https://www.ishitachakraborty.com/projects daily 1.0 2026-02-19 https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1561757854691-97OUK3UJE68AAOLQQOAR/4.jpg Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1649711865752-TF3MG7U57M3GQ87FMMQJ/4R0A3247.jpg Projects The Mouth is for Speaking! in the exhibition space while the participants were invited to draw and trace their collective journeys, stories, songs, mother tongues, or recipes while painting and writing on bedsheets with spices, tea, or coffee- I cooked. The workshop was intended to be a cartographic experience to interweave the multicultural lyrics to weave an unmade song by stimulating several senses. And the idea is to explore cultural diversity through the spice rack that carries a long history of colonialism, slave trade, and migration. Image credit: Lea Jullien https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1590441266730-KAK8GJV7O3I5HZL20JNR/Ishita_Chakraborty_SOJJO_%21.jpg Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1656409614205-ILIVWA2US8LC3JM68QHO/INSTALLATION.jpg Projects - Protest Song Old Cassette covers and hand painted and scratched drawings, Year: 2020 to ongoing. The work has started as a response to a show, "Hermes Trismegistos Dreams of Futures within Futures," a curatorial note by the art historian Damian Christinger. The exhibition was situated in Zürich Langstrasse; a long street carries the history of drug dealing, prostitution, sex clubs, diaspora and recently, a lot of gentrification. My take on the dream for a better future can only be achieved through resistance against inequality. The work Protest Songs contain a variety of songs about historical events about citizenship, colonialism, exclusion, and resistance. It is a series of drawing installations that examine how songs, typography, speech, and poetry amplify voices that would not otherwise be heard. In general, the Protest songs are the songs of resistance against class, caste, gender, race, capitalism, war, police brutality, and unequal power distribution. My artistic process interests me to look at how musicians of different times wrote songs to be part of a movement for cultural or political change and galvanized that movement by drawing people together and inspiring them to act or reflect. I choose to display the artwork in empty cassette cases that hold the archive of a time when social media was nonexistent and the act of protest had a different form. I thought of my father, who had an old deck and hundreds of popular Hindi song cassettes. During his travel, he was a collector of popular songs in many different Indian languages. Drawing from that experience, I was keen on collecting the titles of the popular tunes of resistance from the last hundred years from other countries and languages for my project. I used cut-up techniques to conjure the distinct title of the songs and put them together as a form of a poem. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1658599033679-FHSF2P1LLH6ECV95PF3S/Ishita_Chakraborty_Installation_white+Drawings_20_soil.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/1656414410925-0113ELVE4A2JWQD17I6G/Ishita+chakraborty_Whispering_Benches.png Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1690880654258-8GG2CX964J98SXBXZYM7/P1010081-min.jpg Projects - We are the Bodies of Water Sound, headphones Time: 17 Mins, year: 2023 " 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 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. -Images of Sound walk: Nathanael Gautschi To listen to the piece Soundwalk 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/1563666466084-BOITFN2LYW7NV108RBZY/ISHITA_Chakraborty_homesick3.jpg Projects - Homesick/Homeseek! Embroidery on the net with hair like wool, soil, Size: 7’ high X 4’ diameter, 2017 This installation elucidates the struggle of Bangladeshi refugees and immigrants who, as a result of forced exile, migrated in from east to west Bengal and in Europe. This conflict resulted in an ongoing antagonism between the two sides the East and West and it defines the social context in which I grew up. In Europe during my travel and stay I often meet Bangladeshi nationals and due to common language background ‘Bengali’, encounters are often very quick and direct. During my stay in Italy, I met lots of Bangladeshi nationals who refugeed in Europe for a better life but the reality is often the opposite. This mosquito net (mosari) has an old western duomo like architectural structure but extremely fragile. Bengali words stitched over the net are small excerpts from Bengali poet Joy Goswami’s famous poem: “Nandor Ma”. This poem is about migration and memory, about recalling the past. The poem depicts the emotional journey of a family, how they leave their home behind - it talks of borders, of partition, and of losing their child during their plight. It speaks of the loss of identity, of crossing immigration checkpoints and barbed wire. They end up living in exile, uprooted from their beloved homeland and their village. 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/1700589034688-OWENFQOVMZPNATJM12GX/image.jpg Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1633110220088-SASXCI3TWCGZPNN5WD4K/Ishita_Chakraborty_Jacobs+Museum_2.jpg Projects - Zwischen I between I মধ্যবর্তী Medium: Drawing, Technique: Scratched paper, Size: 21.0 x 29.7 cm each (set of 120 works), Year: 2017 to ongoing When I first immigrated to Europe in 2017, I started working on the Zwischen/ Between/ মধ্যবর্তী series and till then I am continuing them. It is a tangible recording of the voices of the people I met who experienced exile, loss, and violence. These works look from a far white empty sheets- something invisible. Upon closer inspection, the invisible becomes visible. Therefore, it represents the erasure of marginalized voices and experiences and highlights the individual narratives that were silenced for too long. The scratched technique on paper involves scratching or scraping away layers of the paper with a sharp needle (a board pin). The tactile forms on the paper is like a deep wound beneath the surface of the skin. This technique represents the emotional and psychological impact of these experiences, capturing the rawness and complexity of the narratives. Each stroke and mark on the paper conveys a fragment of the stories, immersing viewers in the profound journey of those who have endured displacement and trauma. So, I am interested in Listening, and so far, it derives from 'Active Listening,' and my body becomes a secondary witness in this process. I have chosen to work with white A4 sheets that symbolize the extensive paperwork and documentation required for visa applications, highlighting the complex and thorough nature of the process. This metaphor also sheds light on the concept of fortress Europe and America, illustrating how these nations have established stringent immigration policies and erected physical borders. It underscores the historical context of colonization, wherein these countries expanded their influence by establishing colonies and later fortified their borders to preserve their sovereignty. This series includes people's mother tongue as a quintessential element or tool against the anti-colonial struggle to understand people's identity. When testimonies are presented by marginalized individuals in marginalized languages, it can serve as an avenue to challenge and upend power structures, elevating the significance of the listening process. Hence, this drawing series is a visual archive of the stories that belong to the people and creates a narrative of micro-histories that conventional history has not been able to tell. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1658597538114-2BNJI24GOHL982M9Z2AD/CHE_0519_ISHITA_ZHDK_VIEW_10.jpg Projects - Mute Tongue I & Mute Tongue II ( Who am I, Without Exile?) Title: Mute Tongue I: Medium: Glazed porcelain, Size: Variable, Edition: 3 + 1 AP, Year: 2019 Title: Mute Tongue II: Medium: Glazed porcelain, Projector, Transparent film. Size: Variable, Edition: 3 + 1 AP, Year: 2021 The vocalization of the silence that characterizes biographical narratives is a crucial component of alternative, emancipatory knowledge production. The danger of being from the margin and speaking at the centre has always been a struggle for the people seen as ‘Others’ in Eurocentric societies. The margin is both a site of repression and a site of resistance (hooks 1990). Within the unfortunate dynamics of power, it’s always been a question- Who can Speak? Whose voices are heard? The exercise of power in different contexts has been instrumental in perpetuating everyday, structural, and institutional racism, which has resulted in a pervading sense of speechlessness and fear among the oppressed. The mouth, being a significant organ, is symbolic of speech and enunciation. Consequently, in most regimes characterized by oppression, the freedom of speech is often suppressed. Storytelling has been an essential method in this work, a live archive of voices and micro-histories, often not mentioned in conventional history. The work is divided into two parts. The first part, Mute Tongue I, is a transcribed audiograph/soundscape map in glazed porcelain. I met Murad and Anthony in Autonome Schule, a migrant language school in the city of Zurich, where I went to learn German with others. I have been intrigued by the stories of their forced migration and exile. Murad, a Somalian man, and Anthony, a Sri Lankan national, were forced to flee their homeland during the Civil War. Their stories have been adapted into the poem I have written; after the listening sessions, I read it aloud, recorded and translated the voice into the audiograph, and finally cast them in porcelain. The voice graph is precisely made by hand in porcelain to ensure that the narratives are constantly in motion, permanently spoken, and never silenced. The title of Mute Tongue II (Who am I, Without Exile?) has been taken from Palestinian poet Mahmoud Darwish’s poem which is translated by Fady Joudah. It consists of porcelain soundwaves and a projection of an itinerary of Farid floating on the water. It’s a visual representation of the spoken language of Farid’s voice, telling his own story in his own voice. Farid was born in Balochistan to Afghani immigrant parents, while his parents had to take refuge in Pakistan from Afghanistan during the Soviet-Afghan war in the 70s. Later, Farid had to seek asylum in Switzerland at a very young age due to political unrest. This soundwave narrates the itinerary of his migration over two years, his family’s migration, and his crossing of the Mediterranean in a rickety dinghy. Usually, a voice is heard and not seen, and in this piece, you see the juxtaposition- a sound that has a three-dimensional shape. The absence of the voice manifests the discourses which are marginalized, silenced, colonial-subjugated, war-torn, overlooked, authoring their own manifestos on nationality, citizenship and belonging. The above image is the first part: Mute Tongue. Image courtesy: Artist https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1639479253172-0Y0P9E77CZ8403NKH82I/IMG_7657.jpeg Projects - EUROPA Medium: Fired un-glazed ceramic clay Size: variable; 3000 until today, Year: 2019 to ongoing, Installation view: Aargauer Kunsthaus, Aarau, 2021-2022 Europa is a large-scale sculptural installation that involves a community-based participatory workshop. In this work, existential questions of human life morph into ecological ones and vice versa. This work investigates how race, gender identity, class, and geographical location intersect with power structures to perpetuate privilege and discrimination. Europa aims to create a space for dialogue and reflection on these complex issues through the community-based participatory workshop. The installation seeks to challenge and dismantle these power structures by engaging participants from diverse backgrounds, fostering a more inclusive and equitable society. Additionally, by emphasizing the interconnectedness of nature and culture, Europa prompts us to reconsider our relationship with the environment and how it shapes our social fabric. I imagine each human being is like a mushroom- diverse and individual in nature but inter-connected through hair-like fungal threads called Hyphae. Like fungi stitch different organisms into relation, the migrants stretch worldwide while interweaving multiculturalism- exchanging ideas in a new society. By choosing different earths and the firing process, mushrooms of different colors are created. To me, these different hues represent the different human skin tones - they give me a sense of diversity among people, much like an ecosystem. The European classification of cultural differences such as skin color and hair texture were not only important in the past, it is still relevant today and has not been overcome. This project asks questions about our coexistence and the conflicts between citizens and refugees - I would say it is an attempt to make the "others" in a Eurocentric society visible. A few years ago, I moved from India to Switzerland. As an immigrant, a large part of my assimilation and integration consisted of language training. I developed this project in parallel with my German courses at the Autonomous School in Zurich. There I had the opportunity to meet many other immigrants, refugees and listened to the stories of asylum seekers who had to flee war-torn countries to find asylum in Europe, hoping for better living conditions. The result of brutal colonization includes; degradation of natural resources, capitalism, and rapid urbanization enforcing governmental, economic, political, and other social policies in the postcolonial societies that distribute resources unequally among their nation's members. Metaphorically the mushrooms are also a reminder of the spread and unfolding of organic movements of humankind, beyond controlled borders and doomed immigration policies. The artistic research of the project was inspired and influenced by reading the book "The Mushroom at the end of the World" by Anna Tsing. It says that after Hiroshima was destroyed by an atomic bomb, "the first living thing to emerge from the destroyed landscape was a Matsutake mushroom." But at the heart of this work are also the narratives and fates of the people I meet. I have conducted participatory workshops where refugees, migrants, and locals meet to model mushrooms together. We tell each other our stories during the workshop, speak in our native languages, and sing songs of Resistance. These workshops are not primarily about making mushrooms but serve as a connector and platform for meeting people. Shaping mushrooms becomes a spiritual journey, transferring people's hand-prints and time spent together into the mushrooms. We share a moment of sharing a meal together, reading a piece or talking about life, our exile and our continuous journey. Image courtesy: Artist Special thanks to the people who have been part of the participatory workshops: Raissa Zimina, Azad Colemerg, Farid Ali Zai, Sylvia von Arx, Bruno Pfäandler, Lidia Weller, Ali, Karin Mangold, Rima Furter, Louisa Goldmann, Sharib Ali, Gianna Rovera, Isabelle Weber, Kein Raum workshop participants, Werner Beck, Eva Kramer, Beatrice Hauri, Thomas Kern, Nathanael Gautschi, Cecil Rüdlinger, Asha Hall, Donia Fares, Arpita Akhande, Tom Frankhauser and others. My special thanks go to: Louisa Goldmann, Jonas Struder, ECK, Keinraum, Aargauer Kunsthaus, Thomas Kern, Nathanael Gautschi. To Participate in the Workshop: Please drop me an email at artishitaart@gmail.com 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? ’’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/1718673701094-JP083W1HVH0TE7LJJRW0/Ishita-Chakraborty-Prix-Mobiliere-2024-Exhibition-View_Low-Res-7.jpg Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1718761878522-7S9JGNWWO56SMMENYRCY/KF_11062023+18.jpg Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1771439014127-K0WP44HA6AU56TOCMKI8/image-asset.jpeg Projects - Where The Wild Things Roam https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1771438477251-JFEH8VBYONJRPBJO62MS/image-asset.jpeg Projects - I Recall The Forest Inside Me Hand coloured archival pigment print on agave paper https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1771439708686-Q9OCX8QMO8ZVMU5E9OHJ/CHAKR30151_01_mail.jpg Projects https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1771439322482-U9HPAN2Q9KKZH00A7DP9/CHAKR30354_02.jpg Projects - Resistance Medium: Unglazed Porcelain Year: 2021 to ongoing Barbed wire is a recurrent motif—a symbol for borders, bureaucracy, and violence, and is one of the most important inventions of modern times, a western invention, again! It is used as an anti-refugee political tool consisting of hundreds of bristling points, creating a painful fence restricting Freedom of Movement. However, it serves as an instrument of economic apartheid by separating human beings into those who may enter. During my travel over the last few years, I photographed different barbed wires used in other places to chase away the birds on the window, the walls on borders, and the garden! When I decided to make a work that comments on the brutality of humankind, I kept the form of barbed wire but made it so fragile that it lost its usability. My version looks like a handmade toy with a malleable border- a sign of resistance of the people who escaped it. https://www.ishitachakraborty.com/read-me daily 0.75 2025-05-01 https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1745510049359-0LUJ0M27IA23W0YA80U1/Invitation_Ishita_Chakraborty_Manor_Kunstpreis_Aargauer+Kunsthaus_2025.jpg Read Me - Vernissage! May 23, 18:00, Aargauer Kunsthaus, Aarau. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1711988131582-D3N18Z7U24QYCOOKNQSH/Apropos+Hodler.jpg Read Me https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/de0ed5e4-1f73-49dd-b49a-9dbd6a06ec31/ishita-chakraborty-news-01.jpg Read Me - Preview: August 26, 6:00 p.m. onwards! Gallery Espace, New Delhi. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/eeca9133-ca99-4ef1-9f1a-df298b883141/Atlas_Key_Visual_Bantone.jpeg Read Me - Stranger in the Village Rassismus im Spiegel von James Baldwin 03.09.23 – 07.01.24 Aargauer Kunsthaus https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/837db722-5147-45f6-842f-77d27161274e/363407305_765449985586041_4325294334318969608_n.jpeg Read Me - Vernissage: 26. August! Akku Kunstplatform, Switzerland. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/64236aea-1c69-4509-8ac7-963d8af30a28/Ishita_Chakraborty_Kulturfolger_2023_Poster.jpg Read Me - Vernissage June11, 12:00 @Kulturfolger! Idastrasse 46, 8003 Zürich https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/ef4b027b-83cd-4bf7-b133-bf41e5fdfee4/-E8dUUjo.jpg Read Me - Vernissage 20 May, 2023 from 16:00! 21 May -10 September, 2023, Rumstalstrasse 55, CH- 8408 Winterthur. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/c67c3a53-8e9f-48e9-b1bd-158e8b16ad2e/Ishita_Chakraborty_Aarau_ECK.jpg Read Me - Workshop,29 April, 18:00 @ECK, Aarau Register for the Workshop. Email: artishitaart@gmail.com https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/9adbea6e-32f8-42f8-8b2c-a62e074e276d/Ishita_Chakraborty_Whispering+Benches.jpg Read Me - Vernissage & Apero 25 April, 18:00 Infront of Rathhaus, Aarau https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/902a1f8e-7e63-4c20-ad3e-9029e4f031d3/WhatsApp+Image+2022-11-10+at+20.42.17.jpeg Read Me - Exotische Pflanzen im Garten- was Tun? Vernissage December 2, 18:00 Uhr Aargauer Kunsthaus, Aarau, Switzerland. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/fd7e11c7-8aef-446c-862d-057cda261724/Ishita_Chakraborty_Volta_Art_Fair Read Me - JUNE 13-19 Volta Basel, Booth B8 https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/8550c0d6-bb10-4114-8365-68d8cc874540/0001+%281%29.jpg Read Me - Vernissage Bus Tour 9 May Send me an email to book your seat for a community bus trip from 16 Uhr to 20 Uhr, starts at Baden to Morieken to lengnau and back to Baden. The curator Gianni Jetzer and artist will give you an exclusive tour to the locations. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/44d85505-286f-4833-9b50-25929868c508/Ishita_Chakraborty_Performance.jpg Read Me - SPICE RACKS ARE NOT INNOCENT The workshop is based on the concept of artist Ishita Chakraborty, who explores cultural diversity through the spice rack that carries a long history of colonialism, slave trade, and migration. The participants are invited to draw and trace their collective journeys, stories, songs, mother tongues, or recipes while painting and writing on bedsheets with spices, tea, or coffee. We will be cooking a meal with the same spices that are shared amongst everyone. Saturday, March 26, 12 - 2 PM Registration: martina@weareaia.art Address: WE ARE AIA I Awareness in Art, Ebene B, Limmatstrasse 268, 8005 Zurich https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/c989a380-4014-4577-a6e7-43dd743b0865/0001.jpg Read Me - WE ARE AIA | Awareness in Art WE ARE AIA I Awareness in Art 2 March, 2022 Löwenbräukunst Limmatstrasse 268 8005 Zurich +41 78 800 64 44 info@weareaia.art https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/0963819f-209a-49be-866b-9b0fb59ea21a/Chakraborty_Ishita_Aargau+Kunsthaus.jpeg Read Me - Auswahl 21 11/13/21 - 01/02/22, Kunsthaus Aarau. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/4ec81fb7-a0e2-4fc6-b377-a92bdaa4a1b0/digitaler_flyer.jpg Read Me - Atlantis Im Sinn Zürich, Oerlikon https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/f2de7426-3300-4123-ac53-89fd67a55348/ishita-chakraborty-news-02.jpg Read Me - Die Diele MakHermes Trismegistos Dreams of Futures within Futures (While Zhuang Zhou Eats a Butterfly) Curated by: Damian Christinger https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/d8ccf701-ce70-4f22-81f6-f1e6dcc8bc7e/ishita-chakraborty-MotherEarthCalling_Flyer_Deneth_NatureWar_EN.jpg Read Me - Salon Möndial,Basel 22Oct vernissage! 'MOTHER EARTH CALLING' curated by Rama Kalidindi. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1619558702922-BFGT2FCVHCNWJVCEE3KI/Chakraborty_Ishita_Johann+Jacobs+Museum_1.jpeg Read Me - Life Lines ‘Life Lines’ at Johann Jacobs Museum in Zurich curated by Francesca Ceccherini and Roger M. Buergel- on view from 3 April to 27 June 2021, Saturday and Sundays are open for the public from 11 to 5. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/00002e9d-ac42-4468-9c3e-3a63f42a6479/ishita-chakraborty-news-03.jpg Read Me - https://mittalsouthasiainstitute.harvard.edu/2020/10/mittal-institute-2020-2021-visiting-artist-fellows/ https://mittalsouthasiainstitute.harvard.edu/2020/10/mittal-institute-2020-2021-visiting-artist-fellows/ https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1593711710699-Z6IFGNMMS32J6CNGX9DF/WhatsApp+Image+2020-07-02+at+17.16.24.jpeg Read Me We Are Bodies of Water I am very excited to share our first collaborative work in an exceptional time like now where we lost human touch and physical communication. We are sitting in different parts of the World at the moment like Italy, Switzerland and Singapore so we decided to meet each other through the water bodies. This is a part of the work we would like to show tomorrow and we have a long way to go. Would you be interested to flow with us? A collective performance by four artists: Ishita Chakraborty, Sarah Jacky, Marta Ilacqua and Uma Bhojraj. Text by curator Gözde Filinta. Thanks to everyone! Live streaming: time will be updated tomorrow morning! Looking forward to seeing you! Shared campus * in collaboration with University of Arts London and Zurich University of the Arts and LASALLE College of the Arts, Singapore. https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1593204402172-7GPH1MQXBZU127HTJC4B/Ishita_Chakraborty_Mute_tongue Read Me https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1587483186769-LVBTAXPZ2ED569XMD74S/Ishita+Chakraborty_casablanca+Biennale_2020.jpg Read Me https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1565255691686-3FOGIFITRURDX35FQGEX/Zurich+Art+container+Project+Website.jpg Read Me https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/c80cd14f-3c08-47ce-92f8-f846cad24028/ishita-chakraborty-news-04.jpg Read Me I Speak your Language - Solo exhibition, Kunstraum, ZHdK, Zurich from May 2, 2019 https://www.zhdk.ch/en/event/39151 https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1566313464761-22OQ6CJ2WFQ5QILTS44Q/Ishita_Chakraborty_oncurating.ch Read Me https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1565260303243-MCTKMPG951F6FAAUJOS3/Ishita_Chakraborty_Reta.jpg Read Me https://www.ishitachakraborty.com/about daily 0.75 2026-02-18 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/poetry daily 0.75 2023-10-18 https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/638a2af2-b587-4271-bc45-15e3dce44d3b/ishita-chakraborty-poetry-02.jpg Poetry Wo bist du? Wo bin ich? https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/44716627-02ff-4468-91a4-45c71a87b980/ishita-chakraborty-poetry-03.jpg Poetry Can you divide the Sky? https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1606480242706-EN0QKYFZ15HW9SJBXX8S/image-asset.jpeg Poetry https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1590266290033-OOBJ6INUNDVRYURY467K/18194610_1577023155641187_8517799228862836929_n.jpg Poetry https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/276c9a63-dcef-4efd-b22e-2eca9156a3e0/ishita-chakraborty-poetry-01.jpg Poetry https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1590252482556-2MAGSYWZ0BVGBQ1WLY00/ISHITA_CHAKRABORTY_74+CM+LEGROOM.jpg Poetry https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1606479052430-ZID3DEL1ZD5DN4NZ3O7R/IMG_20200902_162732_727.jpg Poetry 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https://images.squarespace-cdn.com/content/v1/5d167acbf51b7800017b3e8c/1633111903594-3S39S965KQNS5W3JW2HF/Ishita_Chakraborty_Jacobs+Museum_1.jpg Exhibitions - Lebenslinien Johann Jacobs Museum, Zurich, curated by Roger M. 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