Jinia - DYCP | 2022 may

FUGAZZI FUSION
X JINIBEAMS :)
DYCP PORTFOLIO

'Girls Love JADU'

The Frog Burial & Peanut Eating Ceremony

@Nunnery Cafe, Bow Arts 2023

Materials: Clay, Silicone, Ableton, Logic Pro, Edible Materials: white chocolate, matcha vermicelli, sugar peanuts, mascarpone strawberry, chocolate mudcake

Performance, edible installation, audio, & curation: Jinia Tasnin

Ceramics: Jessica Tremaine

A deep dreamt memory in the form of an edible installation, playfully structured with ceramics. Both artists embody present work from childhood memories of landscapes. Interweaving in time, the installation zooms you in, between past and present.

Jinia, remembers Bangladeshi folk tales starring nymphs that enchant men, and magicians that did jadu (magic) to retrieve stolen bangles. Jessica, of Cornish heritage, recounts the history of female brewers with pointy hats and brooms outside the brewery to indicate a ready batch. The men did, in fact, leave the brewery enchanted of some sort.

Which bitch? No, don’t worry she’s merely just a witch.

Reclaiming the witch trope, the installation plays on a looming & impending paranoia of being watched. Tasnin explores surveillance, god, & government in their work at a micro & macro capacity, this is embodied in Tremaine’s industrial-clad influenced ceramics structures.

(3-part dessert eating experience conducted by audio)

'Dumb Bitch Computer Vision'

Materials: Python, OpenCV, Clay, Ableton

Shows: 'SqueezeBox' at Collective Ending Gallery 2021 & 'Arebyte On Screen' 2020

Dumb bitch computer Vision, filmed during Covid-19 and performed on the enclosed space of her balcony, allows the sound of horns, vehicles and urban life of the exterior world to leak into this private performance. As the looped film progressives, the wandering AI square of the surveillance camera, sinisterly searches for faces to locate and configure. However, friction is created in the work by Jinia hacking the code of the AI software, breaking the surveillance to instead locate and grasp at the abstraction of objects in the video frame. Via the mediation of the AI square, this hacking action allows for objects values to be pulled into question, creating a space where Jinia’s performance, the props and the balcony exist in an object orientated manor. That is to say, where the hierarchy and values of the objects and their relations are being pulled into question and exist in the flattening space of value. This work is simultaneously a strong visualisation of the claustrophobic oppression felt by bodies being valued, that ingeniously uses the same tech to reimagine a space where the actors and their relations can exist with indifference and a set of conditions that they now control. - Ted Le Swer (curator @Collective Ending HQ)

'Rhizomatic Healing'

Show: 'The Way We Rise' @hArtsLane Gallery, New Cross, 2022

Material: Bread, Sourdough starter, Chilli sugar glue, 2 Italian dips, 2 Bengali dips

An edible installation piece enabling collective performance and ceremonial-based eating with hands and sharing. Inviting for ruptures of unilinear conversation with newly acquainted strangers. Sac-relig to touch and eat art, whimsical and playful testing our imagination of boundaries post Covid-19. Meta in eating and being involved, ultra-meta in stepping out and observing others eat, meet, and co-mingle. "It's sweet? It's spicy? & sticky... is there marmite? Hmm where are these dips inspired from?" (inspired by Deleuze & Guattari's 'A Thousand Plateaus' ~ When there is rupture in society it is the pinnacle moment to re-imagine new creative forms of being)

'The Host in Dysphoria' ~ Tok Mishti Jhaal (sour, sweet, spicy)

Guest Curator & Performing Artist for

'Gravel' Performing arts series by Sarah Atina-Nahas, Rachel Lonsdale, Max Melvin @hArtsLane Gallery 2023

Materials: Dhaar (South Asian Kitchen Knife), Unripe Bengali fruits, Salt Chilli Lime

Host is not present, they are in a transient, stream of consciousness state. Speaking to themselves in Bengali, Italian, and English. Play on paranoia, unaware of any gaze. Somewhat jarring and dangerous misuse of dhaar. Built tension in host's body is eased with self-soothing techniques. Host is aware they are prepping fruits for others yet they eat first. Host is not palatable nor are their flavours. Space sudden burst of citrus smells strongly of Bengali limes awaking both the dog and artist Mariia Annekova in a cage with VR set. Pleasantly intrigued Annekova and dog await their turn to try fruit & sauce.

'Rituals for Resurgence' - 2022

Materials: Dhaar (South Asian Kitchen Knife), Fish, Ableton

Re-membering & re-imagining rituals left in the past when leaving my family home for religious & cultural differences. Leaving caused personality disorders which have been somewhat soothed with re-integration of rituals that better reflect me. Video documentation of rituals & reclaimed knife is layered over Ableton (music software) sound design by me. Music is a non-visual ritual. The act of playing an instrument is healing as otherwise was censored at home growing up. Writing about 'wet re-birthing' as swimming was not allowed growing up. Like a fish of the Bengali rivers I now swim to heal my inner-child and be reborn in my new rituals.

Filmed by my housemate, art directed by me :) .

This piece was preliminary research for what later birthed 'Girls love JADU' & 'Host in Dysphoria'

'Lokkhi Maya's Disdain for Daylight' @Oitij-jo Gallery, 2023

Materials: Misc. food, object, sound

Candle Headpiece Commission: Alice Bertazzi

Photography: Henry Rich

A magically real evening of tawaif, transhumanism, and self-adoration.

4 course interactive eating installation, sound & performance.

Lokkhi means sweet in Bengali and is also a Hindu goddess upholding binary female societal roles. Maya means girl. Lokkhi Maya, a sweet girl is a made up character who's identity is conflated with mine.

Performance is based on a made up folktale by me :)

Growing up I was asked to aspire to be like Lokkhi Maya, so here I embody her on my own terms.