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Hera Büyüktaşçıyan, "Deconstructors Volume IV"

Planetary Planning

SAHA supported the production of the new work by Hera Büyüktaşçıyan for the exhibition “Planetary Planning” at Dhaka Art Summit, held between 2–10 February 2018.

Taking as a starting point the Nehru memorial lecture titled “Planetary Planning” delivered by visionary architect and designer Buckminster Fuller in Delhi in 1969, “Planetary Planning” explores notions of world making that have been articulated in and from South Asia in a wide range of media by three generations of artists since the 1960s.

Sometimes folded into more specific geographical units (Asia, South Asia, the Indian Ocean seen as a cradle of early globalisation etc.), trade, empire, and economic exchanges, have been some of its crucial vectors. Against this complex and historically unequal canvas of exchanges but also of ‘immobile movement’, to use Edouard Glissant’s terms, artists have projected alternative, sometimes utopian thinking, and located themselves within it.

The exhibition explores how, from the 1960s onwards, artists have challenged fixed identities and their inherent hierarchies. The language of design and architecture has played a key role in this process. Several of the exhibited artists conceive of architecture both as a bearer of place and as a language holding the possibility of worldly affiliations, while others have chosen drawing, as well as other media, to express similar concerns. Reflecting on trade connections, aesthetic networks and travel, the lines of transfer drawn in the exhibition consider the historical junctures, and disjunctures, of South Asia. It looks back at key international as well as cross-regional exchanges, for example between Bangladesh and Japan, from the 1960s until now.

Artists: Amie Siegel, Ayesha Sultana, Buckminster Fuller, Desmond Lazaro, Hera Büyüktaşçıyan, Isamu Noguchi, Lala Rukh, Mohammad Kibria, Muzharul Islam, Novera Ahmed, Seher Shah and Zarina Hashmi.   

About Hera Büyüktaşçıyan

Hera Büyüktaşçıyan (1984, Istanbul) graduated from Marmara University, Faculty of Fine Arts, Painting Department in 2006. The artist uses the notion of the other and combines it with the concepts of absence and invisibility, in order to compose an imaginary connection between identity, memory, space and time through the other. By using metaphors from local myths, historic and iconographic elements, she opens a new narrative scope for the other. Artist in Residence programmes she has participated in are ACSL, Yerevan (2011); PiST/// Interdisciplinary Project Space, Istanbul (2012); AIRDrop, Stockholm (2012); Villa Waldberta, Munich (2012-13); Delfina Foundation, London (2014). She lives and works in Istanbul.

About the Dhaka Art Summit

The Dhaka Art Summit (DAS) is an international, non-commercial research and exhibition platform for art and architecture related to South Asia. With a core focus on Bangladesh, DAS re-examines how we think about these forms of art in both a regional and an international context. Founded in 2012 by the Samdani Art Foundation—who continue to produce the festival—in collaboration with the Ministry of Cultural Affairs, People’s Republic of Bangladesh, DAS is hosted every two years at the Bangladesh Shilpakala Academy.

Rejecting the traditional biennale format to create a more generative space for art and exchange, DAS’s interdisciplinary programme concentrates its endeavours towards the advancement and promotion of South Asia’s contemporary and historic creative communities. Led by Chief Curator Diana Campbell Betancourt, local and international guest curators from leading institutions are commissioned to conduct research across South Asia, unlocking new areas of inquiry to build collaborative group exhibitions and experimental writing initiatives, as well as film and talks programmes.