On crime, politics, and ecology

Special Correspondent
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: Artist Amar Kanwar is distinctively diligent, paying attention to tiny detail as he goes about collecting ‘poetic evidence’ for stitching up his multi-layered tales of crimes against humanity or a people.
‘The Sovereign Forest’, one of the artist’s noted installations that earned him kudos at the Doumenta exhibition in Kassel in Germany, has the artist painstakingly weaving together many subplots of a wider narrative that brings out the numerous dimensions of issues pertaining to land grabbing, sovereignty of crops, the resultant politics of power and violence that sustains it.
The installation is on display in the Kochi Muziris Biennale at Aspinwall House in Fort Kochi.
Amar Kanwar, who spent his formative years in Kochi as a naval ward, has displayed 266 varieties of paddy grains that are endemic to Orissa but on the verge of extinction with the mining mafia having its way, as part of his installation.
“The loss of rice varieties is only the subplot of a wider story, which encompasses a whole host of issues: the sovereignty of crops, the overpowering influence of market forces on the selection of crops and the usurpation of land,” says Mr. Kanwar,
If farmland is usurped, the knowledge about these crops will also be gone, he rues. The installation offers a scorching political statement empathising with the underdogs and attempts to reopen discussion on understanding crime, politics, human rights and ecology.
Central to the installation is a film ‘The Scene of Crime’, which is projected on the pages of a case diary kept for reading by visitors. It centres on the killing of a trade union leader Shankar Guha Niyogi a few years ago. With the hawk-eye of an investigator, the artist pieces together a library of evidence — brought about by way of moving and still images, texts, pamphlets, albums, seeds, events, judicial process, etc. — that is continuously expanding and complements the forensic understanding of the crime, of human life and of the nation itself.

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