Mahedi Anjuman Joothi's Transparency, playfully subverting the seduction of commodity spectacle, mobilizes the residue of an event that attempts to stage

the problems of the occidental modes of the representation of the "truth" of the unseen, linking issues that question on the relation between art's  capacity to bear witness to the "things" in the world and the empty and blind commodity aesthetics destined only for consumption. The unseen is not the invisible or the disappeared; unseen can be seen but not-yet-seen; unseen reappears but, escapes representation because representation becomes an image of itself, semiotically richer but existentially and experientially impoverished, drawn out of itself and extenuated, a potential commodity.

Joothi's staging of deliberate unseen in an active form facilitating the experience of truth, not mediating it 
but, at the same time, refusing confrontation, with the regime of images, on unequal terms , melting into the generalized resistance of the excluded, occupying cracks in the strategic monolith of control; unseen as an active form is able to destabilize not only the underlying capitalist logics but also western modes of critique.

It is important to acknowledge that, Joothi's work operates outside of the marginalized context where it comes from; Transparencydoesn't reassure by evoking reality and holds in suspense the different components of different mediums; images from self-contained photograph find their reflection in Joothi's art-work as the touch-plate of extended senses, by which we try to know or feel "things". But, these are only one particular currency of truth. She respond to the shifting realism of this fictional space with informality, expediency and resourceful dualities and use contemporary, technological and theoretical, resources--by way of the early avant-garde strategy of using everyday life as material to be transformed --to revisit the questions unceasingly raised by east's wholehearted, unmitigated and an all embracing plunge into Kapital and, its catastrophic impact on the indigenous perception of the unseen

The first thing to manifest itself, in Transparency, is the collapse of any analysis of the work; the irrational element is a vehicle through which to clarify the somewhat conduced, collective psychic terminology of the current historical and social moment; she addresses the the death of meaning thorough a process of neutralization, first of painting and sculpture and later of objects;Transparency best of all consists of an art-work justified by its own interior logic and makes no promises to supplicate to exterior rules, evoking the complex nature of the events in which her subjects were entangled, as well as, the related contexts, most of which would be lost in the process of media perceptions. 

Transparency is not a commentary on reality; it's a reworking of what Murakami refers to as a "super-flat"; 
Transparency catalyse turbulent linguistic activity that anticipates encounter with the progressive demise of facile political solutions and, induce the spectator to become a sensitive instrument that receives waves of different association and meanings, sometime in a dramatic way.

Joothi's attempt to produce image by neutralizing its own tradition reiterates Transparency's duability  
and encourage  new interrogation into her process to induce unseen with presence .

(c)ebadur rahman, all rights reserved 


  • OPEN 15
    Conceived and curated by: Paolo De Grandis, Co-curated by: Carlotta Scarpa
    Organized by: Arte Communications
    In collaboration with: Venice City Council - Department of Culture
    Under the patronage of: Ministry of Foreign Affairs, Veneto Region, Province of Venice, Venice City Council
  • 30 Aug - 30 Sep 2012 | Lido, Venice, Italy