展覽介紹
過去五十年來的孟買在一高速都市化的運動中，大量的移民、都市區域劃分、大樓林立、交易頻繁，城市既充滿生產力也不斷自我增長。一個高速成長且邁向「成功」的當代都市常追求效率且有趨於同一的傾向，這樣的過程，時常會出現相反面無聲的邊緣化群體，他們也許可能被理解為城市中邊緣的空間、人群或是生活方式；也可能體現於公共資源的結構或分配佈局；又或從更宏觀的角度來說，是城市發展擴張的邊界及城市與自然間的關係。這些隱形而變動的邊緣塊面，以其不同的目標、習慣和速度在城市中運動，自然而然地在城市中留下各式各樣流動的線，似乎，這些城市之間的線，一方面作為區隔， 另一方面也可視為建立，同步地影響該城市的發展進程及居處其中人們的生活樣貌。此次印度藝術家阿莫．帕特爾首次展出於TKG+ Projects的個展「城市與其之間的線」，將聚焦於這些城市邊緣共同體（人）的日常生活，藉由因都市化而逐步被拆除的「貧民公寓」（chawl）中的一堵牆面，拉出一條人們在城市中日常穿梭的旅程，也因應這條被拉出的線，回應城市中各種邊緣群體流動而看不見的限制（邊界線），映射潛藏其中的種姓、階級、勞動狀態等議題。
為什麼在此展中，我們要將目光聚焦在日常生活？借用列斐伏爾的一句話：「人類世界不僅僅由歷史、文化、總體或作為整體的社會，或由意識形態的和政治的上層建築所界定。它是由這個居間的和仲介的層次：日常生活所界定。」人類社會活動的基礎層次便是日常生活，它由人們最真實的需求和欲望所驅動，同時也受到整個歷史長河與社會環境中，傳統文化、政治律法、家庭背景、宗教信仰、交通與居住環境、自我實現等因素影響。人們於日常生活中會感到快樂、滿足或挫折，也會生產出某種屬於當地、重複但具有文化性的日常慣習，又或是具有創造力且含著改變意圖的對抗式生產。這些轉化而成的工作或非工作行為，會形成一個組成日常的循環，並擴大而成整體社會生產系統的縮影。
帕特爾此次展出的作品目光並非投向一個偉大的標的，而是進入一個十足日常的身體。藉由身體的局部拋出並創造與生活空間及牆面的對話，對話過程時而像是你進我退的試探，時而又令人暈眩地正拳直擊，時而身體突然成為了空間的一部分，時而牆面又融進身體的皮膚共同呼吸。這些抽象而具有連續性的動作對話，我們可以理解為一幅幅生活肖像，提供觀眾一個進入該空間感受真實的事物與在事物之間生存的人們的途徑，像一顆球彈入了一個運作系統中所產生的音律與運動，表現的是生命於社會環境中所佔據的空間、人們呼吸的節奏，及身體與環境間的抵抗與相合。這些身體動作，傳達的是一種「生產生活的生活」的生命力，在受壓迫的狀態下，力圖恢復日常生活的平等與豐饒，取回個人的生命、勞力與時間的自主權，抵抗生命工具化、商品化、標籤化的過程，即生產屬於自己（人類）的日常生活。
具有各種流動的特徵的城市，就像一個沖水馬桶人人捲於其中，作為結點既產生聚集也會發散。在此展中，我們進入日常生活的深處，直視穿過身體的各種界線與流動。讓身體作為中轉及集中的場所，向內與對外發生連結。即使是再小的共同體，也會產生流動的空間，創造改變的契機。
Over the past five decades, Mumbai has been part of a rapid urbanization, with a significant influx of immigrants, urban zoning, towering skyscrapers, and frequent trade activities. The city is growing, expanding, bustling with energy. A fast-growing modern city striving for success usually pursues efficiency, and gravitates toward homogenization. Such a process often leads to the silent marginalization of certain groups, which can be understood as marginalized spaces, populations, or lifestyles within the city. It may also raise issues concerning the management and allocation of public resources. From a broader perspective, it involves the implications of urban sprawl, as well as the relationship between the city and natural environment. These invisible margins with fluid borders evolve in an organic way, serving different purposes, morphing in different patterns, at different speeds, leaving behind myriad intangible lines across the city. It seems these lines function both as partitions and as bedrocks, shaping the face of the city and the lifestyles of its inhabitants.
Lines Between the City, Amol K. Patil’s debut at TKG+ Projects, revolves around the everyday life of these fringe communities. Using a demolished wall from a gentrified chawl, the exhibition charts a daily route which the dwellers travel to navigate the city, where issues of caste, class, and labor conditions lurking along unseen barriers confront the marginalized, voiceless groups.
Why do we turn our gaze toward the everyday in this particular exhibition? To quote French sociologist Henri Lefebvre, who wrote in The Critique of Everyday Life (1961), “The human world is not defined simply by the historical, by culture, by totality or society as a whole, or by ideological and political superstructures. It is defined by this intermediate and mediating level: everyday life.” Human social activities are based on everyday life, driven by corporeal needs and desires, influenced at the same time by tradition, politics, family, religion, traffic, environment, and self-actualization. People experience happiness, contentment, or frustration in their daily lives. They also develop local, repetitive, but culturally significant everyday practices, or engage in creative and change-driven forms of counter-production. These work or non-work behaviors create a cycle that constitutes the everyday, expanding into a microcosm of the overall social production system.
The works on view in Patil’s solo exhibition delve not into a grand subject but into an entirely ordinary body. His portrayal of the body creates a dialogue between the corporeal form, living space, and the walls. As the relationship between the body and space shifts, as the body is transformed and reconstructed, this dialogue unfolds sometimes as a pas de deux, at times as a dizzying straight punch. Other times, the body becomes part of the space; still other times, the walls fuse with the skin of the body in a synchronized breath. These abstract, continuous interactions portray the intricate relationship between reality and the human condition. Patil is concerned with humanity’s space in the social environment, as well as the opposition and symbiosis between the body and the surroundings. For him, the marginalized live in a state of oppression, where life is merely a product of the state. Attempts must be made to restore equality and abundance of everyday life; to reclaim autonomy over one’s labor and time; to defy the commodification, commercialization, and pigeonholing of one’s existence; to produce a form of everyday life that belongs ultimately to humanity.
A mercurial city of tens of millions serves as a hub where the citizens, interlinked with each other, spontaneously congregate and disperse. Lines Between the City examines the depths of the everyday, as well as the body as a conduit for connection, along with its impalpable borders. Even the smallest community can create a space of fluidity, allowing for constant change.
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