Installation view: Ground Zero, Christopher Kulendran Thomas in collaboration with Annika Kuhlmann, Schinkel Pavillon, Berlin, 2019. Image: Andrea Rossetti
Installation view: Ground Zero, Christopher Kulendran Thomas in collaboration with Annika Kuhlmann, Schinkel Pavillon, Berlin, 2019. Image: Andrea Rossetti
Installation view: Ground Zero, Christopher Kulendran Thomas in collaboration with Annika Kuhlmann, Schinkel Pavillon, Berlin, 2019. Image: Andrea Rossetti
Installation view: Ground Zero, Christopher Kulendran Thomas in collaboration with Annika Kuhlmann, Schinkel Pavillon, Berlin, 2019. Image: Andrea Rossetti
In collaboration with Annika Kuhlmann.
Digital projection on acrylic. Installation View, Time, Forward!. Photo: Delfino Sisto Legnani and Marco Cappelletti. Commissioned by V–A–C Foundation.
Around the world, the juridical framework of human rights has been leveraged not only to protect the oppressed and disenfranchised but also to justify the imperial ambitions of the nation states by which human rights are enforced. Perhaps though, the problem is not with the concept of human rights but with the very category of “human” itself.
Shot in Sri Lanka featuring characters generated using machine learning algorithms, Christopher Kulendran Thomas’ new film takes us on an elliptical journey around the island, from the Colombo Art Biennale to the former Tamil homeland of Eelam, reflecting upon issues of individual and collective sovereignty and exploring what it means to be human when machines are able to synthesize human understanding ever more convincingly. So, as technology challenges traditional conceptions of individual autonomy, what could post-human rights be?
Projected onto an exhibition of recent works by some of Sri Lanka’s foremost young contemporary artists, the film takes as its departure point the failure of the United Nations in 2009 to prevent ethnic cleansing in the North and East of the island, where the artist’s family is from. The aftermath of this violence enabled an era of economic liberalization which led to the emergence of a new contemporary art market in Sri Lanka. Made in collaboration with curator Annika Kuhlmann, the show-within-a-show features original works purchased from the capital Colombo’s most influential new commercial gallery. However, visitors are not able to physically enter the exhibition – only to glimpse it through the film projected onto it, a three-dimensional hypertext exploring the interrelationship between contemporary art and human rights in an age of technological acceleration.
Commissioned by V–A–C Foundation
In collaboration with Annika Kuhlmann.
Digital projection on acrylic. Installation View, Time, Forward!. Photo: Delfino Sisto Legnani and Marco Cappelletti. Commissioned by V–A–C Foundation.
In collaboration with Annika Kuhlmann.
Digital projection on acrylic. Installation View, Time, Forward!. Photo: Delfino Sisto Legnani and Marco Cappelletti. Commissioned by V–A–C Foundation.
In collaboration with Annika Kuhlmann.
Installation view, Institute of Modern Art, Brisbane. Photo: Carl Warner. In view: 'NE_HYDRO_07', 2019, Aluminum, plywood, steel, silicone, latex, water, pump, clay, grow lights, various plants; '60 million Americans can’t be wrong', 2018, HD video.
In collaboration with Annika Kuhlmann.
Installation view, Institute of Modern Art, Brisbane. Photo: Carl Warner. In view: 'NE_HYDRO_07', 2019, Aluminum, plywood, steel, silicone, latex, water, pump, clay, grow lights, various plants; '60 million Americans can’t be wrong', 2018, HD video.
In collaboration with Annika Kuhlmann.
Installation view, Spike Island, Bristol. Photo: Max McClure and Stuart Whipps.
In collaboration with Annika Kuhlmann.
Installation view, Spike Island, Bristol. Photo: Max McClure and Stuart Whipps.
In collaboration with Annika Kuhlmann.
Installation view, Spike Island, Bristol. Photo: Max McClure and Stuart Whipps.
In collaboration with Annika Kuhlmann.
Installation view, Spike Island, Bristol. Photo: Max McClure and Stuart Whipps.
In collaboration with Annika Kuhlmann.
Installation view, Spike Island, Bristol. Photo: Max McClure and Stuart Whipps.
In collaboration with Annika Kuhlmann.
Installation view, Spike Island, Bristol. Photo: Max McClure and Stuart Whipps.
In collaboration with Annika Kuhlmann.
Installation view, Spike Island, Bristol. Photo: Max McClure and Stuart Whipps.
In collaboration with Annika Kuhlmann.
Installation view, Spike Island, Bristol. Photo: Max McClure and Stuart Whipps.
In collaboration with Annika Kuhlmann.
Installation view, Spike Island, Bristol. Photo: Max McClure and Stuart Whipps.
In collaboration with Annika Kuhlmann
Installation view: ‘I Was Raised on the Internet’, MCA Chicago; Courtesy the artist
Experience suite with videos, hydroponic home-farming systems, lightbox, website and ‘Skin Deep I’ (2014) & ‘Skin Deep II’ (2014) by Asela Gunasekara (both purchased from Art Space Sri Lanka)
With the generous support of The Plant, Happy Leaf, Blu Dot, Exhibition Flooring and Schlep
Courtesy of the artist
Commissioned by the Museum of Contemporary Art Chicago.
With thanks to DIS; Tensta konsthall, Stockholm; Institute for Modern Art, Brisbane; Hamburger Bahnhof - Museum für Gegenwart, Berlin
New Eelam is a long-term artwork in the form of a startup. This real estate technology company has been founded by the artist - in collaboration with curator Annika Kuhlmann - to develop a flexible global housing subscription that aims to make homes as streamable as music or movies. The subscription-based model for a distributed housing system will offer global citizens flexible access to high-quality apartments around the world, while the trading of the revolving property portfolio can, over time, progressively subsidise the cost of the subscription. Basing the business plan on collective ownership rather than private property, New Eelam proposes a long-term strategy for how a new economic model could evolve out of the present system – through the luxury of communalism rather than of individual ownership.
Christopher Kulendran Thomas’ family is from a place that no longer exists. For three decades during the Sri Lankan civil war, Eelam was self-governed as an autonomous state led by a neo-Marxist revolution. But the Tamil people’s independence movement was crushed brutally in 2009 by an authoritarian government protected by the cloak of national sovereignty. Now, charting an alternative trajectory from one of the darkest chapters of the recent history of globalisation, Thomas asks what a new Eelam could be if it was reimagined as a distributed network rather than a territorially-bounded nation – a new Eelam for all, where citizenship could be a choice, not a hereditary privilege.
Christopher Kulendran Thomas works through the structural operations of art, by which art’s circulation and distribution produces reality. His ongoing work When Platitudes Become Form (ongoing since 2013) features original artworks by some of Sri Lanka’s foremost young contemporary artists, purchased in the island’s current ‘peacetime’ economic boom and then reconfigured for international circulation within Thomas’ own compositions. This process translates what counts as contemporary across the global contours of power by which the ‘contemporary’ itself is conditioned.
In collaboration with Annika Kuhlmann
Installation view: ‘I Was Raised on the Internet’, MCA Chicago; Courtesy the artist
In collaboration with Annika Kuhlmann
featuring ‘Skin Deep II’ (2014) by Asela Gunasekara (purchased from Art Space Sri Lanka)
Installation view: ‘I Was Raised On the Internet’, MCA Chicago; Courtesy the artist
In collaboration with Annika Kuhlmann
featuring ‘Skin Deep I’ (2014) by Asela Gunasekara (purchased from Art Space Sri Lanka)
NE_HYDRO_02, 2018 and NE_LB_09, 2017
both in collaboration with Annika Kuhlmann
Installation view: ‘I Was Raised on the Internet’, MCA Chicago; Courtesy the artist
Detail view: NE_HYDRO_01 in collaboration with Annika Kuhlmann
In collaboration with Annika Kuhlmann
Installation view, Tensta konsthall, Stockholm
Experience suite with aquaponic farming system, modular walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min); featuring works by Muvindu Binoy, Ann Edholm, Lisa Trogen Devgun, John Skoog and Jim Thorell
In collaboration with Annika Kuhlmann
Installation view, Tensta konsthall, Stockholm
Experience suite with aquaponic farming system, modular walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min); featuring works by Muvindu Binoy, Ann Edholm, Lisa Trogen Devgun, John Skoog and Jim Thorell
In collaboration with Annika Kuhlmann
Installation view, Tensta konsthall, Stockholm
Experience suite with aquaponic farming system, modular walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min); featuring works by Muvindu Binoy, Ann Edholm, Lisa Trogen Devgun, John Skoog and Jim Thorell
In collaboration with Annika Kuhlmann
Installation view, Tensta konsthall, Stockholm
Experience suite with aquaponic farming system, modular walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min); featuring works by Muvindu Binoy, Ann Edholm, Lisa Trogen Devgun, John Skoog and Jim Thorell
In collaboration with Annika Kuhlmann
Installation view, ‘moving is in every direction. Environments - Installations - Narrative Spaces’, Hamburger Bahnhof - Museum für Gegenwart, Berlin
Experience suite with aquaponic farming system, straw bale walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min) in collaboration with The Mycological Twist; featuring works by Juliette Bonneviot, Muvindu Binoy, Simon Denny and Mirak Jamal
New Eelam image campaign: Design by Manuel Bürger with photographs by Joseph Kadow; Creative direction: Annika Kuhlmann
In collaboration with Annika Kuhlmann
Installation view, ‘moving is in every direction. Environments - Installations - Narrative Spaces’, Hamburger Bahnhof - Museum für Gegenwart, Berlin
Experience suite with aquaponic farming system, straw bale walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min) in collaboration with The Mycological Twist; featuring works by Juliette Bonneviot, Muvindu Binoy, Simon Denny and Mirak Jamal
New Eelam image campaign: Design by Manuel Bürger with photographs by Joseph Kadow; Creative direction: Annika Kuhlmann
In collaboration with Annika Kuhlmann
Installation view, ‘moving is in every direction. Environments - Installations - Narrative Spaces’, Hamburger Bahnhof - Museum für Gegenwart, Berlin
Experience suite with aquaponic farming system, straw bale walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min) in collaboration with The Mycological Twist; featuring works by Juliette Bonneviot, Muvindu Binoy, Simon Denny and Mirak Jamal
New Eelam image campaign: Design by Manuel Bürger with photographs by Joseph Kadow; Creative direction: Annika Kuhlmann
In collaboration with Annika Kuhlmann
Installation view, ‘moving is in every direction. Environments - Installations - Narrative Spaces’, Hamburger Bahnhof - Museum für Gegenwart, Berlin
Experience suite with aquaponic farming system, straw bale walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min) in collaboration with The Mycological Twist; featuring works by Juliette Bonneviot, Muvindu Binoy, Simon Denny and Mirak Jamal
New Eelam image campaign: Design by Manuel Bürger with photographs by Joseph Kadow; Creative direction: Annika Kuhlmann
Left: Detail view, ‘moving is in every direction’, Hamburger Bahnhof - Museum für Gegenwart, Berlin: Christopher Kulendran Thomas, New Eelam, 2017, in collaboration with Annika Kuhlmann
Right: From the ongoing work When Platitudes Become Form, 2016
Acrylic on canvas, wooden frame, netting and ‘Father’ (2014) by Muvindu Binoy (purchased from Art Space Sri Lanka)
Images: Joseph Kadow
In collaboration with Annika Kuhlmann
Installation view, ‘moving is in every direction. Environments - Installations - Narrative Spaces’, Hamburger Bahnhof - Museum für Gegenwart, Berlin
Experience suite with aquaponic farming system, straw bale walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min) in collaboration with The Mycological Twist; featuring works by Juliette Bonneviot, Muvindu Binoy, Simon Denny and Mirak Jamal
New Eelam image campaign: Design by Manuel Bürger with photographs by Joseph Kadow; Creative direction: Annika Kuhlmann
Left: From the ongoing work New Eelam, 2017 Aluminium frame and printed tension fabric; Design: Manuel Bürger & Jan Gieseking, Photography: Joseph Kadow, Creative Direction: Annika Kuhlmann
Right: Detail view, ‘moving is in every direction’, Hamburger Bahnhof - Museum für Gegenwart, Berlin: Christopher Kulendran Thomas, New Eelam, 2017,in collaboration with Annika Kuhlmann, featuring DECEMBER lamp by NEW TENDENCY
Images: Joseph Kadow
In collaboration with Annika Kuhlmann
Installation view, ‘moving is in every direction. Environments - Installations - Narrative Spaces’, Hamburger Bahnhof - Museum für Gegenwart, Berlin
Experience suite with aquaponic farming system, straw bale walls, lightboxes, VR model and ‘60 million Americans can’t be wrong’ (HD video, 30 min) in collaboration with The Mycological Twist; featuring works by Juliette Bonneviot, Muvindu Binoy, Simon Denny and Mirak Jamal
New Eelam image campaign: Design by Manuel Bürger with photographs by Joseph Kadow; Creative direction: Annika Kuhlmann
Left: Detail view, ‘moving is in every direction’, Hamburger Bahnhof - Museum für Gegenwart, Berlin: Christopher Kulendran Thomas, New Eelam, 2017, in collaboration with Annika Kuhlmann
Right: From the ongoing work New Eelam, 2017
Aluminium frame and printed tension fabric; Design: Manuel Bürger & Jan Gieseking, Photography: Joseph Kadow, Creative Direction: Annika Kuhlmann
Images: Joseph Kadow
In collaboration with Annika Kuhlmann
Installation view, ‘moving is in every direction. Environments - Installations - Narrative Spaces’, Hamburger Bahnhof - Museum für Gegenwart, Berlin
New Eelam image campaign: Design by Manuel Bürger with photographs by Joseph Kadow; Creative direction: Annika Kuhlmann
Installation view, New Galerie, Paris
Installation view, New Galerie, Paris
Installation view, New Galerie, Paris
Installation view, New Galerie, Paris
Acrylic on canvas with wooden frame, netting and ‘Couple with Mandolin’ (2015) by Jayantha Pushpakumara (purchased from Art Space Sri Lanka)
Acrylic on canvas with wooden frame, netting and ‘Untitled V’ by Nuwan Nalaka (purchased from Art Space Sri Lanka)
Acrylic on canvas with wooden frame, netting and ‘Sedkid’ (2014) by Muvindu Binoy (purchased from Art Space Sri Lanka)
Acrylic on canvas with wooden frame, netting and ‘Couple with Mandolin’ (2015) by Jayantha Pushpakumara (purchased from Art Space Sri Lanka)
Acrylic on canvas with wooden frame, netting and ‘Sedkid’ (2014) by Muvindu Binoy (purchased from Art Space Sri Lanka)
Acrylic on canvas, concrete shelf, LEDs, plant and ‘New Eelam’ Film (HD, 14:06 min); featuring ATLAS bar stool by NEW TENDENCY
Image: Laura Fiorio
Left: from the ongoing work New Eelam, 2016 Concrete, one-way mirrored glass, biosphere, LED, fridge, bottled water, lea ets and 45s silent lift from New Eelam promotional film
Right: New Eelam, 2016, in collaboration with Annika Kuhlmann, featuring THRONE chair by NEW TENDENCY
Detail view, 9th Berlin Biennale, Akademie der Künste, Berlin, curated by DIS
Images: Laura Fiorio / Joseph Kadow
in collaboration with Annika Kuhlmann
HD video, 14:06 min
Installation view, 9th Berlin Biennale, Akademie der Künste, Berlin, curated by DIS
Image: Laura Fiorio
Left: New Eelam, 2016, in collaboration with Annika Kuhlmann
Detail view, 9th Berlin Biennale, Akademie der Künste, Berlin, curated by DIS
Right: from the ongoing work When Platitudes Become Form, 2016
Acrylic on canvas with wooden frame, netting and ‘Bi-Fiction’ by Muvindu Binoy and ‘Untitled VI’ by Nuwan Nalaka (purchased from Art Space Sri Lanka)
Images: Joseph Kadow / Laura Fiorio
Left: from the ongoing work When Platitudes Become Form, 2016
Acrylic on canvas with wooden frame, netting and ‘Humans are Spiritually Confused’ by Muvindu Binoy (purchased from Art Space Sri Lanka)
Right: New Eelam, 2016, in collaboration with Annika Kuhlmann; featuring THRONE chair by NEW TENDENCY
Detail view, 9th Berlin Biennale, Akademie der Künste, Berlin, curated by DIS
Images: Laura Fiorio / Joseph Kadow
Left: New Eelam, 2016, in collaboration with Annika Kuhlmann
Installation view, 9th Berlin Biennale, Akademie der Künste, Berlin, curated by DIS
Right: from the ongoing work New Eelam, 2016
Aluminum, printed banner
Detail view, 9th Berlin Biennale
Design: Manuel Bürger & Jan Gieseking, Photography: Joseph Kadow, Creative Direction: Annika Kuhlmann
Images: Laura Fiorio
in collaboration with Annika Kuhlmann; featuring ‘Skin Deep I’ by Asela Gunasekara (purchased from Artspace Sri Lanka)
Installation view, 9th Berlin Biennale, Akademie der Künste, Berlin, curated by DIS
Image: Laura Fiorio
Installation view, Kunstverein Harburger Bahnhof, curated by Annika Kuhlmann
Image: Michael Pfisterer
Installation view, Kunstverein Harburger Bahnhof, curated by Annika Kuhlmann
Image: Michael Pfisterer
Left: from the ongoing work When Platitudes Become Form x New Eelam, 2016
Sand blasted one-way mirrored vitrine, concrete, steel and remote- phosphor LED panel featuring ‘Lovina’ (2013) by Asela Gunasekara (purchased from Art Space Sri Lanka)
Right: from the ongoing work When Platitudes Become Form, 2016
Acrylic on canvas, wooden frame, netting and ‘Lord Ganesh’ (2011) by Dennis Muthuthanthri (purchased from Art Space Sri Lanka)
Images: Michael Pfisterer
Left: from the ongoing work When Platitudes Become Form, 2016
Acrylic on canvas, wooden frame, netting and ‘Prosthetics I' (2014) by Muvindu Binoy (purchased from Art Space Sri Lanka)
Right: Installation view, 60 Million Americans can’t be wrong, Kunstverein Harburger Bahnhof, curated by Annika Kuhlmann
Images: Michael Pfisterer / AKK
Installation view
from the ongoing work When Platitudes Become Form x New Eelam, 2016
Sand blasted one-way mirrored vitrine, concrete, steel and remote-phosphor LED panel featuring ‘Coral’ (2014) by Prageeth Manohansa (purchased from Saskia Fernando Gallery, Colombo, Sri Lanka)
Image: Michael Pfisterer
Installation view, Kunstverein Harburger Bahnhof, curated by Annika Kuhlmann
Image: AKK
in collaboration with Annika Kuhlmann
Installation view, 11th Gwangju Biennale, Asia Culture Center, curated by Maria Lind
Image: Annika Kuhlmann
Aluminium frame and printed tension fabric featuring ‘Mask’ (2016) by Sanjaya Geekiyanage (purchased from Art Space Sri Lanka
Design: Manuel Bürger & Jan-Peter Gieseking, Photography: Joseph Kadow Creative Direction: Annika Kuhlmann
Installation view, 11th Gwangju Biennale, Asia Culture Center, curated by Maria Lind
Image: AKK
Aluminium frame, printed tension fabric, ‘New Eelam’ flim (HD, 14:06) and ‘New Eelam’ silent lift (HD, 1:15)
Installation view, 11th Gwangju Biennale, Asia Culture Center, curated by Maria Lind
Design: Manuel Bürger & Jan Gieseking; Photography: Joseph Kadow; Creative Direction: Annika Kuhlmann
Left: from the ongoing work New Eelam x When Platitudes Become Form, 2016
Aluminium frame and printed tension fabric featuring ‘Vessel II’ (2016) by Asela Gunasekara (purchased from Art Space Sri Lanka)
Design: Manuel Bürger & Jan-Peter Gieseking, Photography: Joseph Kadow, Creative Direction: Annika Kuhlmann
Right: from the ongoing work New Eelam, 2016
Aluminium frame and printed tension fabric; Design: Manuel Bürger &
Jan Gieseking, Photography: Joseph Kadow, Creative Direction: Annika Kuhlmann
Image: AKK
Installation view, 11th Gwangju Biennale, Asia Culture Center, curated by Maria Lind
Image: AKK
in collaboration with Annika Kuhlmann
Left: from the ongoing work New Eelam x When Platitudes Become Form, 2016
Aluminium frame and printed tension fabric featuring ‘Vessel III’ (2016) by Asela Gunasekara (purchased from Art Space Sri Lanka)
Design: Manuel Bürger & Jan-Peter Gieseking, Photography: Joseph Kadow, Creative Direction: Annika Kuhlmann
Right: Installation view, 11th Gwangju Biennale, Asia Culture Center, curated by Maria Lind
Image: AKK
Left: from the ongoing work When Platitudes Become Form, 2016
Wood, acrylic, ‘Lion & Buffalo’ (2014) by Prageeth Manohansa (purchased from Art Space Sri Lanka) and red Nike Court Premier Challenger tank top
Right: from the ongoing work When Platitudes Become Form, 2016
Wood, acrylic, ‘Portrait VI’ (2014) by Kavinda Silva (purchased from Art Space Sri Lanka) and black Nike Fractual running vest
Image: CKT
Installation view, Dhaka Art Summit 2016, Dhaka, Bangladesh
Image: CKT
Left: from the ongoing work When Platitudes Become Form, 2016
Sculpture (purchased from Art Space Sri Lanka) on shelf with various items such as pigment, exhibition guides and diffuser with bespoke fragrance
Right: from the ongoing work When Platitudes Become Form, 2016
Wood, acrylic, ‘Portrait V’ (2014) by Kavinda Silva (purchased from Art Space Sri Lanka) and grey Nike Ultimate Dry training top
Image: CKT
Left: from the ongoing work When Platitudes Become Form, 2016
Wood, acrylic, ‘Awake III’ (2014) by Kavinda Silva (purchased from Art Space Sri Lanka) and green Nike Dri-Fit Contour running shirt
Right: from the ongoing work When Platitudes Become Form, 2016
Wood, acrylic, ‘Awake V’ (2014) by Kavinda Silva (purchased from Art Space Sri Lanka) and blue Nike Pro Hypercool shirt
Image: CKT
Installation view, Dhaka Art Summit 2016, Dhaka, Bangladesh
Image: CKT
Installation view, Musée d’Art Moderne, Paris (FR)
Image: CKT
Left: Installation view, Yves Klein Archives, Paris
Right: from the ongoing work When Platitudes Become Form, 2015
Oil on canvas, wooden frame, netting and ‘Curfew Babies II’ (2015) and ‘Moon Men’ (2014) by Muvindu Binoy, both purchased from Saskia Fernando Gallery, Colombo, Sri Lanka
Images: Aurélien Mole
Left: from the ongoing work When Platitudes Become Form, 2015
Oil on canvas, wooden frame, netting and ‘Untitled XII’ (2013) by Prageeth Manohansa and ‘My Future And My Present II’ (2015) by Krishnapriya Tharmakrishna, both purchased from Saskia Fernando Gallery, Colombo, Sri Lanka
Right: Installation view, Yves Klein Archives, Paris
Images: Aurélien Mole
From the ongoing work When Platitudes Become Form, 2015, Detail view, at Co-Workers, Musée d’Art Moderne,
Paris (FR): bespoke screen featuring ‘Eye With Girl I’ (2014) by Jayantha Pushpakumara; background: ‘FX Tridacna series’ (2015) and ‘Rehabilitated Scribble’ (2012) by Aude Pariset
Image: CKT
from the ongoing work When Platitudes Become Form, 2015, Detail view at Co-Workers, Musée d’Art Moderne, Paris (FR): bespoke screen featuring ‘Untitled I’ (2013) by Mika Tenekoon; background: ‘The Struggle’ (2012) by Timur Si-Qin
Image: CKT
Left: Christopher Kulendran Thomas, from the ongoing work When Platitudes Become Form, 2015, Detail view, at Co-Workers, Musée d’Art Moderne, Paris (FR): bespoke screen featuring ‘Untitled 1’ (2014) by Yohan Medhanka; background: Last Spring/Summer IV by Aude Pariset and Juliette Bonneviot
Right: Christopher Kulendran Thomas, from the ongoing work When Platitudes Become Form, 2015
Digital print on acrylic with bespoke gradient effect, lighting stands, Manfrotto super clamps, sand bags and three original artworks, ‘Untitled 1’ and ‘Untitled II’ by Yohan Medhanka and ‘Eye With Girl I’ by Jayantha Pushpakumara (all purchased from Saskia Fernando Gallery, Colombo, Sri Lanka)
Images: CKT
Left: from the ongoing work When Platitudes Become Form, 2015
Detail view, at Co-Workers, Musée d’Art Moderne, Paris (FR): bespoke screen featuring ‘Untitled I’ (2013) by Mika Tenekoon; background: ‘I-Be Area’ (2007) by Ryan Trecartin
Right: from the ongoing work When Platitudes Become Form, 2015
Digital print on acrylic with bespoke gradient, lighting stands, Manfrotto super clamps, sand bags and two original artworks by Mika Tennekoon, 'Body and Soul I' and 'Body and Soul IV' (both purchased from Saskia Fernando Gallery, Colombo, Sri Lanka)
Images: CKT
Left: from the ongoing work When Platitudes Become Form, 2012 / 2015
Digital printed two-way mirrored vitrine, uorescent lighting, steel and sculpture acquired from a private collection in Colombo, Sri Lanka, with added custom base.
Installation view, ‘When Platitudes Become Form’, Kraupa-Tuskany Zeidler, Berlin (DE)
Right: from the ongoing work When Platitudes Become Form, 2015
Digital print on acrylic with bespoke gradient, light stands, Manfrotto super clamps, sand bags and two original artworks by Yohan Medhanka, ‘Beautiful Melancholy 1’ and ‘Beautiful Melancholy 2’ (both purchased from Saskia Fernando Gallery, Colombo, Sri Lanka)
Installation view, ‘Rehearsals in Instability’, Galerie Andreas Huber, Vienna (AT)
Images: CKT
Left: from the ongoing work When Platitudes Become Form, 2015
Oil on canvas, wooden frame, netting and ‘Figment Of The Internet’ (2015) by Muvindu Binoy (purchased from Saskia Fernando Gallery, Colombo, Sri Lanka)
Right: from the ongoing work When Platitudes Become Form, 2015
Oil on canvas, wooden frame, netting and ‘Bubble’ (2012) by Prageeth Manohansa and ‘Mother’ (2014) by Muvindu Binoy, both purchased from Saskia Fernando Gallery, Colombo, Sri Lanka
Images: Aurélien Mole