Biennale is focal point of new Kerala Tourism campaign: Tourism Director

Kochi, Dec 24: In addition to its successful branding as ‘God’s Own Country’, Kerala will now also be promoted as the ‘Land of the Biennale’, Kerala Tourism Director Mr U.V. Jose said.

The new moniker reflects the priority afforded to the Kochi-Muziris Biennale (KMB) by the Government of Kerala, which allocated Rs 7.5 crore towards operational expenses for the KMB’s ongoing third edition – besides committing to finding India’s only Biennale a permanent venue.

Kerala Tourism Director Mr U.V. Jose at graphic artist Orijit Sen's exhibit 'Going Play-Ces' in Aspinwall House, Fort Kochi

“Kerala Tourism has allotted around Rs 6 crore to promote both the Biennale and the state through ad films, national and international road shows and campaigns as well as other initiatives,” Mr Jose said, following a visit to Aspinwall House, Fort Kochi, on Friday.

Noting that the theme of the new campaign would be related to art, he said the Tourism Department had sanctioned Rs 60 lakh for a film to promote Kerala as the land of the Biennale.

“For the next three months, over the duration of the Biennale, Kerala Tourism will showcase it at national trade fairs, international road shows and tourism and trade conventions. We will also roll out the ‘Live Inspired’ campaign, which is themed around the inspiration and pride of having the chance to view and experience such top class artworks here,” Mr Jose said. 

The Director said that while the state was known for such distinctive offerings as its Ayurveda therapies and houseboats, the Biennale would be added to that list of iconic Kerala products. He noted that there were already links between the Biennale and the Muziris Heritage Project with Kottapuram fort in Kodungallur being one of the 12 venues for KMB 2016.

Kerala Tourism Director Mr U.V. Jose at lithographer Subrat Behera's exhibit 'Mythological Paradigm Prophesied' in Aspinwall House, Fort Kochi

Echoing Principal Secretary (Tourism) Dr Venu’s earlier comments about the Biennale being a “stellar example” of a public-private-partnership, Mr Jose said, “Art and heritage brought together: this is a mutually beneficial relationship. The Biennale is assured of our full support.”

 “We will tell the Biennale’s story beyond its duration. Even if people don’t get the opportunity to attend the event, they will know exactly what it is. In the period between KMB editions, we will help take its story to the world,” he added

Also visiting on Friday was former Kerala State Planning Board member G. Vijayaraghavan, who observed that the Biennale’s quality had improved exponentially with each edition and that the large crowds attested to its popularity even with the demonetisation issue.

Japanese folk story helps KMB 2016 artwork relay a cautionary tale

Biennale artist Takayuki Yamamoto’s golden ball-popping work sits as testimony to human greed

Kochi, Dec 23: In a dark corner of Aspinwall House, the ‘God of the kiln’ slumbers in silence, waking only once a day to pop a golden ball out from its navel. “Once a day and no more,” says the sculpture’s creator and Kochi-Muziris Biennale participating artist Takayuki Yamamoto.

Borrowing from a Japanese folktale about the ‘Kama-gami’ – comparable to the Aesopian fable about the goose who would lay golden eggs, Yamamoto’s life-size work is a cautionary tale against greed and the present-day repercussions of wanting more.

Japanese artist Takayuki Yamamoto with his mixed-media installation 'Tale of the God of the kiln' at Aspinwall House,Fortkochi.

“The Fukushima reactor is still leaking nuclear waste into the sea. This is a result of human greed. The capacity for greedy acts exists in every human being, but the satiation of one’s greed comes with the cost of someone else’s suffering,” Yamamoto said.

Born in the Aichi prefecture, near the industrial city of Toyota, Yamamoto sees unquenchable greed as the dark side of civilisation and modernity. It is also, he acknowledges, the basis for his practice: this is why his work – the ‘Tale of the God of the kiln’ – bears its maker’s likeness.

To explain, Yamamoto first offers some context. The folk story speaks of an orphan boy who was adopted and raised by a childless elderly couple, who – after discovering that the child’s navel functions as a repository for golden grain – killed him.

“This idea of being able to make money from nothing is born from greed. I see myself, as an artist who looks to make a profit from my own self, to be part of this cycle of creation for cash. In this respect, I see myself in the story of the ‘god of the kiln’,” Yamamoto said.

And just like the greedy couple in the story, who were cursed with regret and guilt after the act, Yamamoto has recreated a replica of his victim – his art which was sacrificed at the altar of profit – and placed it up for worship. “Even today, in many parts of Japan, households will place a wooden mask in the kitchen to respect the ‘Kama-gami’ spirit,” he said.

Beyond a meditation on the ills of pursuing art for gain, Yamamoto intends his sculpture to be akin to holding a mirror to himself. Even after gaining recognition as an artist, he continued to work as a teacher for many years – ‘using’ his students as muses in the pursuit of money.

“I see myself in the Kama-gami because I turned into a teacher for money and took inspiration for my own work from my students’ art projects,” said Yamamoto. One art project – titled ‘What kind of Hell We Go To’ – in particular.

“I guided the children to make art on how they see hell, or their imagination about what hell could be. Their collective works have been documented to help me make my project. One of the striking aspects of that project was a child’s picture of hell as being full of ice-cream. That to m is proof of the desires and wants humans have, even as children,” he said.

बोधगया बिनाले - गभीर मुद्दों को शामिल करता बोधगया बिनाले

बोधगया, २२ दिसंबर : बोधगया बिनाले में गुरुवार का दिन एक बार फिर से प्रदर्श कलाओं के नाम रहा। गुरुवार को एक के बाद एक तीन कलाकारों ने अपनी कलात्मकता से परिसर में मौजूद कलाप्रेमियों को जबर्दस्त तरीके से आकर्षित किया क्योंकि उसका विषय सीधे-सीधे आम जनता से जुड़ा था।

कौशल सोनकरिया की प्रदर्श कला

इस कड़ी में पहला प्रदर्शन देश के जाने-माने कलाकार कौशल सोनकरिया का था। कौशल वंचितों के समाज से हैं और वंचित समाज का जिस तरह से शोषण किया गया है, उससे मुक्ति का रास्ता कैसे निकलेगा यह उनकी प्रदर्श कला का विषय था। इसके लिए उन्होंने खुद को पवित्र धागे मौली या रक्षा-सूत्र से बांधा और फिर सुजाता विहार के बाहर एक हजाम से खुद को बंधन मुक्त करवाया।

दूसरा प्रदर्शन युवा कलाकार नरेश का है जो मुंबई से बोधगया बिनाले पहुंचे थे। नरेश ने अपनी कला का विषय देश और दुनिया के अलग-अलग हिस्सों में पलायन की समस्या को बनाया। नरेश के मुताबिक बिहार से बच्चे अक्सर अपने किशोरावस्था में ही घर से पलायन कर जाते हैं। वयस्क होने के बाद जब वो अपने घर लौटते हैं, तब समाज के लोग उससे पहला सवाल यही करते हैं कि ‘किनकर बेटा’ या किसके बेटे हो। नरेश ने इस सवाल को अपनी प्रदर्श कला में शामिल किया। वो अपने इस एक्ट को देश-विदेश में प्रदर्शित कर चुके हैं।

तीसरा प्रदर्शन सलमान खान का था जिन्होंने प्लास्टिक की ग्लास में पानी और मिट्टी का तेल डालकर एक संयोजन किया और उसके बाद उसमें आग लगाकर भारत के नक्शा का आकार बनाया। सलमान के मुताबिक भारत ही नहीं बल्कि पूरी दुनिया कई तरह की आग में जल रहा है। चाहे कहीं सांप्रदायिक समस्या है, कहीं नस्लभेद की समस्या है कहीं पर्यावरण की समस्या है। इन्हीं समस्याओं को उन्होंने अपनी कला में दिखाया।

नरेश कुमार की प्रदर्श कला

गुरुवार को एक बार फिर स्कूली बच्चों को बोधगया बिनाले का मंच मिला जिसपर उन्होंने गणेश वंदना की गीतीमय प्रस्तुति दी। एक दूसरी प्रस्तुति जेनअमिताभ वेलफेयर ट्रस्ट के नित्यआशा, रिया और मारिया समेत कई स्कूली बच्चे शामिल थे जिन्होंने एक सत्तर वर्षीय बुजुर्ग महिला के साथ हम होंगे कामयाब का गायन किया।  

बोधगया बिनाले में गुरुवार को एनवायरमेंट एक्टिविज्म एंड कंटेंपररी आर्ट विषय पर चर्चा की गयी जिसमें पर्यावरणविद फादर रॉबर्ट एथिकल ने अपने विचार कलाप्रेमियों के समक्ष रखे। शुक्रवार को बोधगया बिनाले का आखिरी दिन है। बिनाले के आखिरी दिन मधुबनी के जाने माने लोक कलाकार बिसुनदेव पासवान की टीम गरीब-गुरबों के नायक राजा सलहेस की गायन परंपरा का प्रदर्शन करेंगे।  

सलमान खान की प्रदर्श कला

बोधगया बिनाले के मंच पर स्कूली बच्चों का नृत्य 

साभार - सुनील कुमार 

Cinema on Caste Discrimination to be screened at KMB 2016

Kochi, December 22: Starting Friday, the ongoing third edition of the Kochi-Muziris Biennale (KMB) will screen a series of film packages specially curated by eminent filmmakers, critics and scholars. As many as eight films feature narratives on contemporary caste-based discrimination.

CS-Venkiteswaran

Reputed documentarian and critic Prof. C.S. Venkiteswaran will present a cinema package titled ‘Kinetic Power Called Caste’ that showcases four hard-hitting Malayalam-language works: Shanavas Naranipuzha’s Kari (2015),Sanalkumar Sasidharan’s Ozhivu Divasathe Kali (2015), Ranjit Chittade’sPathinonnam Sthalam (2016) and Aaradi (2016) by Saji Palamel Sreedharan.

Noting that there was an undercurrent of caste-based discrimination hiding behind Kerala’s ‘progressive’ reputation, Prof Venikiteswaran said, “Kerala boasts of its social reformation and claims discrimination on the basis of caste and gender does not persist in its society. However, the film package aims to showcase the double standards of Malayalees on caste issues.”

Next month, another cinema package – titled ‘The Die is Caste’ and curated by noted film scholar Meenakshi Shedde – will explore how a modern, globalised India still deals with burning issues of caste and the future of caste in India. It will also feature music shows by activist performers.

a still from Munroe Thuruth

This package, which runs from January 7-10, will showcase four films (in order of screening) in as many languages: Bikas Mishra’s Chauranga (2014) in the Kortha dialect spoken in Jharkhand, Nagraj Manjule’s Marathi feature Sairat(2016), John Abraham’s Agraharathil Kazhuthai (1977) in Tamil and  Chomana Dudi (1975) by B.V. Karanth in Kannada.

a still from the fil Aaradi

“Caste-based discrimination in Kerala is different from the rest of the country. Inequality is evident even in politics and religion. The movies based on caste sensitive issues are rare in the Malayalam cinema industry,” Prof. Venkiteswaran said.

Kochi Biennale Foundation Secretary Riyas Komu said films based on socio-political issues are screened in the festival. “This not just a platform to showcase the art of filmmaking, but to send out strong messages against the caste discrimination and racism that exists in society. Every movie will be a visual treat for the visitors,” Komu said.

A still from the film Manhole

The films will be screened, with English subtitles, at the Pavilion in Cabral Yard, Fort Kochi at 6.30 pm. The festival runs through to the end of India’s only Biennale.  

a still from the film Ozhivu Divasathe Kali

                                            

‘The angst I have in me, I try to put it in words and artworks’: Anand

The eminent writer and KMB 2016 artist on expressing himself through writing and sculpting 

Kochi, December 22: It was in the fertile loam of the Gangetic plain that the seeds of P. Sachidanandan’s art practice took root. Watching the earthworms plough the rain-kissed soil, the civil engineer – better known today as the writer Anand – found a release for his angst. 

After stints in the General Reserve Engineer Force and the regular army, Anand had seen the horrors of war in the troubled birth of Bangladesh. “When I am gripped by an intense anxiety to express the circumstances I see around me, the least I can do is write,” said Anand, who, at the age of 34 in 1970, was already being feted as the next great Malayalam writer.

His debut novel Alkkoottam (Crowd) had been published to much acclaim, but out in the plains it wasn’t just words, but also the compulsion to sculpt earth as the worms did that came to Anand. “The first attempt, a simple milestone with a human head, was my artless tribute to the creatures. Since then, there was a cross-fertilisation between sculpting and writing,” he said.

Eminent writer and KMB 2016 participating artist Anand with his miniature sculptures at his space in Aspinwall House,Fort kochi.

Over four decades later, at the Kochi-Muziris Biennale (KMB), a collection of his miniatures shares space with a monograph titled Map-Makers and Map-Breakers: Space-to-Time along the Maps – reflecting the decades of convergence between Anand’s two modes of expression.

“Art is an intermediary. Artists communicate with the ‘othered’. The angst I have in me from whatever I have witnessed, I try to put in words and also, in a very humble way, in such miniatures. Most of them concern suffering,” said Anand, a participating artist at KMB 2016. 

Just as his works speak to notions of identity, rootlessness, loss and longing, his treatise on maps and borders reflects Anand’s experience as a Malayalee far from home. “Where do I belong? What is the land that I see? What language do I use in this place?” he asks.

The fascination with maps grew with years to become an obsession, returning Anand to historic moments: Partition, the Sino-Indian and 1971 wars, among others, as well as provide a basis for an artistic consideration of what it means to draw lines on maps.

It is from this understanding that Anand rejects arbitrary divisions like those, he suggests, that exist between art forms. “Borders disappear when you consciously work and you do something or stand for something meaningful. Every meaningful act is itself artistic work,” he said.

“I don’t claim my miniatures to be major works of artistic expression, but there is an extended sense to art. There may be differences between the various art activities, but I believe that in a wider space all are interconnected,” he said.

Eminent writer and KMB 2016 participating artist Anand with his miniature sculptures at his space in Aspinwall House,Fort kochi.

Noting that “language is itself a form of abstract art”, he said, “Creativity and construction are two major activities that uplift man. We compartmentalise the two but they are related. Any kind of art is a medium of expression.”

For Anand, then, it is unnecessary to ascribe meanings to the multiplicity of artistic expression at the Biennale since the event as also the individual forms, styles, disciplines and traditions exhibited are all equally meaningful.

“Certain activities are such that it is not their success or failure that is the criteria. It is their very doing that is crucial. Art is an expression of freedom and cultural events, be it a Biennale are becoming more and more important to preserve and cultivate spaces for freedom,” he said.

Dissent and Discourse at the Kochi Biennale

 Shashi Tharoor, Shazia Ilmi, Riyas Komu and Alka Pande talk in the context of the rebel artist BM Anand

Kochi, December 21:  To create an illusion of freedom of speech is among the more insidious ways to stifle dissent in society, according to former Union Minister Shashi Tharoor who was speaking on the idea of “Dissent and Discourse” at the Kochi-Muziris Biennale here.

“There are many ways dissent can be stifled. The old fashioned school of locking people up and sending them to concentration camps but the other way is getting employers to hound them for instance.

 

Shashi Tharoor speaking at the discussion on Tuesday. BM Anand's biographer Aditi Anand (left) moderated the session that also saw participation from Riyas Komu, Shazia Ilmia and Alka Pande.

The more insidious and sophisticated ways are more dangerous because they preserve the illusion of freedom of speech,” the MP from Thiruvanananthapuram said.

He was part of a discussion, "Dissent and Discourse” organised by the BM Anand Foundation as a collateral of the Kochi-Muziris Biennale last evening. The discussion aimed to explore the notion of dissent and its significance in public discourse, creativity and progress. 

Dr Tharoor was joined on the panel by KMB co-founder Riyas Komu, politician  Shazia Ilmi and art curator Alka Pande. The panel was moderated by biographer and writer Aditi Anand.

Given the context of the Biennale, the conversation focused on the art and the role of BM Anand, specifically the subaltern, within society and the civic and social power of art as a voice of dissent and a tool for advancing social justice.

Speaking from an artist’s perspective, Komu said dissent could be viewed in a multilayered manner and the Kochi Muziris Biennale has succeeded in creating “a site where many discourses can happen".

“For us as a foundation the focus is to celebrate the diversity and cosmopolitanism of the historic Muziris region. I think Kochi is sort of doing a cultural acupuncture which can benefit the nation culturally in the long run,” Komu said.

Referring to an anecdotal conversation with eminent historian K. N. Pannikar and KCHR Chairman P. J. Cherian , who led the field team in the Muziris excavations, Komu said, “Just like they used the metaphor that with every 1 metre of digging, they crossed the history of over 1000 years, we as a biennale get energy to present voices of multiplicity and plurality".

Tharoor referred to Gandhi’s sense of justice where he was ready to accept the punishment meted out to dissenters but “today people want to dissent without the punishment.”

“Within any framework of freedom, dissent and dialogue are an essential part of society. I think like Leonardo da Vinci says, nothing strengthens authority like silence, so the need to speak out is important. Freedom and dissent are two sides of the same coin,” Shazia Ilmi said. 

 

Shashi Tharoor speaking at the discussion on Tuesday. BM Anand's biographer Aditi Anand (left) moderated the session that also saw participation from Riyas Komu, Shazia Ilmia and Alka Pande.

Alka Pande, who curated the first exhibition of BM Anand in New Delhi earlier this year, said the artist was “absolutely fearless in his language of art and never played to the market and was absolutely honest to his craft.”

The BM Foundation’s co-founders, Neeraj Gulati and Kriti Anand, the daughter of artist BM Anand, were also present at the function.

The selection of works being showed as a collateral at the KMB features evocative, often apocalyptic pieces in diverse mediums. There are, in all, 10 scratchboards, 10 scratchboard sketches, three sets of 13 drawings, one ink and watercolour on paper and a single oil on canvas.

Curated by young researcher and writer Shruthi Issac, the exhibition is a sampling of the estimated 1,500 surviving works by BM Anand – from scratchboards, landscapes, watercolours and sketches to commercial illustrations for books, posters, newspapers and magazines.

‘पलायन की समस्या’ पर कलात्मक प्रस्तुति

बोधगया बिनाले में फोटोग्राफी पर गंभीर बहस

बोधगया, 20 दिसम्बर : बोधगया बिनाले को युवा कलाकारों का बिनाले कहा जाए तो यह गलत नहीं होगा। इस बिनाले में शामिल कलाकारों में ज्यादातर युवा कलाकार हैं जो गंभीर विषयों पर बनी अपनी कलाकृतियों और कलात्मक अभिव्यक्तियों से कलाप्रेमियों का मन मोह रहे हैं।

बिनाले में मंगलवार को दिल्ली में रहने वाले बिहार के युवा कलाकार मुरारी झा ने पलायन की समस्या पर अपनी कलात्मक प्रस्तुति दी। वैसे तो पलायन या स्थान परिवर्तन को बाध्य हो जाना वैश्विक समस्या है I किन्तु यहाँ यह बिहार से लगातार हो रहे पलायन पर केंद्रित था I  यह एक तथ्य है कि पलायन जिन कारणों व जिन स्थितियों में भी होता है, उसका एक पक्ष यह भी है कि मनुष्य जहाँ भी जाता है उसकी अन्तःचेतना में उसका मूल स्थान यादों के रूप में अन्तर्निहित रहता है।

इस बारे में मुरारी कहते हैं कि सिर्फ एक व्यक्ति विस्थापित नहीं होता बल्कि वह अपने साथ सदियों से चली आ रही संस्कृति का भी विस्थापन करता है,जो कई बार एक दूसरी संस्कृति को जन्म देता है तो कभी दूसरी संस्कृतियों को प्रभावित करता है, जिसके अगर अपने फायदे हैं तो अपने नुकसान भी। कई बार यह विस्थापन खतरनाक स्थिति को जन्म देता है और यहीं शांति की तत्कालिकता भी महसूस होती है जो बोधगया बिनाले के आयोजन के मूल में है।

बिनाले में आज दो विषयों पर टॉक शो हुआ जिसमें पहला विषय था ऑल्टरनेटिव फोटोग्राफी। देश के चर्चित फोटोग्राफर पी माधवन ने अपने वक्तव्य ऑल्टरनेटिव फोटोग्राफी की प्रशंसा करते हुए कहा कि जब भी फोटोग्राफी को कला के तौर पर देखा जाएगा, वहां डिजिटल फोटोग्राफी पर ऑल्टरनेटिव फोटोग्राफी हमेशा हावी रहेगी।

इसी विषय पर बोलते हुए जाने-माने फोटोग्राफर सुमन श्रीवास्तव ने कहा कि डिजिटिल फोटोग्राफी को पिक्सोग्राफी कहना ज्यादा होगा लेकिन जब कभी भी तस्वीरों की क्वालिटी और उसकी कलात्मक प्रस्तुती की बात आएगी, वहां एनालॉग फोटोग्राफी या ऑल्टरनेटिव फोटोग्राफी ही विकल्प है। उन्होंने ये भी कहा कि भारत ही नहीं, पश्चिमी देशों में भी ऑल्टरनेटिव फोटोग्राफी का चलन और उसकी मांग फिर से बढ़ी है।

ज्ञान का समाज और समकालीन कला पर देश के ख्यातिलब्ध कहानीकार व चिंतक शैवाल ने कहा कि संभव है कि ज्ञान किसी को खबर के रूप में भी मिले, लेकिन समकालीन कला में उसकी अभिव्यक्ति कैसी हो, यह उस खबर के विश्लेषण के जरिए ही संभव है, यानी कला की नजर में महत्वपूर्ण यह नहीं है कि आप क्या देखते हैं, महत्वूपूर्ण यह है कि जो आप देखते हैं अपने कला चिंतन के दौरान आप उसकी व्याख्या किस तरह से करते हैं। 

  

 सूत्र - सुनील कुमार 

Swedish artist duo offers ‘blindfolded tour’ of Kochi-Muziris Biennale

The daily performance provides innovative three-dimensional view of art and its perception

 Kochi, December 20: Visitors to the ongoing Kochi-Muziris Biennale (KMB) 2016 are being offered a unique opportunity to participate in a performance – presented as a blindfolded guided tour – created by Swedish artist duo Christer Lundahl and Martina Seitl.

Visitors to the ongoing Kochi-Muziris Biennale participating in ‘Symphony of a Missing Room: The Mnemosyne Revolution', blindfolded guided audio tour created by Swedish artist duo Christer Lundahl and Martina Seitl.

 Scheduled to run multiple times daily at Aspinwall House till the end of the nearly four-month long Biennale, the ‘Symphony of a Missing Room – The Mnemosyne Revolution’ sees visitors don headphones that play pre-recorded instructions and ambient noise from the Biennale while the trained theatre actors masquerading as guides provide additional effects.

 After the participants put on a pair of white-out goggles, the ‘blindfold tour’ – as it has come to be known colloquially – begins. Of the experience, Seitl said, “Visitors have their own space to imagine and re-imagine as they hear sounds of many things.” The overall effect is intended to be perceived three-dimensionally.

 ‘Binaural’ sounds stream into the ears of the blindfolded participants while the locally hired theatre professionals guide them along on an exciting voyage through a forest, a cave, inside a tunnel, out into space and finally into the ‘The Sea of Pain,’ an ankle-deep water installation by Chilean poet-revolutionary Raúl Zurita.

Visitors to the ongoing Kochi-Muziris Biennale participating in
 ‘Symphony of a Missing Room: The Mnemosyne Revolution'
, blindfolded guided audio tour created by Swedish artist
 duo Christer Lundahl and Martina Seitl.

 Through the documented tour, the artists offer a way to move away from responding to art via capture and consumption. Instead, they allow the audience to exist among the exhibited works.

 “It was an amazing experience and I found it among the best works showcased here. Not to be missed,” said Anish, who took the 30-minute ‘tour’.

 In 2003, Lundahl, a fine arts professional, and Seitl, a choreographer, came up with this trans-disciplinary artistic collaboration that focuses on making the viewer’s perception the central medium of the work. That is, breaking down perceived barriers between ‘doing and viewing’,

 ‘Symphony’ was first unveiled in Stockholm in 2009 and has since been commissioned by and performed in a series of museums, galleries and venues across the world.

 “Time and evolution are the key experiences of this serial practice. Strongly rooted in research, each project is specific to a particular place and situation while also investigating the symbiotic evolution of human consciousness with culture and technologies,” Seitl said.

Lundahl & Seitl’s practice blends neuroscience, contemporary art and immersive theatre. The duo creates large scale installations, curatorial projects, workshops often in collaboration with writers, architects, dancers, choreographers and actors, musicians and scientists.

 Among their newest innovations is ‘The Unknown Cloud’, which is a reflection of projects the duo has developed over smart phones to connect with the public across the world – in an interplay between physical and virtual spaces, traditional and social media.​

Visitors to the ongoing Kochi-Muziris Biennale participating in ‘Symphony of a Missing Room: The Mnemosyne Revolution', blindfolded guided audio tour created by Swedish artist duo Christer Lundahl and Martina Seitl.