Himalayan tipping points

Global temperature increase is nearing 1.5°C since pre-industrial times, pushing the planet close to irreversible climate tipping points. The Himalayan region is warming even faster than the global average.

The exhibition At the Tipping Point: Art and Ecology from the Rooftop of the World seeks to bring the climate emergency into focus, showing that it is not a distant threat, but a present reality reshaping the natural world around us.

The exhibition at Taragaon Next features work from 12 artists, including Amit Machamasi, Chris Jordan, Himali Singh Soin, Joana Moll, Maksud Ali Mondal, Monica Ursina Jäeger, Robertina Sebjanic, Salil Subedi, Samyukta Bhandari, Saurganga Darshandhari, Ursula Biemann and Utsa Hazarika. 

They highlight the strategic location of Nepal and call for a ‘fundamental rethinking of the ecological imagination- where the local and the global, the visible and the invisible, the scientific and the spiritual converge’ though photographs, paintings, multimedia visuals and sounds.

“The world will wake up when you say Everest, it is an important barometer to look at ecology, especially that of Nepal,” says curator Arshiya Lokhandwala from India. “The idea was to look at not only local but global issues as well.” 

The exhibition began on 5 June with powerful performance art titled Earth Emergence by Salil Subedi who falls from the back of a tractor trailer filled with wet red clay. Amidst sounds of gongs and singing bowls, the audience is taken into a journey of Mother Earth as Subedi approaches what appears to be Mount Meru. 

Chris Jordan's Midway: Message from the Gyre and Albatross was eight years in the making and depicts the stark fallout from environmental degradation. His eerie images of dead baby albatrosses covered in plastic waste serve as a powerful critique of globalised consumerism.

Samyukta Bhandari’s Echoes of Survival addresses the plight of sparrows amidst urban noise. The exhibits consist of a labyrinth of exposed wiring, ceramic sparrow figurines and mirrors, representing the friction for coexistence between sparrows and humans. The mirrors with the sparrow figures symbolise the sparrows colliding with windows.

Maksud Ali Mondal’s Fungal Habitat presents a self-sustaining ecosystem through the life cycle of a mushroom. As the audience moves through the exhibit, the scent of fungi permeates, underscoring the fact that decay and renewal are a part of life.

The Newa traditions of food, harvest, and communal bonds is the highlight of Yomari wo Yomha ji and Grain of Gold by Saurganga Darshandhari. Says the artist, “In Newari tradition, Yomari is made of rice flour, and the grains are grown from the soil. Hence, linkage with the earth is established. These traditions are passed on from one generation to another, and the sweet delicacy is usually made by women, so I tried to create happiness through cooking and linking it to yomari, and the bird, so that she can fly as free as a bird."

Such communal bonds are very much tied with the land and harvest, but rapid and haphazard urbanisation has had much adverse impact, as Amit Machamasi’s Not the Same Anymore, The Irony, and Seeds and Tools portray. What were once farmlands are now being plundered and plotted to give way to unplanned and disastrous development.

“There must be development, roads must be expanded, but not at the cost of nature,” says Machamasi, as he explains one of the other photographs on display: “The small crow was photographed when the tree that it was residing on was cut off for development.”

Our misguided approach to development has a dire impact on the overall ecology, from heat stress in the Tarai to the drying of natural springs in the hills to receding glaciers in the mountains. 

At the Tipping Point: Art and Ecology from the Rooftop of the World

Until 31 August

10:00AM to 5:30PM

Taragaon Next

Hyatt Regency premises