Baggage From 'The Longest March' Murari Jha

Baggage From ‘The Longest March’

Baggage From 'The Longest March’

Year-2023 @Nature Morte

For this exhibition, the artist creates enigmatic three-dimensional objects in a variety of materials- bronze, wood, stone and M-Seal, the epoxy putty used to repair objects, fill cracks, and plug leaks. Jha's sculptures resemble common objects found in daily life, yet their resemblance is fleeting and elusive. A conversation between these small-scale sculptures develops during the exhibition, allowing the viewer to reimagine their own sensorial experiences and memories. The “baggage" of the exhibition's title refers to the multiple objects we all carry, both physically and psychologically, through our lives. “The Longest March'' refers to the recent pandemic lockdown, an experience in which everyone had to reevaluate their daily lives. The artist explains that he is exploring “the language of shape" and the idea of returning in both time and space. By creating a performance within his exhibition, the artist will act as a magician who tells the stories of these multiple objects, while their shapes and sizes are continually shifting. 

The exhibition follows the artist's participation in the exhibition “Very Small Feelings," which was curated by Akansha Rastogi and Diana Campbell and first appeared at the Dhaka Art Summit (February 3–11, 2023) and then the Kiran Nadar Museum of Art in New Delhi (July 4–October 3, 2023). 

For more

Returning to Earth – A kinder search for home

Commissioned by Samdani Art Foundation and Kiran Nadar Museum of Art 2022-2023

Murari Jha stages a seen, felt and absorbed landscape that we carry within us. It is equally an invitation to approach the space around us with an intuitive, symbolic ecological, linguistic and psychological understanding. For the artist, landscape and the idea of return are a performative and exploratory form. He developed this work while reflecting on the desperate return of the millions of migrant laborers who started their against-all-odds homeward journeys even at the cost of their lives during the first covid lockdown in India. Thus, a return to earth is a kinder search and knowing of home. Jha prompts us to insert our bodies into his scattered arrangement, and replenish the memory of the landscape of one's growing up; our relationships with the sun, moon mountains, earth, trees, water and animals. Inviting and accumulating observations stories, personal and social associations with each element, colloquial phraseology and idioms for describing a landscape – chanda mama (moon as uncle), billi massi (cat as aunty), samay ka pahad ban jana (an insurmountable sense of time as a huge mountain to cross), zameen ka jamm jaana (sedimentation of soil) – Jha invites DAS visitors to interact, play, touch, speak, experience and construct a landscape and return it to him through our expressions, drawings, and writings on a slate he provides within the installation. Jha works in a range of mediums, including performance, sculpture and painting. His work opens up aspects of the personal as political, the performativity of objects/body and the psychological processing of everyday occurrences and environments.

A Magician from 'The longest March'

@KNMA Saket

Duration-40 Minuets 

Image credits -KNMA 

समय पहाड हो गया हैl  'Samay Pahad Ho Gaya Hein’

Size -268x129x100 inch

A memory of time.

The live art at Dutch Warehouse was curated by HH Artspace in collaboration with the Kochi Biennale Foundation.

The performance was held from early morning until night daily in the space alongside the performative sculpture and labour action. Repetitive sounds of anklet bells and body movements, coupled with the slow progression of intense physical presence, shaped the mountain. The mountain that formed maps the 'holding time' of the memory of the past. This structure is derived from a metaphor Jha's mother used to say, a north Indian phrase – 'Samay Pahad Ho Gaya Hein' – which means 'Time has become a mountain' to talk about the absurdity of time.

 This mountain also allows the spectator and observer to become performers, where they can sing, talk, and experience the texture, warmth, and smell of the space where Murari takes you back in time. Jha's performance focuses on the relation between the body, time, and structure within the purview of the performance."  


A Magician's Whistle

Duration 1 Hour

@Nvya Art Gallery, New Delhi 

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