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Sea Behind the Wall | Outdoor Video Exhibition @ different venues | Species, Soil and Successors

29. September 12:00 - 26. Oktober 20:00

*Please note that the exhibition is not only happening at Oyoun, but in different places all over Berlin*

Curated by Arijit Bhattacharyya | With works by Studio 33/3 (Soumik Ghosh, Shibayan Halder, Suvojit Roy), Devadeep Gupta, Binita Limbani, Swagata Bhattacharyya and Mahi Ghane

Arijit Bhattacharyya’s curatorial project, “Species, Soil and Successors”, will present seven audiovisual works by Studio 33/3 (Soumik Ghosh, Shibayan Halder, Suvojit Roy), Devadeep Gupta, Binita Limbani, Swagata Bhattacharyya, Mahi Ghane, on the glass fronts in various public spaces of Berlin. From 29 September - 26 October, the works will be presented among others at Oyoun Berlin (Lucy-Lameck-Str. 32), Bubbletea World (Kottbusser Damm 29-30), Drinks & Bottles (Maybachufer 1), Grimm-Zentrum (Geschwister-Scholl-Straße 3) and SPÄTKAUF (Reinickendorfer Str. 18A).

The exhibited audiovisual works explore various socioeconomic, historical and cultural contexts ranging from urbanization's consequences in Kolkata to water scarcity in its slums, delving into the endangerment of the Greater Adjutant bird, the complex relationship between the Brahmaputra River and Assam's communities, the historical significance of the Tapti River in Surat, and finally, the degradation of the River Ganga in Kolkata due to unregulated urbanization.

Each audiovisual work serves as a portal, offering glimpses into the hidden facets of life - events that unfold right around us, yet often go unnoticed. Each piece is a distant island, scattered yet interconnected within the vast ocean of diverse lived experiences, together shaping a rich tapestry of existence.

“Species, Soil and Successors” weaves Berlin's different neighborhoods: Neukölln, Kreuzberg, Mitte, and Wedding, each with its own contrasting living conditions, historical contexts and urban infrastructure. The outdoor exhibition acts as an imaginative bridge between moments and events that may seem unrelated to each other but share a unique connection, transcending geographical boundaries and seeming distances.

Ticket: Free admission
Language: English


Oyoun: Lucy-Lameck-Str. 32, 12049 Berlin
Bubbletea World: Kottbusser Damm 29-30, 10967 Berlin
Drinks & Bottles: Maybachufer 1, 12047 Berlin
Grimm-Zentrum: Geschwister-Scholl-Straße 3, 10117 Berlin
SPÄTKAUF: Reinickendorfer Str. 18A, 13347 Berlin


Shibayan Halder, Moving Forest, 7:44, 2023. (Grimm-Zentrum)

In “Moving Forest”, Shibayan Halder finds himself performing as a messenger of the obliterated forests in various public spaces of Kolkata (the colonial crown jewel of the British colony in India). The work emerges from Bahurupi performance practices. Bahurupis are artists who possess unique skills in the art of impersonation. Hailing from various regions in India, Bangladesh, and Nepal, these traditional performers have mastered swiftly transforming themselves into different characters, captivating audiences with their quick costume changes and remarkable acting abilities. A storytelling strategy that goes back thousands of years. 

Suvojit Roy, Waterpark, 6:21, 2023. (SPÄTKAUF)

Suvojit Roy’s “Waterpark” is based on the artist's long-term engagement with understanding the scarcity of water in the slums of Kolkata. Settling down as refugees from the liberation war of Bangladesh in 1971, Roy’s parents like thousands of others could only build informal settlements devoid of basic infrastructures such as access to water. Roy develops a painting-based video essay with various interviews taken in multiple slums in Kolkata, where till today water is a dream. 

Soumik Ghosh, Vote for Hargila, 7:38, 2023. (Bubbletea World)

“Vote for Hargila” is a tale of the endangered bird Greater Adjutant. Soumik Ghosh finds himself sarcastically encountering the bird in various historical timelines. From past to future how the bird is replaced by larger political changes is the point of investigation for him.

Mahi G, Vikasach Khul, 2:47, 2023. (Grimm-Zentrum)

"Vikasach Khul" is an eloquent musical reflection by Indian artist Mahi Ghane AKA Mahi G, unearthing the consequences of indiscriminate urbanization in the name of development. Through lyrical storytelling, the song beckons its audience to open their eyes to the marvels of nature and reconsider the path of so-called progress that is taking us away from our roots. The composition delves into a time when humanity was intrinsically connected to the Earth, where sustenance and clothing were drawn from the same land, and humans coexisted harmoniously with nature's creatures.
However, as urbanization advances relentlessly, the song laments the way it distances us from the natural world, as concrete jungles replace the lush greens and pristine waters. This modernization comes at the cost of disrupting ecosystems, driving out indigenous communities, and turning once-thriving villages into concrete wastelands. The song serves as an impassioned plea to awaken from this development-induced slumber and recognize the intricate bond between humanity and the environment.
"Vikasach Khul" underscores the need to reestablish this connection, urging individuals to value the sanctity of nature. It implores us to realize that real progress lies in sustainable development, where nature and humanity coexist in harmony. By shedding light on the consequences of our actions and reminding us of our duty to protect the environment, the song becomes a compelling call to action, inviting us to embrace a more balanced and responsible approach to development. In doing so, it underscores the importance of preserving not only our ecosystem but also our shared humanity.

Devadeep Gupta, Absent River, 13 minutes, 2021. (Grimm-Zentrum)

What happens when the unstoppable force of nature clashes against the immovable determination of the human?
The Brahmaputra River establishes an intimate relationship of contradiction in the socio-cultural reality of Assam. Despite the devastating nature of the floods, the communities continue to live near the river-banks, sometimes owing to historical and emotional bonds, other times following a lack of financial freedom or immediate choice.
Without the dearth of fair choice, the individual is forced to face the repetitive consequences of a decision that is not entirely theirs, and the situation becomes an absurdity as the consequences appear as self-inflicted collateral. Neither the reluctant victim can be told that it is their responsibility to bear the consequences of their choice to be in the place of peril, nor the river can be held as sentient and questioned about its actions. This conflict leads to the unwilling surrender of one’s destiny into higher hands, and it becomes relatively simpler to accept the disaster when the disaster itself is perceived as a part of God’s play.
​The toxic yet thriving relationship between the river and the people manifests itself as an endless loop, the serpent eating its tail. This unlikely paradox serves itself as an ongoing discourse in the process of looking beyond the surficial understandings and contesting the pre-victimised perceptions prevalent about such river-bank communities.

Binita Limbani, River and the City, 20 minutes, 2023. (Drinks & Bottles)

Surat, known for its textile and diamond trade, has a rich historical past dating back to the 15th-16th century when its trade market flourished. The city's port, situated on the Tapti River, was historically significant, with dynasties like the Maurya, Gupta, and Chalukya having territories along the Tapti. During the Mughal Era, it was a vital trade gateway. However, its prominence waned due to river silting and changing trade routes. Today, Surat is an industrial and commercial hub in Gujarat.
Documenting the Tapti River's journey highlights its historical importance in trade and settlement growth. Cultural festivals sometimes lead to pollution as offerings are disposed of into the river. Industrial and urban development, coupled with pollution, have negatively impacted the river's ecosystem and water quality, endangering cultural heritage.
Surat's economic significance, diverse culture, and historical contributions make it dynamic. Its historical moments are intertwined with colonial history, independence movements, and post-independence governance, shaping its growth and identity.
Creating a video timeline showcases the transition from historical monuments to modern structures, allowing viewers to witness these changes firsthand. Urban expansion, however, can harm historical landmarks as buildings are demolished for new infrastructure. Increased urbanization also raises pollution levels, threatening historical structures.
In essence, Surat's evolution reflects the delicate balance between preserving heritage and embracing modernity, all while facing challenges from urban development and pollution.
The videos aim to establish an ephemeral connection between Berlin and Surat in the context of the coming catastrophe.

Swagata Bhattacharya, The Catastrophe is Museumised, 5 minutes, 2023. (Oyoun)

This video is a documentation of various water streams within Kolkata, tracing their post-colonial transformation. It takes viewers along the banks of the River Ganga, which serves as the main water source for the city, as well as Adi Ganga, one of its significant tributaries, and other important streams. Through the lens of the camera, the film captures the essence of urban life and reveals how what was once a vital river and water trade route has deteriorated into a mere sewer. The unregulated urbanization and development politics have taken a toll on this holy river, leading to its degradation.
The video also explores how sewers are used to manage water in a sprawling metropolis like Kolkata. Many of these water streams have been transformed into sewer systems, and the settlements along their banks bear witness to the tragic consequences of this riverine ecological crisis. The neglect and ignorance regarding environmental concerns, coupled with a severe lack of water treatment infrastructure, have made it impossible for a healthy coexistence with these natural water bodies. Paradoxically, many residents of the city, especially those from marginalized communities, not only live alongside these polluted streams but also rely on their delicate balance for their livelihoods.
Throughout the video, viewers are taken on a journey through these spaces and localities, occasionally drawing from online sources and delving into the realm of the Artworld. It sheds light on the artificial aestheticization of a crisis and how standard museum spaces, constructed digitally, attempt to evoke urban artefacts and reconstruct a not-so-distant past using images of hybrid creatures.


Studio 33/3: Soumik Ghosh, Shibayan Halder, Suvojit Roy

Shibayan Halder, Suvojit Roy and Soumik Ghosh work as a collective named Studio 33/3. Their practice plays with individual language situated within the collective and heavily engages with their immediate environment.

Soumik Ghosh is a multidisciplinary visual artist hailing from Kolkata, India. His artistic exploration centers around politics and social representation, seeking to challenge the prevailing constructs of contemporary Bengali society. Influenced by literature, oral history, and films, Ghosh's work reflects a deep engagement with various forms of storytelling and cultural narratives. His practice encompasses a range of mediums, including performances, paintings, photographs, and large-scale installations. Through these artistic forms, he interrogates societal norms and conventions, encouraging critical reflection on the existing power structures and social hierarchies. His work is both self-referential and socially conscious, delving into personal experiences while also addressing broader societal contradictions.

Shibayan Halder is a multidisciplinary artist whose upbringing has been shaped by the profound disagreement between Communist West Bengal and the wave that led to its overthrow. Halder's artistic practice explores the changing sociopolitical landscape and metaphors of people and their evolving relationship with nature in the small villages of South 24 Parganas, West Bengal. His works reflect on the shifting dynamics of power, society, and nature within these rural communities. His artistic exploration revolves around the sociopolitical scenario of the region, considering the impacts of political transformations and urbanization on the lives of the people and beyond in these villages. His work serves as a metaphorical lens through which he examines the evolving dynamics and tensions between the urban and rural realms and their influence on local communities of human and non-human agents.

Suvojit Roy is a visual art practitioner based in Kolkata, India. His works revolve around the circumstances of life in his immediate vicinity, offering a nuanced perspective on the realities of his community. Through his lived experiences, Suvojit has developed a keen interest in understanding and exploring the slum as a unique living organism. He delves into the politics of building and its socio-cultural implications, particularly concerning the city. Exploring the concept of "home" within the context of economic disadvantage, his works offer a gaze into the lives of the underprivileged and attempt to narrate their experiences through the lens of "otherness" within their own country. Suvojit sees his work as a means of negotiating space and challenging the political and cultural agendas that often deem people in his social condition as "illegal" or outside the norm.

Devadeep Gupta

explores regional ecological uncertainties through a critical examination of associated mainstream perspectives. Inspired by site-specific and vernacular occurrences, Devadeep delves into the intricate relationship between people and their land. His artistic practice encompasses the realms of film and sculpture, bridging the gap between conceptual and documentary approaches. Within this intersection, the artist is particularly interested in narratives that emerge from the convergence of mythology and contemporary experiences. Grounded in the rich cultural landscape of Assam, Devadeep draws inspiration from pragmatic practices, oral traditions, and folklore. Central to his artistic endeavors are performative processes that pay homage to meta-cultural practices. Devadeep is an active member of Northeast Lightbox, an artist collective dedicated to fostering exchange between regional archives and contemporary practices.

Binita Limbani

is a visual artist currently residing and practicing in Surat, India. Her artistic exploration centers around the human condition, drawing inspiration from narratives, media, and personal experiences. Through her work, she seeks to intertwine the external landscape with internal reflections, creating artworks that are simultaneously personal and social. As a multifaceted artist, Binita works across various media, allowing her to express her ideas and concepts through different artistic forms. This versatility enables her to engage with a broad spectrum of artistic discourses and experiments with different methodologies. One particular area of interest for Binita is the Tapi River and its historical connections to trade, society, and its present state. Through her artistic practice, she investigates the Tapi River's role in shaping local communities, the impact of trade and commerce, and the river's current condition in contemporary society. 

Swagata Bhattacharyya

is a visual artist based in Kolkata, India. His practice revolves around highlighting speculative narratives that explore the existing power structures and their impact on our world. Swagata employs diverse mediums such as drawing, photography, and computer-generated imagery (CGI) to create simulated worlds. By constructing these alternative realities, he investigates how modes of power influence policies and shape the future landscapes of architecture, urban design, technology, and manufactured environments. His artistic inquiry on intersections of power, governance and spatial organization illuminates the relationship between society and its built environments. Swagata examines how hyper-nationalist ideologies impact societies and ecosystems, particularly focusing on their implications for ecological devastation. Swagata seeks to unravel the complex web of influences that shape our understanding of and responses to ecological challenges.

Mahi Ghane

is a Dalit hip-hop artist from Maharashtra, India, whose powerful lyrics and mesmerizing beats are making waves in the independent music scene. She draws inspiration from Dr. B. R. Ambedkar's unwavering commitment to anticaste revolution and weaves lyrics that resonate with her broader cause. Recognizing the influence of hip-hop music among today's youth, Mahi is on a mission to address critical issues in a language that resonates with them. She raises awareness and stands up for those facing discrimination, cementing her role as a formidable force for change within the hip-hop community and beyond. Mahi Ghane's artistry is more than music; it's a rallying cry for justice and equality, amplifying the voices of the marginalized. She is also an indigenous lands rights activist. Her recent track "Jungle Cha Raja'' advocates for indigenous land rights and in my opinion fits perfectly with the conceptual framework of the exhibition.

Sea Behind the Wall

"Sea behind the Wall’ is a participatory outdoor chapter within Oyoun's overarching initiative Listening to the Land. In this immersive outdoor series, participants are invited to engage on a collective journey that explores neo-colonialism’s complexities, incorporating intergenerational, indigenous and contemporary practices for solidarity.

They will be guided through a range of experiences, including decolonizing agri/cultural workshops, foraging and gardening sessions, film screenings focusing on land and human rights, public interventions led by indigenous communities, and a street side window exhibition that winds its ways through the city of Berlin.

The project “Sea Behind the Wall” is part of the initiative DRAUSSENSTADT funded by Berliner Projektfonds Urbane Praxis as well as Senatsverwaltung für Kultur und Gesellschaflichen Zusammenhalt. Further funded by the Globus Opstart Programm of Nordisk Kulturfond



Oyoun is constantly working to make access to all events offered in the building as barrier-free as possible. For individual information on accessibility, please send us an email to access(at) We will get back to you as soon as possible. More info on this topic here.


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29. September 12:00
26. Oktober 20:00
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Lucy-Lameck-Staße 32
Berlin, 12049 Deutschland
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