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Installation views, 9th Berlin Biennale: Christopher Kulendran Thomas, From the ongoing work New Eelam, 2016 Acrylic on canvas, concrete shelf, LEDs, plant and ‘New Eelam’ film (HD, 14:06), featuring ATLAS bar stool by NEW TENDENCY Images: Laura Fiorio / Joseph Kadow 4. Beyond the artist’s own biographical relation (Thomas’ family are Tamil and left escalating racial violence in Sri Lanka), there’s a specificity in adopting the history of the Tamil people as a basis for New Eelam. As a civilization, the history of the Tamil people of “Eelam” stretches back over 3000 years, effectively pre-dating the rise of both the nation state and its coupling of citizenship (and hence, any definition of legitimate geopolitical ‘belonging’). Colonial rule left the Tamil people governed by an ethnic majority backed by foreign governments, leading to the exclusion of Tamils from academic positions and civil service jobs in the Sri Lankan public system. After a long and bloody civil war, in which more than 300,000 Tamil people were internally displaced and tens of thousands of civilians were brutally murdered, the idea of Eelam (an independent, gender-equal socialist state) fully collapsed with the defeat of the Tamil Tigers in 2009. This sudden “peace” paved the way for aggressive foreign investment and Western tourism in Sri Lanka. And, as Thomas himself describes, “in the immediate aftermath of that violence, and the consequent economic liberalisation that followed, a new local market for contemporary art emerged.” Thomas’ exhibitions feature original artworks by some of Sri Lanka’s foremost young contemporary artists, purchased recently in that ‘peacetime’ economic boom and then reconfigured by Thomas for international circulation within his own compositions.
His work manipulates some of the structural operations of art, the means by which its circulation and distribution produces reality. This ongoing operation translates what counts as contemporary across the global contours of power by which the ‘contemporary’ itself is conditioned and draws on the outward performance of democracy by which nations evade international accountability. Put differently, the story of Eelam is also a story of the subjugation of socialist communities to destructive global capitalist market forces and their colonial genealogies. The story of New Eelam, on the other hand, is an attempt to reimagine community through and beyond them. Installation views, 9th Berlin Biennale Christopher Kulendran Thomas From the ongoing work New Eelam, 2016 Concrete, one-way mirrored glass, biosphere, LED, fridge, bottled water, leaflets and 45s silent lift from ‘New Eelam’ promotional film Images: Laura Fiorio 5. While much of the art that engages so-called “corporate aesthetics” is both critiqued and legitimized as operating through speculative ‘fictions’ and as employing satirical ‘artifice’ (as observed in much of the polemical criticism around the 9th Berlin Biennial), there is nothing fictional about New Eelam – in fact, it already exists as a company in its early phases of prototyping it’s beta edition. While it speculates upon future potentialities for forms of living and working through technology in a seemingly “surreal” or “hyperreal” way (to rely on relatively outdated modes of aesthetic judgment), its cultural, political and economic trajectories are very actual, that is to say concerned with the actuality of contemporary conditions of living and working in a globalized economy.