A view of the exhibit
| Photo Credit: special arrangement
How often does an art gallery turn into a stage, blurring the lines between memory and myth, fact and fiction, personal and collective histories?On a bright Tuesday morning, curator P and her zealous assistant guide their guests through a narrative that sits at the sweet spot between fact and fiction, a mammoth physical maze at the centre of which is a wooden turtle named Miss P that embodies an overlooked chapter of Indo-Korean history. The story of the Custodian Force India (CFI), who were peacekeepers at the Korean De-Militiarised Zone during 1953-54 following the signing of the Armistice of the Korean War, comes alive through the personal anecdotes of a certain Captain N. It traces the first peacekeeping mission undertaken by independent India and their duty of care towards the Prisoners of War.

A view of the performance
| Photo Credit:
special arrangement
In a 70-minute interactive experience designed to challenge the audience, Limits of Change, part-art exhibit, part-performance and part-history lesson, by Parvathi Nayar and Nayantara Nayar is an ambitious project rooted in personal history, where art installations, videos, spoken word and text merge seamlessly to tell a story.A six-year-long sojourn that involved years of meticulous research and a post-pandemic trip to the DMZ, Limits of Change is Parvathi’s personal quest to piece together her father Major-General TNR Nayar’s time and experiences at the CFI. His letters, diary entries, photographs and videos form the cornerstone of this experience. Spread across Lalit Kala Akademi, in rooms titled the archive room, helicopter room, tattoo room and forgiveness room to name a few, different pieces of the puzzle come together in performance, lending a well-researched, text-heavy exhibit that exists on its own. Curator P and her assistant’s narration is the cherry on the top. 

Inside the display
| Photo Credit:
special arrangement
Stories of home, identity, cycles of violence and the role that forgiveness plays in war history, all  make its way into the narrative. “This is a work of storytelling. When Nayanthara and I were researching, we realised that most people did not even know that there was this lovely piece of Indo-Korean history that started from Chennai and finished in Chennai,” says Parvathi, adding, “They say that fiction tells our truest truths. So to create a work of fiction, we didn’t invent history, but it’s enmeshed in history. The emotional charge for it is my father’s life. Who he was as a person influences and informs this piece.” The idealism of the newly independent India, and the self-proclaimed duty of care, all set context to the project rooted in autobiography. “We book-end the piece with history and then let fiction take over. I think personally, I find these hybrid spaces very exciting,” adds Parvathi. The project thrives in this intersection. Limits of Change is also a large collaborative exploration. While Yog Japee helms the dramaturgy, the excellent stop-motion videos that narrate the fairytale and legend of Miss P are conceptualised by CP Satyajit. The exhibition design is by Sindhura Vannamalai Sowmithri and the art installations are created by students from various educational institutions in the city. Rathi Jafer, director, InKo Centre which produced the show, says, “We are always looking for access points between the countries through the arts. The inter-cultural dialogue between India and Korea is emphasised by this project.” 

One of the performers at the event
| Photo Credit:
special arrangement
How challenging was it then to lend a dramatic lens, with a beginning, middle and end? Says Yog, “The core intent of the CFI was to care. Another significant player was the coming-of-age relationship between the daughter and father. It was also a discovery of her own life and relationship with her father. We wanted to keep these as the driving points.” In each room, there was a different emotion to tackle. “We wanted the audience to get as close to the human experience as possible. Ultimately, in the stories, it is the human experience that is paramount. That’s what you take back.”Shows are on till February 20 at 11.30am, 3.30pm and 6.30pm everyday. Limited seats available. Registration is on a first-come, first-serve basis at www.inkocentre.org. Published – February 12, 2025 04:50 pm IST