Arpita Akhanda
Multidisciplinary artist Arpita Akhanda delves into the intergenerational trauma of the 1947 Partition, using mediums like paper weaving, photography, and performance to explore memory, identity, and loss.
Born in Cuttack, Odisha and based in West Bengal’s Santiniketan artist Arpita Akhanda channels her practice through diverse mediums including paper weaving, photography, installations, drawings, and videos. Through her art, Arpita highlights significant issues, such as the traces of the Partition of India, prompting global audiences to confront its far-reaching repercussions. Her works, both bold and evocative, delve into the echoes of her family’s intergenerational trauma stemming from the Partition of 1947. What’s fascinating is how Arpita extends her artistic expression by treating her own body as a canvas, describing it as a "memory collector" or a post-memorial site. It not only showcases the creative lengths an artist can explore but also highlights how our bodies, as vessels, hold and reflect the weight of profound experiences and emotions. In many of her works, Arpita draws from her personal archives—such as photographs, documents, and oral histories passed down by her paternal and maternal grandparents—employing these as the foundation to explore the intersection of memory, trauma, identity, loss and remembrance.
A postgraduate with an MFA from Kala Bhavana, Visva-Bharati, Santiniketan—established by Rabindranath Tagore and a well-known centre for Visual Art practice and research in India—Arpita has received more than a dozen awards and scholarships for her work, including the Inlaks Fine Art Award in India and the Prince Claus Seed Award in the Netherlands. Several of Arpita’s performances also include objects symbolic of the Partition/ division/ dissection such as stamps or barbed wires—evocative of a nation divided. Her works possess a jarring quality that lingers with audiences, as seen in her performance piece 360 Minutes of Requiem. It examined themes of nationalism, borders, and partition through the painstaking deconstruction of 360 feet of barbed wire over 360 minutes. It highlights that artists like Arpita are harnessing the power of art not just as a means of communication, but as a tool to uncover personal and collective histories that have often been overlooked. Currently holding a residency at Kyoto Art Centre, in Kyoto, Japan, and represented by Emami Art Gallery, Kolkata, India, Arpita has showcased her solo performances and exhibitions both in India and internationally. Her work has engaged audiences and gained recognition in countries such as Japan, Germany, Switzerland, Netherlands and beyond.
Arpita speaks to Blur The Border :
Blur : As a multidisciplinary artist, what usually comes first for you: the concept or the medium?
Arpita : For me, the concept is always the starting point, laying the foundation for the medium.
For me, the concept is always the starting point, laying the foundation for the medium. My creative process begins with in-depth research—both conceptual and physical—whether it involves exploring family archives or examining contemporary socio-political contexts. This research naturally guides the selection of materials, which then determines the medium and approach I take.
I trust the process and lean on my intuition to translate these insights into a unified creation. Every medium has its unique language, allure, and limitations, which I embrace as part of the journey.
Blur : You have worked across several mediums including photography, paper, and installations to name a few. Are there any other mediums you are looking to explore in the future?
Arpita : I am always eager to broaden my creative scope through different mediums. Recently, I had the chance to experiment with porcelain and glass during my residency at Jester in Genk, Belgium. Looking ahead, I’m enthusiastic about further exploring these materials and uncovering their potential while continuing to deepen my engagement with the wide range of mediums I’ve worked with throughout my practice.
Blur : Exploring a theme such as the intergenerational trauma of the 1947 Partition requires revisiting deeply emotional narratives in each performance. How do you navigate the mental and emotional toll of reliving these experiences, and in what ways has this process shaped you personally and as an artist?
Arpita : Revisiting the intergenerational trauma of the 1947 Partition involves engaging with deeply emotional narratives, which I approach with great sensitivity. I view the body as a "memory collector," a vessel carrying both the physical and psychological imprints of colonial and postcolonial histories. It functions as a living archive, preserving and transmitting memories across generations. My work often draws from my family’s archive, holding silences, objects, and fragmented recollections tied to the places we left behind.
Although this process can be emotionally challenging, it has profoundly shaped my understanding of identity, roots, and the concept of "home." For my family, home is not merely a physical space but something embedded in memories, objects, and quiet moments. Rather than being a burden, revisiting these experiences becomes an artistic process, helping me express, accept, and understand how the trauma of Partition has shaped my family's perception of home. These intergenerational memories have reshaped my sense of belonging, influencing both my identity and my artistic practice, which I view as deeply intertwined.
Blur : Do you have any specific processes, habits, or rituals that help you get into a creative mindset?
Arpita : II don’t see my practice as separate from my life. Meeting people, sharing memories, and drawing from everyday encounters—whether it’s a person, a community, a book, or an archive—are integral to my process. My works are deeply intertwined with my body and lived experiences.
A key ritual involves revisiting recordings from field trips, examining physical archives repeatedly, and engaging in conversations with my parents and grandparents to learn more about their experiences.
Blur : Has there been a pivotal project in your career that has impacted you personally or professionally?
Arpita : During my performance “Transitory Body,” whether in Maastricht, the Netherlands; Düsseldorf, Germany; Rome, Italy; Kolkata, India; or Thane, Maharashtra, I experienced powerful moments of connection. Individuals from diverse historical backgrounds engaged with me by sharing their memories, whispering their stories into my ears. This reciprocal exchange underscored our interconnectedness as human beings.
These moments illustrate how memories can migrate between individuals, transforming the body into a vessel for both personal and collective recollections. It reinforced the idea that, despite our differing backgrounds, historical contexts, languages, or cultures, we all carry stories that shape our identities.
Blur : What personal insights have you gained about the power of art to convey our history and the process of its dilution, as reflected through each of your artworks and performances?
Arpita: I aspire for my work to act as a catalyst, sparking perceptions and deepening understanding of personal archives. I aim to engage viewers in critical thinking about the multifaceted nature of identity, encouraging them to reimagine and reevaluate established historical accounts and memory narratives. Through this process, I’ve learned that art has the power to ask difficult questions, predict the future, and shed distances and differences between individuals, creating a meeting ground. This realization has been transformative—not only through my work but also in the lessons it has taught me. Art has made me more open, receptive, and empathetic.
Blur : If you could collaborate with artists from other disciplines, is there a particular collaboration you would love to pursue?
Arpita: I would love to collaborate with an experimental filmmaker.
Blur : What potential do you see in the emerging generation of young artists in India, particularly in terms of using their work to highlight our cultural history?
Arpita : Today’s young artists in India are unafraid to voice their concerns, using art as a platform to engage with society and challenge established norms. Art has transcended traditional boundaries, intersecting with social behaviors, cultural limitations, and politics. Contemporary artists are reshaping the contours of art by integrating research, experimentation, and advanced technology. Their work challenges cultural hierarchies, fosters dialogue, and stimulates debate.
I see immense potential in this emerging generation to reimagine our cultural history and inspire viewers to rethink the past, reevaluate the present, and envision the future. Their ability to foster curiosity and openness creates vital spaces for dialogue between artists, audiences, and the broader cultural framework.