Sumedh Rajendran 《充满忧郁》 2007年  铝片、木头、橡胶  94x122x13英寸

Sumedh Rajendran  Full Melancholy  2007  Aluminum sheet, wood and rubber  94x122x13inches

Sumedh Rajendran
1972年生于印度克拉拉；现生活、工作在新德里
Sumedh Rajendran
1972, Kerala; lives and works in New Delhi

策展人Sumedh Rajendran的陈述：
    苏迈德（Sumedh）出生于由印度共产党领导的两个邦之一的喀拉拉邦，后移居到印度的政治中心新德里攻读硕士学位。现在，他住在新德里。政治造就了他对社会结构的认识。作为一位艺术激进主义分子，苏迈德的主要意图是以一名艺术家/社会活动家参与社会的政治进程。

    苏迈德通过探索材料在社会语境中的意义，将所使用的材料政治化。这些材料包括瓷砖、金属片和皮革等。例如：在印度，皮革在社会种姓制度历史上意味着对达利特的压迫。锡制箱子是苏迈德反复使用的一种样式，它被迁移者广泛地使用，成为对置换和转让的反映。通过对各种材料和形式的并置，比如：肢解的和修复的肢体、切开的动物、锡制箱子和笼子等。印度现代化在自我意识下的建构，一方面揭示了人类在被划分成享有特权的资源管理者和知识保存者的世界里的断裂和分割的经验；另一方面是被夺这种特权的工人-劳动者。

Curatorial statement by Sumedh Rajendran
Born in Kerala, one of the two communist-led states in India, Sumedh migrated to New Delhi, the political centre of the country for his post-graduate studies and where he now lives. Politics has shaped his social framework and Sumedh’s primary intentions as an artist-activist is to participate in political discourse. 
By working within their meaning in the social context, Sumedh politicizes the materials he works with, which include ceramic tiles, metal sheets, and leather. For instance, in India leather connotes the oppression of the Dalits in the country’s caste history, and tin trunks, a form used repeatedly by Sumedh, are commonly used by migrants and function as a reflection on the discourse of displacement and alienation. The self-conscious construction of India’s modernity through the juxtaposition of materials and forms such as dismembered and prosthetic limbs, dissected animals, tin trunks, and cages reveal the fractured and mutilated experience of humanity in a world divided between the privileged managers of resources and keepers of knowledge on the one hand, and the underprivileged worker-labourer on the other.

翻译：张靓