A gem of a museum as the last of the major venues of the Triennale, only to be reached after an almost insufferable drive across town, on the extended grounds of the Hyatt Hotel and very near to Bouddhanath Stupa. (Please refer to my older architectural post here: The TARAGAON MUSEUM in Kathmandu).


In this somewhat more intimate setting of smaller individual buildings half a dozen of Nepali artists show their lovely works. Upon arrival a striking sculpture catches the attention immediately upon ascending the stairs from the parking lot:

Bhuwan Thapa (Nepal, 1969)
Purna Kalasha (Full/Complete vessel), 2017

Bhuwan Thapa is a true sculptor. The artist has a sense for scale and material. In this sculpture the artist makes a transparent vessel – a vessel of abundance as known in Hinduism – which is filled with stones inscribed with names of artists, famous people and people he knows. In the work, the metal exterior can be found in dialogue with the organic form of the stones within.

 


 

Prithvi Shrestha (Nepal, 1977)
Pillow (Takiya), 2017

Performance is at the heart of the work of this artist. The artist uses himself as performer in direct and short performances. In their clear forms the performances remind us of daily rituals. The artist often makes use of sound. For Kathmandu Triennale the artist makes a new video installation. He records himself surrounded by different sounds referring to moments between sunrise and sunset.

 


Hit Man Gurung (Nepal, 1986
I have to feed myself, my family and my country, 2017

Hitman Gurung is an artist who’s work takes an engaged and activist position. He uses his art to bring to light social problems dealing with migration and discrimination. For him art is only meaningful when the aesthetic relates to the ethical. For Kathmandu Triennale the artist creates an installation consisting of a series of small drawings (in light boxes) and two coffins. The conditions of the workers going to Qatar or to the Middle East and other destinations are questioned. In this work the artist spans a scope from the fate of anonymous workers in relation to their contribution to the economy of the country.

 


S.C. Suman (Nepal, 1961)
Jhaap, 2017

The work of the artist S.C. Suman is situated within the tradition of Mithila painting and ritual art. S.C. Suman makes for the Triennale three new works on paper in relation to the theme of The City. As an artist practicing a craft originally only executed by women, he preserves and contemporarises the practice. The paintings are on view in the Taragaon Museum. In the Nepali Art Council (and some other locations) one can also see his installation of jhaap, a colorful paper fixture painted traditional motifs.

 


Karan Shrestha (Nepal, 1985)
Eveything at centre is a little off, 2017

The work of Karan Shrestha is a mixed-media installation where the artist gives a kind of allegorical view on the city of Kathmandu. The artist is combining different kind of footage of the city of Kathmandu. The drawing of the Kathmandu valley is a detailed account where the artist merges in a symbolic way past and present events in the city.


 

… and a few more impressions of art shown at the lovely Taragaon grounds:

 

… and make sure to check out the other blogposts about #KathmanduTriennale2017:

KT2017: the exhibit at Nepal Art Council
KT2017: The exhibit at Patan Museum

KT2017: “Built/Unbuilt” exhibit focussing on migration and identity