About the Artwork
Title : Ecocide and the Rise of Free Fall
Artist : Marzia Farhana
Book cases precariously balanced on a single leg of the stand and other house hold items are suspended from the feeling. There is a sense of eerie unrest in the air, as though hit by a storm. And that is exactly what Bangladeshi artist Marzia Farhana intends for her audience to feel. Farhana’s artistic installation ‘Ecocide and the Rise of Free Fall’ is an urgent call to rethink and restructure the relationship between man and the environment.
“The objects in mid-air represent the transitional phase in history that we currently occupy, trapped within an irresistible fall,” says Marzia. The installation talks about the perils involved in continuous exploitation of Mother Earth. Being from Bangladesh Farhana is no stranger to the perils of constant and destructive floods. It was post the Kerala floods that she took up this project to talk about the aftermath of the calamity.
For the artist, the suspended objects represent the traumatised condition of the world, not just humans but “everyone and everything else”. According to Farhana – “It is (a) representation of what we have done with the social and political systems of the world and how all of it is just feeding capitalism and none of it is working for us. The installation is a statement made in an attempt to raise awareness.”
Farhana’s Creative Practice
The artist generally works through collaborations. This she does on realising that the process can symbolically reinstate empathy and dignity in humans, collectively. The two essential qualities that are getting drained away from the current ethos as a result of an increasing corporate culture that is driven by capital.
Marzia is inspired by the aesthetics and history of movements like Dada, Fluxus and Situationist Internationale. She has developed an individual idiom in different media that include painting, installation, assemblage and video installations
Presented at Aspinwall house, at the Kochi biennale, the viewers are invited to walk through the four-room exhibit to feel the natural destruction. The installation is divided into two parts: machines and visceral organs. “Both are connected to each other with tapes,” she points out. “I am trying to showcase how everyone is suffering in the violent conditions of a world where humans have become more of machines and machines have become more of humans.”
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