The collection of mix-media works by documentary filmmakers Ritu Sarin and Tenzing Sonam will present a unique amalgamation of art and cinema along with their abiding involvement with the Tibet issue. Titled “Burning Against the Dying of the Light” the exhibition includes a selection of works that investigates both Tibet’s ongoing political struggle and the transformations that are taking place in the Himalayan region due to deliberate colonial policies and impact of globalisation.
Ritu and Tenzing have been making films together for over three decades now. Their work, which includes several documentaries, video installations and one dramatic feature, has focused on a number of recurring motifs and concerns. Talking about the show, Ritu says, “Some of these works have been created specifically for this exhibition and others have never been shown before in India.”
The exhibit particularly focuses on issue of Tibet, mostly on the 149 self-immolations that have taken place in Tibet, Nepal and India. “We wanted people not just to look at the horror, but also have some understanding and comprehension, and leave with something more than just horrible images,” says Ritu Sarin and adds, “The work on display are an attempt to document, question and reflect on the issues of exile, identity, politics and nationalism that confront the Tibetan people.”
For the first time the duo is showcasing several of their video installations and photographs in India. The installation built around a large rotating Buddhist prayer wheel is one of the key highlights of the show. Explaining the work, Ritu states, “This installation is designed as a Buddhist prayer wheel and consists of metal bars. We have installed six tablets surrounding it, each playing videos of the self-immolations as they were originally filmed. This prayer wheel is both a tribute to the courage of the activists and a grim reminder of the cause they died for — the slow disappearance of the very essence of their identity and culture. As in a traditional prayer wheel, each revolution of the wheel strikes a tiny bell, its sharp ring dispelling ignorance and sending out a message of hope and peace.”
Another mixed-media work titled ‘Nets In The Sky, Traps On The Grounds’ showcases a series of Orwellian phrases taken from official Chinese documents that describe some of the many control mechanisms and restrictive measures aimed specifically at Tibetans. “The aim is to present a more comprehensive picture of the draconian laws that Tibetans live under, which don’t exist anywhere else in China. The work is complemented with before-and-after satellite images of rural areas transformed in line with the ‘New Socialist Villages’ programme currently underway in Tibet that graphically demonstrate the extent of social engineering taking place in the region,” shares Ritu.
One of the most moving works on display is the final message left behind by victims of self-immolation titled ‘The Last Words’. The work includes a diary entry by 17-year-old Sangye Dolma who immolated herself in 2012, she had the words ‘Tibet: An Independent Country’ inscribed on her palm. “These statements, sometimes matter-of-fact but often poetic and deeply philosophical, explain the reasons for deciding to burn themselves. In their mix of Buddhist compassion and political awareness, they provide a compelling insight into the unique nature of the Tibetan self-immolations.”
According to the artists, the presentation of this exhibition at Khoj is meaningful because it is a way of raising their voices in the name of humanitarian causes and the protection of basic civil liberties. Ritu shares, “The aim is to spread awareness about Tibet’s political scene.”
