Party, a Tool for Care: Vidisha Fadescha
curated by Ali Akbar Mehta
Museum of Impossible Forms in collaboration with Publics has invited artist-curator Vidisha Fadescha to present her practice through a talk and performance at the Today is Our Tomorrow Festival at Kaiku.
Vidisha Fadescha’s practice as an artist curator has evolved to include public engagments as a form of political discourse. Through parties and by investigating sites of nightlight, Vidhisha creates spaces for healing, for discourse and for norm-critical future forward thinking.
During her talk , Vidisha Fadescha will present her praxis of looking at ‘party as a form, and clubs as sites for art and politics’.
I think of “community care” as a way to support each other and move into the future. A collective is always more empowered than an individual alone. Music has the power to transcend borders and language. People unite for those moments, and if in those moments we consider the bodies that are involved in giving us that experience, that would change its context. Nightlife takes from Queer, Black and Brown bodies, and our community gatherings. It’s important that these bodies are offered space and shared capital within the industry. A Queer gathering isn’t just about shimmer, cross dressing, or voguing. This gathering is also about solidarity, community, comfort, non-judgment and consent.
Vidisha-Fadescha, based in New Delhi, is an artist-curator working across arts and cultural discipline. She is interested in collectivities, dialogue and experience as pedagogy to queer hegemonies.
Museum of Impossible Forms is a cultural space, located in Kontula, Helsinki. It is a contested Space and it represents a contact zone, a space of unlearning, formulating identity constructs, norm-critical consciousness and critical thinking. Impossible Forms are those that erase and facilitate the process of transgressing the boundaries/borders between art, politics, practice, theory, the artist and the spectator. For 2019-2020, Museum of Impossible Forms operates under the curatorial theme of ‘The Atlas of Lost Beliefs (For Insurgents, Citizens and Untitled Bodies)’