Born out of a twin concern, that of belonging and abandonment, DISCORD is a project rooted in artist Samar S. Jodha’s two-decade work in China, Africa South Asia and the Middle East. A journey that has often brought him face to face with people and processes relegated to the outer edges.
The canvas for Jodha’s work is a cast concrete wall that spans large proportions; yet encompass delicate stories of people whose hands help realize a society’s ambitions. The juxtaposition of visuals enables them to transcend their literal specificity, and create metaphors about lessernoticed
facets of human migration. These are stories about common longings, occasional fulfillment and the many disappointments that mark movement of humanity within and beyond borders today.
Size: Each work has been printed on cast concrete wall 51”x57”(129 cm x 145 cm)-300 kgs. There are 7 walls built upon a platform 2’x 35’(61 cm x10.66 Meters) Installation: Panels have four holes 2-3/4 inches and can be independently wall mounted or on metal frames-floor mounted.
Riyas Komu, “Last Pass,” installation with wood and metal, 24ft x 10ft x 8 ft, 2008 Football, to me, represents the marginalized – a neglected sport in India, its players unknown and unrecognized, and largely without patronage from the state. On the flip side, the sport best represents the movement of civilians on earth – the obvious physical movement of limbs, and also movement in the sense of civil protest or resistance because it is patronized by the
marginalized in this part of the world. Football and football players have been metaphors in my art since 2007. That year, during Bush’s war on Iraq, the Iraqi football team became the Asian champions. The news immediately
caught my attention. They were a team that stayed outside Iraq and played for the country—they were Iraq’s exiled heroes. It got me thinking about stereotypes of the Arab and Muslim world and I decided to track their movements. My first tryst with the Iraqi team was in late 2007. It was a tournament in Dubai, and they were one of the teams. In their qualifying matches against China and Australia, the stadium was full of Iraqi boys cheering for their team. They represented an Iraq that we are not aware
of. I was like a press photographer, following and capturing them on the field and in their dressing rooms. It wasn’t difficult to break in. When I said I was Indian, they became very friendly. I was particularly close toYounis Mahmoud, the captain.
The work in which I tackle something entirely new is a sculpture “Last Pass” , a wood sculpture. In the last couple of months, especially after terror hit home in Mumbai, I have been preoccupied with the idea of transition of the dead to the other world—the phase beyond death which is nurtured by memory and supernatural beliefs.
Last Pass is more surreal, and haunting. Most of it is a wooden coffin balanced on an athletic body (a footballer’s body). These legs have since been integrated into the mythic alphabet from which Komu assembles his works — they are in conversation with five-pointed stars, intricate patternwork, the head and brain, coffins, crutches, and miniaturized temples. Everything looks familiar but dislocated, like folkloric and national symbols that have been hijacked
and repurposed. In Last Pass, for example, four legs become pall bearers, carrying a cage, a temple, a coffin — a space waiting for a body. Laced throughout much of Komu’s work is the sentimental texture of mourning. Komu explains, “the present is carrying the burden of the
dead, and the future is nowhere in sight”
MONDAY, MARCH 12
Event * Installation –
“Last Pass” by Riyas Komu
“Discord” by Samar Singh Jodha
Time 4:00 PM
Show Closes March 18