Exploring the transitional and expanding boundaries of Indian culture and identity, the art exhibition, Liminal Gaps at NMACC brings together the past and present through a series of immersive installations and art curations. Curated by the creative house TRIADIC, led by the creative directors and curator duo Mafalda Millies Kahane and Roya Sachs, as well as the business strategist and producer Elizabeth Edelman Sachs, the groundbreaking show is held on the one-year anniversary of the Nita Mukesh Ambani Cultural Center as well as the Art House where it’s held.
Through the works of an innovative and multi-generational group of artists, including Ayesha Singh, Raqs Media Collective, Asim Waqif, and Afrah Shafiq, the exhibition explores the themes of identities of culture, digital narratives, and the mediations of time. The breath-taking installations invite audiences into new ways of looking at the familiar. With each of the four artists occupying a floor of the Art House, the Cultural Center’s dedicated visual art space, the immersive exhibition explores a wide variety of themes, including architecture, time, space, nature, and technology, through site-specific installations, interactive sonic experiences, and video games.
“What is exciting about this show is that it is the first all-Indian art show at the NMACC,” shares Mafalda before adding, “Every installation is holistic in its storytelling, as each artist was able to present a Gesamtkunstwerk—a total work of art. What we are left with are four liminal spaces that feel entirely separate but also completely intertwined in their themes and how audiences navigate them.”
Spaces In Between
The term ‘limen’ comes from the Latin word for threshold, quite literally separating one space from another. Liminal Gaps, therefore, is a journey through time and space, into the transitional phase between one moment and the next.
While all four artists in the show are contemporary, cross-disciplinary installation artists, their styles and approaches are very different from one another. Roya shares the basis of zeroing in on them, “Rather than coming up with a theme and then finding artists to fit into it, we instead went deep into research on Indian artists who worked with a ranging scale and in multiple mediums. Through this process, we started noticing a thread – a lot of artists were taking classical Indian themes (from iconography to craftsmanship and architecture to rituals) and reinventing them.” Thus, the four artists collectively dive deep into the rich and inspiring artistry of India.
NMACC
