https://www.ishitachakraborty.com/projects daily 1.0 2026-06-28 https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1561757854691-97OUK3UJE68AAOLQQOAR/4.jpg Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1685803554765-FOM7TGGTQ0JM94IRZEW6/ISHITA_CHAKRABORTY_WEIERTAL_BIENNALE_PLATTNER_FILM2+Kopie.jpg Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1656501850289-C305X6T98NMKZSJARUMO/Ishita_Chakraborty_performance3.jpg Projects - A Bed for the Strangers Performance, 30 mins, Year: 2022, Helmhaus, Zurich, Switzerland. As a part of Found In Translation exhibition. "A Bed for the Stranger," the performance title, has been taken from exile poet Mahmoud Darwish's poetry. The performance explores the politics of identity- colonial, postcolonial, indigenous, European, etc. We had maps as cartographic representation and metaphor, a dominant trope used to produce imperial(ist) knowledge/power, and a demarcation between nation-states and today that doesn't allow freedom of movement. The politics of mobility in these clashing cartographies are explored through bilingual poetry and songs. Azad Colemêrg, the co-performer, believes he carries a fluid identity; he is a political asylum seeker in Switzerland and had to flee Kurdistan- a land that doesn't exist on the Map really. He said that his mother tongue is forbidden chiefly in the public spaces in Turkey. The question arises: Who has the power to speak? I come from a land with a violent history of partition—the birth of a nation-state between India and Pakistan. Our objective is to interrogate the discursive space produced by these maps and explore how the maps became instruments for making colonial and postcolonial subjectivities by erasing particular histories. We have been speaking personally, philosophically, and politically and looking for a language, if there is any, to talk about our ancestors' subjugated traumatic pasts. Azad and I became the narrator of time, diaspora, and transnational identities in this journey. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1566316183854-C4J992SPPQQLP7CSNZD1/Ishita_Chakraborty_3.jpg Projects - Cluster Photo transfer on postcard size canvases, watercolor, foam putty balls. ‘Cluster’ is a series of photo transfers into the canvas which I photographed during my visit to Dharavi in Mumbai, India. This particular work based on the life of migrant labors. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1673191232844-WAXOOXH7OZY46NK6VJY0/Ishita+Chakraborty-Exhibition+View-Aargauer+Kunsthaus-Auswahl+22-Websize-19.jpg Projects - Exotische Pflanzen im Garten - Was tun? 2022 ’’Es ist Zeit, eine Pause einzulegen und mich auf eine Bank zu setzen, um meinen Mitmenschen zuzuhören: diesen Frauen und Männern, die von der Gastkünstlerin Ishita Chakraborty für das Projekt Whispering Benches interviewt wurden. Mit ihren Stimmen und Worten besingen sie ihr "Motherland" oder erzählen von ihren Leben, die geprägt sind von Themen wie Identität, Zugehörigkeit, Freiheit und Nostalgie. Über die Erzählungen in verschiedenen Sprachen hinaus erinnere ich mich an die Fragen "Wer darf sprechen?" oder "Wer hat das Mikrofon?", die die Künstlerin und Psychologin Grada Kilomba in Plantation Memories. Episodes of Everyday Racism (2008) stellt. Wer hat das Recht, sich zu äussern, wem hören wir wirklich zu? Mein Wunsch, öfter zu schweigen, bestätigt sich: mit mehr Tiefe zuzuhören. Mir die Zeit zu nehmen, diese Menschen wirklich zu treffen, vielleicht sogar in diesem Garten, wo Bambus, Chili und Nüsslisalat in einem fröhlichen Miteinander der Kulturen wachsen.’’ Céline Eidenbenz Image credit: Nathanael Gautschi https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1697638805179-MY2E6MI43SEN0HFIJ3R9/ishita-chakraborty-we-are-the-bodies-of-water-01.jpg Projects - We Are The Bodies Of Water, 2023 Sound 17 mins « Soundwalk » " We Are the Bodies of Water," by Ishita Chakraborty, combines field recordings, readings, organic sounds, and poetry. The artist explores climate change, migration, and multispecies relationships. The artist grew up near urban cities like Kolkata and in the foothills of the Himalayas; she is a resident of Switzerland, and in her ongoing research connecting the dots between melting glaciers not only in the Alps but its effects on rising sea levels and tidal erosion which is swallowing up the Indian Sundarbans, is the largest delta and mangrove ecosystem in the world. The Sound piece starts with a poem by Birago Diop - Souffles, which means breaths. Diop was a Senegalese poet and storyteller whose work restored general interest in African folktales and promoted him to one of the most outstanding African francophone writers. One analysis of this poem emphasizes its source in Animism, the belief that there are souls not only in living things but all things. After that, the artist reads a piece from the Ecofeminism book by Maria Mies and Vandana Shiva. She is reading about the relationship between soil and society and how soil has embodied the ecological and spiritual home of most cultures. Slowly, the sound waves take you to the land of mysticism, the islands of Sundarbans, the mud flats, tidal streams, and rowing hand boat sounds of those who live by fishing and foraging in the jungle. The artist brings the voice of Dr. Abhra Chanda, the professor of Oceanography at Jadavpur University, Kolkata, who has expertise in this particular region. Dr. Chanda explains the climate migration situation and the future of these islands in the Indian Sundarbans, sea level rise, and precarious living of future climate refugees. The artist slowly takes you to the sounds of rapid melting glaciers in Swiss alpine regions like Rhone Glacier. You hear the voice of Professor Dr. Daniel Farinotti, a glaciologist at the Laboratory of Hydraulics, Hydrology and Glaciology (VAW), ETH Zurich, and at the Swiss Federal Institute for Forest, Snow, and Landscape Research WSL. He narrates about the interconnected world through nature; he explains that if all the Himalayan glaciers and the enormous glaciers melt, it will significantly impact the sea level change and displacement in the future globally. The piece slowly ends with the song of a boatman called Jongolee from Indian Sundarban, the artist recorded during her research trip, who sings the song says – Who will help me to cross the river, I will offer my garland, I will offer my springtime to them when I reach on the other side of the river. This type of music genre, Bhatiali or Bhatiyali, is folk music in Bangladesh and West Bengal. Bhatiali is a river song sung mainly by boatmen going down river streams. The word bhatiyali comes from bhata, meaning "ebb" or downstream. Special Thanks to: -Dr. Abhra Chanda, The School of Oceanography, Jadavpur University -Dr. Daniel Farinotti, Laboratory of Hydraulics, Hydrology and Glaciology (VAW), -ETH Zurich, and at the Swiss Federal Institute for Forest, Snow, and Landscape Research WSL. -Jongolee da, the boatman. -Tour de Sundarbans, Rajesh Shaw. -Thomas Kern. -Co-Habitations Project, WE ARE AIA. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1775642697810-XVZNRDDM50PTI2ANEQZZ/Screen+Shot+2022-06-06+at+18.39.43.png Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1775568609351-JUB48MA8CRFDE1EUY7XC/Ishita+Chakraborty_Manor+Kunstpreis+2024_Exhibition_Low-Res-3.jpg Projects - Installation View of Manor Kunst Preis Exhibition, Aargauer Kunsthaus, 2025 Curator: Anouchka Panchard Curatorial Assistant: Renée Schwerzmann Ishita Chakraborty — Manor Art Prize 2024 Exhibition In 2025, artist and poet Ishita Chakraborty presented her major solo exhibition Manor Art Prize 2024 at the Aargauer Kunsthaus, following her selection as the recipient of the prestigious Manor Art Prize Aarau 2024. The exhibition was on view from 24 May to 24 August 2025. The exhibition brought together newly commissioned installations, sound works, murals, drawings, and sculptural interventions that explored the intersections of ecology, migration, colonial histories, environmental extraction, and political resistance. Through a poetic and research-driven approach, Chakraborty examined how landscapes, plants, borders, and bodies are shaped by systems of power and displacement. Among the central works were Between the Land and Sea, a series of fragile glass barricades that transformed instruments of separation into delicate and vulnerable structures; Resistance II, sculptural forms made from unglazed porcelain barbed wire; and O bastante!, a large-scale drawing installation reflecting on tropical ecologies and the historical circulation of plants through colonial networks. A newly commissioned sound work featuring a song in a rare Persian dialect expanded the exhibition's investigation of language, migration, and cultural memory. Chakraborty's use of unconventional materials—including glass, porcelain, chalk, sound, and organic imagery—created a dialogue between fragility and resilience. Throughout the exhibition, barriers became permeable, plants emerged as witnesses to histories of movement and exploitation, and acts of resistance were imagined through poetic rather than monumental gestures. The works invited viewers to consider how ecological crises, state violence, and colonial legacies remain deeply interconnected in the contemporary world. The Manor Art Prize exhibition also highlighted Chakraborty's longstanding engagement with collaborative research, environmental justice, and decolonial perspectives. Rather than presenting history as a fixed narrative, the exhibition proposed alternative ways of remembering and relating to the world—through listening, collective memory, and an attention to overlooked forms of life. As the recipient of the Manor Art Prize, Chakraborty joined a distinguished lineage of artists recognized for making significant contributions to contemporary Swiss art. The exhibition was accompanied by a publication that documents the new body of work and situates it within her broader artistic practice. Acknowledgments Samrat Banerjee, Stefan Bauer, Viktor Benev, Vandria Borari, Urmila Chouteau, Manuel Cota, Bilyana Furnadzhieva, Nathanael Gautschi, Khokan Giri, Reza Hazare, Thomas Kern, Hura Mirshekari, Anouchka Panchard Muriel Thoma, David Trüb, Pro Helvetia South America and the team and volunteers of Aargauer Kunsthaus, Canton of Aargau, the Aargau Art Association, Manor, the City of Aarau and the Federal Office of Culture. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1781161868730-3B0HTQEIFYGA6XCOPFAI/Ishita+Chakraborty_Map+Drawings_2026_Low-Res-9.jpg Projects - I Recall The Forest Inside Me, 2026 Medium: Hand coloured archival pigment print on Agave paper I Size: Variable I Year: 2025- Ongoing In I Recall The Forest Inside Me, the archive becomes a material to be re-read through the body. I explore postcolonial female bodies draped in maps as an outer skin, a cover, and examine how geographical markers and colonial histories shape individual identities and collective experiences. The figure beneath the cloth becomes a witness — neither fully visible nor fully hidden — occupying the fragile space between memory and erasure. The archival maps record bodies as labour, land as property, plants as commodities, and movement as administration and dismiss the spiritual realm of the non-human presence. Each drawn map represents a landscape of memory, tracing histories that have been marginalized over time and questioning how the apparatus of the state functions within a capitalist system. The draped cloth is both a kitchen/dining tablecloth and a white piece of fabric. The images are staged, where I pose myself under the drape, and the maps are overlaid and hand-painted. Each drawn map represents a landscape of memory, tracing the histories that have been marginalized over time and questioning how the apparatus of state machinery functions in a capitalist system. The work shifts the historical position of the racialized female body from object to author, against the Western male gaze — which has often looked at women and colonized bodies through systems of classification, and possession. The body gestures are performative and draw on the choreography of border control: the body becomes both a document and a witness. It carries the memory of crossing, inspection, displacement, waiting and inherited forms of resistance. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1771439322482-U9HPAN2Q9KKZH00A7DP9/CHAKR30354_02.jpg Projects - Resistance, 2021- Ongoing Medium: Unglazed Porcelain I Size: Variable I Year: 2021 to ongoing In this series, I transform barbed wire—a material sign of borders, exclusion, surveillance, and state control—into fragile porcelain forms. From afar, it appears as Scribbles on a board, braille for the visually impaired, and ocean waves. But in reality, it appears at national borders, prisons, detention centres, military zones, private properties, refugee camps, and sites of occupation. It marks who may enter and who must remain outside; who belongs and who is rendered illegal, threatening, or unwanted. For me, this material transformation is a form of resistance. In this sense, porcelain is not a neutral material. It carries histories of extraction, colonial commerce, and aristocratic taste. By transforming the object, the work reverses the logic of power: the border, which pretends to be permanent and unbreakable, is revealed as something brittle, constructed, and historically produced. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1775570955325-DPF8ERNEZYWR88K9AW74/Ishita+Chakraborty_Manor+Kunstpreis+2024_Exhibition_Low-Res-16.jpg Projects - Protest Song I: Winds of Change, 2025 Medium: Dead Oak tree, megaphone, audio, sensor I Size: variable dimensions 2025, wood, megaphone, audio, sensor, variable dimensions The work asks what makes something foreign or alien. Is foreignness a condition of origin, or is it produced by systems of power? Borders, nation-states, patriarchal traditions, and colonial classifications decide which bodies, plants, languages, and voices are allowed to belong. The oak, native to the Swiss landscape in which the work is presented, becomes more than a tree: it becomes a listening body, , a witness, and a host for voices that have travelled across borders. Placed inside the oak, the megaphone evokes the language of protest marches, public assemblies, and collective demands. Yet once the song passes through the tree, the distinction between native and foreign begins to merge. Collaboration is central to my practice because it creates a collective understanding of resistance. The work was conceived through collaboration with the Iranian musician Hura Mirshekari, who lives in exile in Paris. Upon my invitation, she composed and sang in Sistani, a Persian dialect rarely spoken today. By singing in a tradition usually reserved for men in her culture, her voice carries both personal and collective resistance. Her refrain—“These hard nights will not end”—moves through grief, endurance, and defiance. As the song. unfolds, her voice is joined by the Bulgarian singers Viktor Benev and Bilyana Furnadzhieva, creating a polyphonic structure in which different cultural histories coexist without becoming one. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1775642697810-XVZNRDDM50PTI2ANEQZZ/Screen+Shot+2022-06-06+at+18.39.43.png Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/a9288c47-3a23-4b5f-bc10-601e2074937c/Ishita-Chakraborty_Whispering-Benches_2022.jpg Projects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.ishitachakraborty.com/about daily 0.75 2026-06-18 https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/fa671629-a981-4149-9c34-f02d6e57c394/Ishita-Chakraborty-Prix-Mobiliere-2024-Portrait-Low-Res-7.jpg About Picture Courtesy: Thomas Kern Photography https://www.ishitachakraborty.com/exhibitions daily 0.75 2026-06-01 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