This body of work examined the socio-cultural status of the artist between India and Israel.

 

Through a multimedia installation that includes wall paintings, video art, sculpture, and several performances, the space engaged with myths, values, and autobiographical stories that shape Chanchal’s personal identity in contrast to the collective one.

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Through graffiti and posters found in lavatories and public spaces in India, Chanchal takes us into his memories and questions his sense of belonging.
He shared two installations with us.

 

The first is a chapatti (Indian bread)-like wall structure, stamped with Tel Aviv Airport border control stamps. It is a barrier—one can look through it but cannot cross. It evokes barbed-wire borders and brings to mind the history of mass migrations, while also serving as a reflection on the use of bread as a socio-cultural and political symbol in rhetoric and writing.

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The Taj Mahal installation is a reconstruction of a model he built when he was ten years old during the Diwali festival. His father, angry with him for making a mess, destroyed the model.