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Sri Lankan Contemporary Art Sri Lankan Contemporary Art Serendipity Revealed Contemporary Sri Lankan Art Curated by Annoushka Hempel 9 th October - 20th December 2014 BRUNEI GALLERY, LONDON Foreword Curators’ Note SriLankan Airlines, as the national carrier of Sri Lan- SERENDIPITY REVEALED: ka, is immensely pleased to support the budding A POST WAR PERSPECTIVE Sri Lankan artists whose selected works of art are featured in the much anticipated exhibition, “Se- rendipity Revealed.”, unveiled at the Brunei Gallery, When looking at the contemporary art of a London. country like Sri Lanka, it is impossible to do so without engaging with the island’s recent his- “Serendipity Revealed” presents an assortment of tory. Sri Lanka has seen historical events that Sri Lankan contemporary art, displayed in various have marked the country, its people and its mediums such as sculpture, installation, video, pain- artists. When observing the art, the viewer is ting and photography. Even though traditional Sri presented with a narrative that not only takes Lankan art has evoked much interest globally, the a macrocosmic view telling the stories of a world is yet to explore our contemporary art that country and its people, but also focuses on the emerged during and following the years of conflict; micro-cosmic levels of individuals and their per- that is thematically and contextually diverse. As sonal experiences. much as art reveals the hidden sides of a culture, Serendipity Revealed presents the works of it inspires the viewer and the art enthusiast to ex- fourteen carefully selected artists, to unveil plore more into a country’s hidden artistic traits. some of the multitude of stories the country Hence, the viewers, apart from the knowledge of and its people have witnessed. the existence of such art, will know the existence It is therefore not surprising that Memories fea- of such a country; the very land where the inspi- ture significantly as a theme in many of the ar- ration for such art originated from. As the national tists’ works, particularly those stemming from carrier we have been extending our patronage to Annoushka Hempel the 90’s trend. the local talent showcased through such platforms, This is evident from the works of Pushpakuma- which in return inspires the viewers to explore its from the comfort of his home - the dominant ra - filled with the motif of barbed wire, an in- country of origin. Sinhalese South - and placing himself in the Tamil cessant memory of a boy growing up surroun- town of Jaffna in the North, a territory filled with ded this familiar material - to Bandu Manamperi’s I consider it a pleasure to be part of this exhibition, memories of conflict and violence and now ex- works speaking of how memories of events organized by Colombo Art Biennale in collaboration periencing a transient and unknown future. Anoli live within our being and shape and form us with Hempel Galleries, who have been working tire- Perera takes on the role of the female - tradition lessly to support and promote budding local artists as a ‘people’ and a ‘nation’. His Iron Man works and traditional values in relation to gender, colo- and I would like to wish them all the success and speak of attempts to remove the creases left nialist remains and memory keeping. The expan- strength to continue such endeavours. behind by memories. se of her memory stretching defines her need to I also would like to wish these artists all the very In Kingsley Gunatillake’s unreadable books, we recall in her work, the period of colonial Sri Lan- best and I hope that this may serve a crucial miles- learn of censorship and the idea of ‘re-writing ka (Ceylon) of which her parents were a part. tone in their careers. history’ - the presence of physical bullets still These narratives evolve with a younger genera- dominating stories to be known. The works of tion of artists who speak less of the political civil On behalf of all Sri Lankans, I would like to invite Pala Pothupitiye speak of the individual’s po- conflict and war, and more of the socio-political you to enjoy and appreciate this carefully selected sition in society, the Sri Lankan caste system, conflicts and tensions driven by traditional va- collection of Sri Lankan art and I hope you travel to the effects this has on the individual and in turn lues. These artists - mostly in their 30’s - have the island that is symbolized, reflected and illustra- the effects it has had on the country and a not been exposed first hand to the violence of ted in what you view today, in the near future. nation as a whole. In his map works, we see the conflicts. how a land is literally reshaped and formed by The works of Danushka Marasinghe speak of Mr. Kapila Chandrasena status, religion and the effects of colonialism the fragility of a new ‘peaceful’ time, the linge- Chief Executive Officer and nationalism. Pradeep Thalawatte attempts ring fear of the recent past, the looming eyes SriLankan Airlines to recount his experience of removing himself that keep watch over this new and unfamiliar uncertainty of a serene and prosperous future. highlights the different meanings that photogra- ArtISTS Reginald Aloysius He asks whether it is possible to erase history, phy, identity, history and the notion of memory as it always leaves marks. Janananda Laksiri’s occupy within non-western cultures. She looks works are a powerful representation of life’s at identity, heritage and the differences in per- challenges, the urban jungle of life. Buddhist and ceptions towards cultural and social doctrines Liz Fernando Hindu images, as well as bats and crows repre- and dogmas. senting bureaucratic and political scavengers, Finally, further unfolding and revealing the sto- fill the canvas. His works, highly charged with ries of a country, would not be complete wit- Kingsley Gunatillake energy and emotions, take the viewer beyond hout the view and perspective of the visitor. personal despair to focus on the broader issu- Cora de Lang, a travelling artist, spent six ye- es of society. Vimukthi Jayasundera, an artist ars working in Sri Lanka. Her work spins ta- who uses film as his medium, takes a contem- les, combining her views and observations as Vimukthi Jayasundera porary view of social traditional practices. His a nomadic traveller, moving from one culture work plunges the viewer into a visual feast that to another. Her airline flight bags, beautifully erases the borders between fiction and docu- ‘decorated’, subconsciously and perhaps inad- Janananda Laksiri mentary to deliver an experience of a culture vertently mark the stories of mothers, fathers, directly to the senses. sons and daughters, leaving their families to ‘Serendipity Revealed’ attempts to further unra- work and live in the Middle East to send money vel stories through the visual narratives of the home in the hope of facilitating a better life for Cora de Lang diaspora and views from another world. their families. Mahen Perera’s objects - sometimes reminis- In unfolding and exposing some of the myriad cent of cabinet curios left behind from the co- of experiences and stories, Serendipity Revealed Bandu Manamperi lonial era - but also evocative of rubble either attempts to give a glimpse into the depth of a left behind by the war or newly created for de- fascinating country that has witnessed immen- velopment. His time spent away in Singapore se change. have impacted on his sensitivities to the beauty Nina Mangalanayagam of ‘his’ country in all its rawness Reginald Aloysius’ experiences – being of Sri Lankan Tamil descent from Jaffna but having Dhanushka Marasinghe lived in the UK all his life - have led him to inves- By Annoushka Hempel tigate cultural change and diaspora through the exploration of the iconography of Sri Lankan and Southern Indian temples, thereby investiga- Anoli Perera ting the social agency inherent in any cultural choice. Nina Mangalanayagam, also of Sri Lan- kan Tamil descent and from Sweden but living Mahen Perera in London, takes a personal direction, using her own experiences and family background to explore the fluidity and unfixed nature of iden- tities, the interplay of influence among identity, Pala Pothupitiye family, society, and environments. In doing so, she exposes the complications of differences between people, shaped by the immediate Koralegedara Pushpakumara environment as well as past experience and history. Similarly, Liz Fernando, of Singhalese descent, but having grown up in Europe, delves into the role of photography in South Asia and Pradeep Thalawatta Reginald Aloysius Reginald S. Aloysius is a British-born artist of Sri Lan- kan Tamil descent whose background has informed his work exploring themes of globalisation, emigra- tion, and the destruction of tradition through deve- lopment and modernisation. Through exploration of the iconography of Sri Lankan and Southern Indian temples, Aloysius investigates the social agency in- herent in any cultural choice. Aloysius graduated from The Ruskin School, Oxford before completing a Masters at Kingston University on a research-based drawing programme. Following a successful first solo show at Master Piper in 2010, Aloysius was short listed for the Jerwood Drawing Prize 2011, the Discerning Eye Exhibition 2011 and more recently, was included in the London Art Fair 2012, the National Art Competition 2012, Zeitgeist Art Projects Open 2012 Breeze Block Gallery, Oregon, USA, and was a joint award winner at the One Church Street Gallery Drawing Open 2012; he participated in the Colombo Art Biennale 2014. Aloysius has also Commercial flight paths are, of course, also migra- been short listed for the inaugural Derwent Drawing tory routes. The ‘paintings’ are maps that pick out Prize, to be exhibited this September. the routes of contemporary Tamil culture.
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