who and what we are. As we groove- even if alone- we collaborate with tunes, poetics, and styles, fusing ostensible disconnect between science (sound vibrations, physiological movements, flesh and blood) and narrative (musical score, lyric, cultural text). Rhythm is conceptualized as one way to invite collaborative worlding; rhythm lays bare not only emotions and imaginations but also their scientific underpinnings.
Sylvia Wynter, ‘Jonkonnu in Jamaica’
This world is shaped in layers of atmosphere, time and space, influenced by the gaze of new worlders and the heritage of many cultures and it invites and provides other realities and realities-dressing to the night as we listen to the singing Kinnari, read dreams in sand, dance with roots, and the pulse of myths.
This virtual world is from the imaginary of Salma Noor joined by artists Megan Broadmeadow (WLS/UK), Brandon Covington Sam-Sumana (USA), Nicholas Delap (ENG), Ben Hall (ENG/SCO), Nayu Kim (KOR), Kinnari Saraiya (IND). It is framed and held in love and longing by curators Amrita Dhallu (IND/UK), Kinnari Saraiya (IND) and Helen Starr (TT).
Time Travel Across Many Worlds, 2022 BALTIC Centre for Contemporary Art UK
Format International Photography Festival UK 2022
Winner Ars Electronica Prize 2022 Austria
Curator: Kinnari Saraiya
Architectural strategy and design: Benjamin Hall
Modelling: Nick Delap & Benjamin Hall
Sound: Brandon Covington Sam Sumana
Artists: Kinnari Saraiya, Benjamin Hall, Nuka Nayu, Nicholas Delap, Salma Noor,
Megan Broadmeadow
Breathing App Consultant and Advisor: Dr. Ash Ranpura (Neurologist)
Co-pducers: Salma Noor and Helen Starr
Project :
The World as a futuristic re-imagination, existing in Time and Zones that Spring from and Move in Breath.This multiplayer virtual world focuses on co-presence as horizons shift and universes overlay each other. It is a world in constant transformation, animating in and out it’s artist-parts in a stitch across time and zones, a rhythmic circular narrative, a non sequential creation - a Spivakian Worlding.
It is built on an ancient fractal carved into the desert sand, rhythmically repeating beyond the confines of this world. In mathematics, fractals are complex patterns of geometric shapes that are self-similar on every scale. These were computed by the people of the early Indus Valley using tablets covered in a layer of sawdust or sand, slowly moving their fingers to carve and feel the math in it’s impermanence.
The world centers on a pavilion built around the principles of vāstu śāstra. A traditional system of architecture originating in India, in it, architectural constructions are living organisms and they behave like human beings. Like the living beings, they vibrate and pulsate; they breathe.It houses a breathing device, a golden orb whose pulsating rhythm will reset your body to a state of calm. Slower rhythms, slower breathing, slower theta time - a state of being rather than thinking.
It works like a dance, synchronizing us to the rhythm of the earth’s heartbeat, placing us in the breath of the sand and under the rotating orbits of the cosmos as we breathe in and out.
Rhythm does not privilege singular ways of being but rather insists, in advance, that collaborative engagement is necessary to who and what we are. As we groove- even if alone- we collaborate with tunes, poetics, and styles, fusing ostensible disconnect between science (sound vibrations, physiological movements, flesh and blood) and narrative (musical score, lyric, cultural text). Rhythm is conceptualized as one way to invite collaborative worlding; rhythm lays bare not only emotions and imaginations but also their scientific underpinnings.
Sylvia Wynter, ‘Jonkonnu in Jamaica’
This world is shaped in layers of atmosphere, time and space, influenced by the gaze of new worlders and the heritage of many cultures and it invites and provides other realities and realities-dressing to the night as we listen to the singing Kinnari, read dreams in sand, dance with roots, and the pulse of myths.
This virtual world is from the imaginary of Salma Noor joined by artists Megan Broadmeadow (WLS/UK), Brandon Covington Sam-Sumana (USA), Nicholas Delap (ENG), Ben Hall (ENG/SCO), Nayu Kim (KOR), Kinnari Saraiya (IND). It is framed and held in love and longing by curators Amrita Dhallu (IND/UK), Kinnari Saraiya (IND) and Helen Starr (TT).