The groundbreaking artists Thiruda and Murthovic have been at the forefront of the electronic music and new media art scene for over two decades, pushing the boundaries of digital storytelling to blend cutting-edge technology with traditional Indian aesthetics and narratives in a kaleidoscopic fugue. Regarded as two of India's most innovative contemporary artists, they have taken on the role of archivists, remixing, overlapping, imagining, speculating and fragmenting a millennia of cultural traditions, sonic and visual heritage, and classical dances of India, passed down generation after generation. Their dizzyingly ambitious Fragments of a Panorama exhibition at Arebyte Gallery is a fully immersive experience that envisions a dystopian future, presenting multiple worlds oscillating between a speculative future and an alternative past, via the utilisation of 3D video games, AI art and motion-captured dance, alongside an anthology of stories from India in 2079 AD. The exhibition is an evolution of the artists’ ongoing Elsewhere in India collaboration, a transmedia electronica performance project about a world where global cultures are nearing extinction. The latest iteration, features a panoramic video projection titled A Road in India (2079), which weaves in and out of past, present and future – and simultaneously in and out of the rest of the works in the gallery. In this exclusive interview with House Collective Journal, the two maverick creatives talks to us about the ideas behind the show, our collective obsession with dystopias, and their hopes for a brighter future.
How did your creative union take shape, and what was the creative genesis of this project?
Thiruda: Our creative union has its roots in the vibrant Indian electronic music scene. Murthovic and I have been crossing paths for years, sharing stages and nurturing a mutual respect for each other's work. This collaboration naturally evolved from our shared interest in exploring Indo-Futurism and the intersection of traditional Indian culture with emerging technologies. The genesis of Elsewhere in India actually came from our work on the video game Antara. As we developed this game, which explores Indian cultural heritage through a sci-fi lens, we realized there was potential to expand that universe beyond just the gaming medium. We saw an opportunity to translate the themes and aesthetics we had developed into a live audiovisual performance.
Murthovic: Our core artistic intention is to create a bridge between India's rich cultural heritage and a speculative future. We're imagining how the cultures and performing traditions of India might evolve in a technologically advanced world, while still preserving their essence. Through this work, we hope to transmit a sense of cultural continuity and evolution to our viewers, encouraging them to see Indian heritage in a new, futuristic light.
Please could you define Indo-Futurism for us. What is important about Indo-Futurism for you both, and why does it fascinate you?
Thiruda: Indo-Futurism is a cultural and artistic movement that blends elements of Indian heritage, mythology, and philosophy with futuristic concepts and technologies. What fascinates me about Indo-Futurism is its potential to challenge stereotypes and celebrate diversity. It allows us to explore alternative histories and speculative futures of India and the subcontinent. We see it as a way to provoke new ideas and approaches to contemporary and future challenges while authentically expressing the diverse imaginations of Indian creators and communities.
Murthovic: For me, Indo-Futurism is about reimagining Indian culture, mythology, and philosophy in the context of advanced technology and speculative futures. It's important to us as a means of asserting Indian identity in visions of the future, which have often been dominated by Western perspectives. The fascination lies in its potential to recontextualize traditional Indian art forms and ideas within the framework of emerging technologies. It allows us to imagine alternative worlds that are more representative and equitable, while asserting the need for speculation as a harmonizing force.
Why as a species do you think we are so concerned with notions of dystopia, and dystopian or apocalyptic future scapes?
Thiruda: I think our fascination with dystopian futures stems from a collective anxiety about rapid technological change and its potential consequences. It's a way of processing our fears and imagining worst-case scenarios. However, in our work, particularly in pieces like "A Road in India (2079)" at arebyte, we're actually exploring what we call 'Post-Cyberpunk'. We're looking beyond dystopian tropes to find hopeful futures. What's exciting about placing individuals in these virtual environments is the potential for immersive, interactive experiences that can profoundly impact the individual psyche. Our VR experience with mudras, for instance, allows for a more visceral, embodied experience of the artwork, potentially leading to deeper emotional engagement and reflection.
Murthovic: From a musical perspective, dystopian themes often provide a rich canvas for sonic exploration. In our arebyte show, we've used these themes as a jumping-off point to create soundscapes that blend anxiety and hope. But we're not content with just portraying dystopia. Instead, we use these elements to create a contrast with more optimistic visions. The immersive nature of our work, combining music, visuals, and interactive elements, allows viewers to explore these complex emotions in a safe, controlled environment. I believe this kind of art can have a cathartic effect, helping people process their anxieties about the future while also inspiring them to imagine more positive outcomes.
What for you is ultimately the purpose of art?
Thiruda: For me, art serves as a mirror to society, reflecting our hopes, fears, and dreams. It's a powerful tool for communication and social change. In the context of our ongoing work, which we've been developing since our arebyte exhibition, we're using art to explore the intersection of tradition and innovation. Take our piece "Telematic Transmissions," for example. It's not just about showcasing technology; it's about sparking conversations about India's cultural future and how we can preserve our heritage in a rapidly changing world. The most profound responses we've received have been from viewers who say our work has changed their perception of modern Indian culture. Some have expressed a newfound appreciation for how traditional art forms can be reimagined in futuristic contexts. It's incredibly rewarding to see people engage with these ideas on such a deep level.
Murthovic: I see the ultimate purpose of art as provoking thought, evoking emotion, and inspiring new perspectives on the world. It's a bridge between cultures, times, and ideas. In our work, particularly in the music we've created for pieces like "A Road in India (2079)," we're trying to create space for reflection and dialogue in rapidly changing digital landscapes. The most profound response for me has been seeing how our music affects people physically and emotionally. During our performances at arebyte, I saw people moving to rhythms inspired by classical Indian music, blended with futuristic electronic sounds. It was a tangible representation of the cultural bridge we're trying to build. Some viewers have told us that our work has made them reconsider their relationship with technology and cultural heritage. That kind of impact is what drives us to continue pushing boundaries in our art.
What made you want to meld cultural artefacts from the history of India with speculative futures. In terms of providing a vantage point on the various cultures of the India and the South Asian diaspora, what does the work have to say about the present? This seems particularly pertinent in the video installations such as A Road in India (2079)?
Thiruda: The desire to meld cultural artifacts with speculative futures stems from our belief in the enduring relevance of Indian culture. In "A Road in India (2079)," we're not just showcasing futuristic technology; we're exploring how our cultural heritage might evolve and adapt. The name is a play on an iconic film by the same name from the British Film Institute's (BFI) pre-independence Indian films, while our film thematic looks to position the contradictions of India in the far future. For instance, we've incorporated elements of traditional architecture in derelict, abandoned smart Indian cities of the future, reimagining how they might look in a post-apocalyptic high-tech urban landscape. This piece, like much of our work at arebyte, comments on current issues such as rapid urbanization, technological advancement, and cultural preservation. It's particularly relevant for diaspora communities, as it raises questions about cultural identity in an increasingly globalized world.
Murthovic: From a musical perspective, melding historical elements with futuristic sounds allows us to explore the continuity of culture over time. In the soundtrack for "A Road in India (2079)," we've used samples of traditional instruments, processed and layered with electronic beats and ambient sounds. This approach suggests that even as technology advances, our cultural roots remain important. It's a way of saying that the future of Indian culture isn't about replacement, but evolution and adaptation. We're also addressing present-day concerns about cultural homogenization. By imagining a future where diverse Indian cultural elements not only survive but thrive alongside advanced technology, we're advocating for cultural preservation in the face of rapid change.
And the elements of gaming - is there a part of your practice in which it is important to expand the exhibition outside the walls of the gallery itself, into the wider world, Web3 and beyond?
Thiruda: Absolutely. Gaming is a crucial part of our practice, and we're excited about how it allows us to expand our exhibition beyond the physical gallery space. A key example of this is our Fortnite video game islands, 'Antara' and 'Elsewhere'. We've partnered with Green Rain Studios in India to create these immersive worlds using the cutting-edge multiplayer worldbuilding capabilities of Unreal Engine. These islands allow players from around the globe to explore and interact with the themes and aesthetics of our work in a dynamic, social environment. It's a way of making our speculative future India accessible to a much wider audience. These pieces also present the video game world as a form of Digital Heritage and the future of museums and archives.
Murthovic: The gaming aspect has opened up exciting possibilities for audio experiences too. In our Fortnite islands, we've created adaptive soundscapes that respond to player actions and locations, enhancing the immersion. It's like creating a living, breathing musical composition that players can explore. These game environments also allow us to experiment with how Meena, our cultural cyborg, can interact with users in a more open-ended, playful way. The combination of gaming, our exhibition at arebyte, and potential Web3 applications gives us a multi-faceted approach to sharing our vision of Indo-Futurism.
Fragments of a Panorama shows at Arebyte Gallery until October 13th
Find out more about the exhibition here
