Ayushma Regmi

  • Thảo Nguyên Phan, Mute Grain, 2019, three-channel video, black-and-white, sound, 15 minutes 45 seconds. From the Kathmandu Triennale 2077.

    Kathmandu Triennale 2077

    Time lost its tethering in the Kathmandu Triennale 2077. One of the central figures in artist Thảo Nguyên Phan’s part-history, part-fantasy three-channel video installation Mute Grain, 2019, dies of starvation during the harrowing 1945 famine in Vietnam. Her hungry ghost passes into a future where the dead, propelled by nothing more than the unfulfilled desire for food, do not belong. In Subash Thebe Limbu’s Ningwasum, 2022, two Indigenous time-traveling astronauts from a coming Yakthung nation returned to the present-day Himalayas. The film imagines a future in which Indigenous communities

  • Uma Bista, Dhanasara Mijar, 14 years, Oli Gaun, 2018, digital inkjet print on forex, 28 x 35".
    picks March 26, 2019

    Uma Bista

    Uma Bista’s photographic series “Our Songs from the Forest,” 2018–, has achieved something of a feat—it’s captured women’s primitive, pre-patriarchal ease with their own bodies. Loosely and languidly, Bista’s sprawled female subjects mingle with forests that offer unencumbered acceptance. These woods are in Achham, a district in western Nepal infamous for chhaupadi, the monthly practice of quarantining menstruating women inside cowsheds. Away from the forest, and closer to home, their bodies stiffen and grow mute, become repressed. They avert their gazes. And they shrink away from Bista’s camera.

  • Shared Skies II, 2018, print and stitching on fabric, 43 x 43".
    picks December 21, 2018

    Sunita Maharjan

    Space is elastic in Sunita Maharjan’s second solo exhibition, “Shared Skies.” In textile, it expands and contracts. Her works in “Marpha,” 2013, one of four series on display, showcase an abundant sprawl of high-altitude desert undulating through pastel fabrics. Meanwhile, the series “Terrace,” 2016-18, offers a glimpse of the intensity with which buildings jockey in overpopulated sections of the Kathmandu Valley. Much like a cartographer, Maharjan presents the landscape in aerial view, mapping people’s experiences with lived spaces onto fabric, padding cramped livelihoods with the comfort of