Atul Bhalla – Rupture

<p>In his continuous engagement with the Partition of India, through the work <em>Objects of fictitious togetherness-I </em>(shown at a number of locations within India), through the trope of water, Atul Bhalla attempts to conceptualize the interplay between memory, post-memory and truth around the Freedom Struggle, the&nbsp;Partition and subsequent events in Punjab. In this work, he aims to use a part of a wall painting on the convergence of an arch at the Guru Ki Masjid, the only mosque built by a Sikh Guru, which is located in his ancestral village of Sri Hargobindpur and is now a UNESCO site.</p> <p>He attempts&nbsp;to conjure history in referential dialogue, by&nbsp;re-addressing lost pasts, and re-locating such in the personal, the social, and the cultural. But here the cracks, like a wound or dehiscence, dissolve and reappear. They are slow but pending and present, unfocused as one’s vision is, that one is unable to grasp.</p> <p>The work poetically addresses the people, territories and the politics of water sharing, rivers and borders activated by the historical moment of the Partition. Drawing on local meanings of rivers and water of the land for each community and Punjabis in general, in the larger context of the work Bhalla wishes examine the notion of truth within ‘Punjabiyat’ (being from the Punjab) on which both Hindus and Muslims pride themselves here and across the border. In particular, he focuses on how truth has unfolded itself during the trauma of the&nbsp;Partition and what truth means today within the South Asian context.</p>