Kallol Datta is a clothes maker and researcher. A cornerstone of their work is extensive creative research in clothing practices, native to South West Asia, North Africa, the Korean Peninsula and Japan. Their practice reflects upon reconstructing, repurposing, and restructuring donated items of clothing that hold memory, episodic events, and history, to negotiate larger questions about work and production, of labour and use, cultural sustainability, and of ideas revolving around research as production. Datta describes their works as ‘sites of tension’, intimate portraits and landscapes.
The curatorial projects Datta has undertaken have been informed by their practice and foreground care as a connective thread and principle. Their artistic and curatorial projects are driven by community, acts of resistance against structural inequalities, shared processes of healing, and radical ways of knowledge building.
They had solos Random Access () and Volume 3 Issue 2 () at Experimenter, Kolkata, and has been part of residencies at KHOJ International Artists Association, New Delhi and T.A.J. Residency and SKE projects, Bengaluru. Kallol was awarded the Arts Network Asia Gran
State of Fashion Biennale | Ties that Bind
State of Fashion Biennale Ties that Bind
May June 30,
Rembrandt Theater, Rozet, Museum Arnhem and Plaatsmaken- Arnhem, the Netherlands
State of Fashion | Ties that Bind brings together creative practices in fashion, textiles and contemporary art from across the Global South. Curated by Louise Bennetts and Rachel Dedman in collaboration with Sunny Dolat, Kallol Datta and Hanayrá Negreiros, this decentralised edition of the State of Fashion Biennale unfolds across Arnhem, Nairobi, Bengaluru and São Paulo.
Ties that Bind brings together creative practices in fashion, textiles and contemporary art from across the Global South. This edition of the Biennale explores the complexities of tradition, the political power of clothing, and alternative approaches to exploitative fashion systems. At the heart of Ties that Bind is a decentralised structure.
The Biennale unfolds across four places: the home site in Arnhem, the Netherlands, and three sister sites in Nairobi, Kenya, Bengaluru, India, and São Paulo, Brazil. In each sister site, an interlocutor-curator – Sunny Dolat, Kallol Datta and Hanayrá Negr
Baluchari - The Eternal Tales of Heritage
The ancient geographical area of Bengal in India was well known for its dexterity in textiles. This was due to the abundance and availability of cotton and silk across the region. Bengal became the centre of exchange of trade and culture of the subcontinent. The distinct pattern of weaves of Indian textiles was in high demand throughout the world.
The diversity in motifs, patterns and weaves of Indian textiles were further highlighted by the variations in the regional cultures. In Bengal, the range extended from finely weaved jamdani to the high thread count spun cotton muslin. However, it was the baluchari sarees that depicted the life of the rulers, affluent and traders.
Silk was available in abundance in the wet landscape of Bengal and Assam. Bombycidae and Saturniidae cocoons were available in plenty. The ancient texts of Arthashastra by Kautilya and Acharanga Sutra of Jainism mention silk weaving and the availability of silk in Bengal. Inscriptions in Sanchi Stupa also support these facts. Historical evidence suggests that silk weaving was highly organised, with different stages of production involving different castes. Th
Looking back at a decadeâs worth of awe-inspiring work, it is not just Kallolâs designs that have evolved over time. âWhen I started making clothes in , I was raging against the system and against variables in our industry. That moved towards storytelling and social commentary. Currently, my work tries to encapsulate the meaning of our timesâ, says the artist. Inspired by the daily instances of perpetrators of bigotry, misogyny, and homophobia being rewarded around him, Kallolâs latest collection titled âVolume 1, â strays from his conventional use of monochrome hues by creating space for reds instead. However, it manages to stay true to his sensibilities by making use of the hijab or chadorâsomething he considers to be not just a political statement but also a feminist action. âIt is an acknowledgement of millions of women and men whose wants and needs have been largely ignored by âfashionââ, he tells us.
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