For the exhibion ABSUR -CITY -PITY -DITY, Galhotra focuses on the rapid environmental changes underway in India's Yamuna River, which due to unregulated sewage dumping, has quickly become one of the world's most contaminated rivers. This exhibion is in contiunation to her ongoing research on contaminaon / pollution in the water recourses of India. Where she as an observer, records the depleting resources in very aesthetical approach to draw the aettention of the viewer into deeper concerns for sustainability. Her approach is to look at the absurdities of the mess comes with an optimist approach towards life goes on.
The debilitating effects of this sort of dense urbanizaon are at the crux of 365 days, 2015. An extensive collecon of water samples the arst amassed daily from the Yamuna during the course of the past year is accompanied by short texts from local inhabitants.
Their day-to-day interacons reveal a complicated relaonship with the river, saturated with equal parts necessity, denial, obliviousness, and absurdity. The repeon of 365 boles of polluted water becomes an ominous paern, and the systemac display a dogged aempt to classify and understand all the harm modern civilizaon inflicts on the earth.
The short film Manthan, 2015 invokes a legend from Hindu mythology in which the gods churn the ocean to obtain the nectar of immortality. Through a romancized, performave gesture, the film examines the prospects of migang ecological threat and envisions a process of churning the deleterious out of the Yamuna. Manthan is a refusal to give up hope and implores us to find a soluon before it's too late.
In the work Majnu Ka Tila, 2015 is a tapestry comprised enrely of ghungroos, small metal bells worn on women bodies in tradional Indian dance. The scene depicts a sprawling building that has sprung up along the shores of the Yamuna.
The composion is crowded, almost claustrophobic, as the structure sprouts out hive-like. The ghungaroos, objects of aesthec and sonic appeal, betray their funcon through their menacing subject maer, failing to announce the doom that is forewarned.
Sediment soaked coil of fabric as a residue from the film Manthan freezed in resin to represent the reality of these mess.
Consumed Contamination in which scientific like museum displays of exoctic species are revealed as festering vegetables.