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The MMCA Sri Lanka Opens Rotation 2 of ‘Total Landscaping’

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) opened Rotation 2 of their exhibition ‘Total Landscaping’ on 15 December. Curated by Sandev Handy and Thinal Sajeewa, the exhibition explores the broad, dramatic, and stirring ways in which landscapes have transformed in Sri Lanka.

Rotation 2 of ‘Total Landscaping’ features nine contemporary artists from Sri Lanka. They include Abdul Halik Azeez (b.1985), Chandraguptha Thenuwara (b.1960), Danushka Marasinghe (b.1985), Dominic Sansoni (b.1956), Jasmine Nilani Joseph (b.1990), Koralegedara Pushpakumara (b.1968), Pala Pothupitiya (b.1972), Pradeep Thalawatta (b.1979), and T. Shanaathanan (b.1969).

Handy, Senior Curator at the MMCA Sri Lanka noted that, “Artists have long examined power — how it operates and the tools used to enforce it. Contemporary artists are no different,” adding that, “At a time when questions of borders, access, and authority over land are being reckoned with in urgent ways, Rotation 2 of ‘Total Landscaping’ hones in on how our relationship to land is regulated.” He also said that, “The artworks in this rotation highlight the role of everyday images, maps, documents, and barricades in dictating how land is claimed, coded, and contested, determining who has access, who is excluded, and whose histories are made visible.”

Opening in three rotations over eight months, ‘Total Landscaping’ brings together 29 contemporary artists whose works go beyond traditional illustrations of landscapes. Instead, their works register the different ways in which perceptions of land have been constructed and contested. ‘Total Landscaping’ unfolds as a sequence of changing displays that elicit an all-out renegotiation of our relationships to land. Rotation 2 of ‘Total Landscaping’ is open to the public until 2 March 2025. Entry to the exhibition is free and the museum is located on the ground floor of Crescat Boulevard, Colombo 3.

Rotation 02 of ‘Total Landscaping’ will introduce a new selection of works spanning from photographs and paintings to sculptures and installations. “A paddy wild installation titled ‘Walk(er)’ by Danushka Marasinghe will remain in place from Rotation 1, continuing to introduce the exhibition,” said Sajeewa. He further noted that “This rotation also features three interactive artworks that promise to offer an engaging experience for visitors.” These interactive works include Pradeep Thalawatta’s ‘You came to see me, and now I’m here’ (2023) and T. Shanaathanan’s ‘Drawers of War Transactions’ (2019), which are both being exhibited for the first time in Sri Lanka.”

‘Total Landscaping’ is generously supported by the Supporting Effective Dispute Resolution (SEDR) project and Advent Project Pvt Ltd, who are the Major Exhibition Sponsors. Additional support is provided by Foto Design and Lego International, with radio partner Yes FM. The Museum gratefully recognises the immense support of its Major Benefactor John Keells Foundation, and the Founding Patrons 2024 who support the museum in delivering all its activities including exhibitions.

The MMCA Sri Lanka is an education-led initiative that aims to establish a public museum dedicated to the display, research, collection, and conservation of modern and contemporary art for the benefit and enjoyment of the general public, schools, and tourists. The museum is open daily from 10am to 6pm (except on Poya days and public holidays) at the ground floor of Crescat Boulevard, Colombo 3, and entrance to the museum and all its public programmes is free. Information about the museum, and its exhibitions and public programmes can be found via their website www.mmca-srilanka.org, or on Facebook at facebook.com/mmcasrilanka and Instagram at instagram.com/mmcasrilanka/.

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The MMCA Sri Lanka Trains Young Museum Professionals

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) recently concluded their 2024 Visitor Educator (VE) training programme. This four-day programme set a new benchmark for training young museum professionals in Sri Lanka, a task that the MMCA Sri Lanka has been actively engaged in since 2019.

This year’s training was planned following a detailed needs assessment, ensuring that the VEs are better equipped to provide visitors with an enriching and informative experience for the museum’s current exhibition ‘Total Landscaping’.

This training programme is a crucial part of the MMCA Sri Lanka’s broader vision of building capacity of museum professionals in Sri Lanka, schooling them in methods and approaches employed internationally, while addressing the unique challenges relevant to Sri Lanka’s museum landscape.

The trilingual VE programme at the MMCA Sri Lanka, which began in 2019 with the establishment of the museum, is inspired by docent programmes used in major museums worldwide. It is the first of its kind in Sri Lanka and was conceived to equip Visitor Educators with a diverse skill set. In addition to honing these skills, this year’s training programme focused on enabling them to deliver curatorial information with precision and passion. Through these training efforts, the museum aims to enhance the visitor experience, skill-up the VEs, and foster an environment where audiences feel welcome and not overwhelmed.

Thariq Thahireen, Gallery Manager at the MMCA Sri Lanka, emphasised the importance of VEs in providing a high-quality visitor experience noting that, “The VEs play a pivotal role as our visitors’ first point of contact. They are there to greet guests and engage with them inside the galleries. While not every visitor may want direct interaction, our VEs are present to facilitate meaningful conversations for those who do.”

The role of a VE at the MMCA Sri Lanka extends beyond simply explaining exhibits trilingually. They also ensure the safety and care of the exhibits and perform checks as part of their daily routines. The Visitor Educators also play a critical role in facilitating school and higher educational institution visits, making museum experiences more interactive and enriching for students and teachers. This has become one major area of development over the last five years.

One key objective of the 2024 training programme was to identify issues faced by the VEs in performing their duties at the museum. The MMCA Sri Lanka team designed training materials and sessions tailored to the specific needs of VEs towards this end, and these materials include an updated comprehensive VE Handbook. Moreover, hands-on approaches such as role-playing scenarios helped the VEs to learn how to handle different types of visitors and situations with confidence and insight.

Sharmini Pereira, Chief Curator at the MMCA Sri Lanka, added that, “While exhibitions are central to our work, our VEs are instrumental in helping visitors engage with the art and break down barriers for those who may feel intimidated or unsure how to approach an exhibition. Their passion and commitment are crucial to the success of our learning and public benefit mission.”

Since the launch of the programme, the MMCA Sri Lanka has trained close to a 100 Visitor Educators, creating a community of professionals dedicated to improving the local public engagement with modern and contemporary art in Sri Lanka. Through programmes like this, the MMCA Sri Lanka is taking small but significant steps toward building a more informed, interactive, and accessible cultural landscape in the country.

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The MMCA Sri Lanka Conducts Regional Workshops with SEDR

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) will conduct 15 regional workshops in Mannar, Vavuniya, Trincomalee, Ampara, Monaragala, and Badulla districts, from 5–30 November. Curated as part of the Dialogue and Civic Engagement Fellowship, the workshops are offered in partnership with the Supporting Effective Dispute Resolution (SEDR) project. Kalyani Sundaralingam, Thamilini Siththiravadivel, and Bavaneedha Loganathan, members of the Fellowship, will be conducting the workshops in Tamil and Sinhala.

Amalini De Sayrah, Project Manager at the MMCA Sri Lanka noted that, “Our three Fellows are art and cultural practitioners, with experience in using creative expression to depict difficult stories. We brought them on because we were excited to see how they would take on the work this Fellowship is meant to do.” Speaking of the Fellows’ preparation for the workshops, De Sayrah said that, “They’ve had deep and thoughtful discussions around creating educational material around the three artworks,” adding that, “We are looking forward to engaging with community leaders, educators and students when we take these discussions to the district, and to learning from how people respond to the artworks and the materials around them.”

Kalyani Sundaralingam will guide participants in a workshop series titled ‘Telling a Story in One Sentence’, to craft one-line stories that capture our connection to land, and uncover the narratives that may hide between these lines. This workshop will interact with artists Jasmine Nilani Joseph’s (b.1990) work titled ‘DS Waiting Room’ (2024), which was specially commissioned for MMCA Sri Lanka’s current exhibition ‘Total Landscaping’.

‘Telling Stories from the Ground’ by Thamilini Siththiravadivel will guide participants in exploring narratives where the land itself becomes the protagonist. Together, participants will uncover how the stories we tell might differ from those the land holds within. Her workshop will interact with Anomaa Rajakaruna’s (b.1965) ‘No More Land’ (2024), which too was specially commissioned for ‘Total Landscaping’.

The third and final member of the Dialogue and Civic Engagement Fellowship Bavaneedha Loganathan will take participants on a visual journey along two roads in Sri Lanka’s hill country. The workshop, titled ‘Roots and Routes’ will include an exercise of communal storytelling, to uncover the roots of our shared heritage and the routes that shape our experiences. This workshop will interact with Hanusha Somasundaram’s (b.1988) installation ‘நகரும் நிலங்கள்’ (2024), which was specially commissioned for ‘Total Landscaping’.

These workshops are curated as part of the ‘Arts4ADR’ programme hosted by the MMCA Sri Lanka in partnership with the SEDR project, funded by the European Union (EU). The SEDR project works to strengthen the effectiveness and availability of alternative dispute resolution mechanisms in Sri Lanka for communities in Uva, Northern, and Eastern Provinces.

These workshops aim to engage local civil society, community members, and youth to increase awareness of Alternate Dispute Resolution (ADR) mechanisms, and provide tools for dialogue on the root causes of community-based conflicts, grievances, and disputes. Through commissioned artworks and arts-based methodologies, the workshops will encourage participants to explore new ways of fostering understanding, empathy, and solidarity across communities.

Speaking on their work on ‘Arts4ADR’, the Dialogue and Civic Engagement Fellowship, as well as the workshops, Jacques Carstens, Team Leader of the SEDR project noted that, “These district-based community dialogue workshops support the SEDR project to achieve three specific objectives. These include using artistic expression to facilitate dialogue regarding root causes of community-based conflict and disputes, increasing awareness and understanding of community-based ADR mechanisms available at grassroots level, and encouraging the use of ADR mechanisms as pathways to access justice for local communities.”

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‘is this an architectural documentary?’ (2023) Premiers in the UK

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) premiered ‘is this an architectural documentary?’ (2023) on 11 September at the Victoria and Albert Museum (V&A) in London in collaboration with World Monuments Fund (WMF). Specially commissioned by the MMCA Sri Lanka for their previous exhibition ‘88 Acres’, this animated documentary was created by contemporary artists Irushi Tennekoon, Sumedha Kelegama, and Sumudu Athukorala.

‘Is this an architectural documentary?’ (2023) delves into the work of pioneering Modernist Sri Lankan architect Minnette De Silva (1918–1998). It focuses on her Watapuluwa Housing Scheme (1958), a groundbreaking architectural initiative that provided affordable housing to a diverse community of government public servants in Sri Lanka.

The documentary interweaves animation, archival photos, film recordings, and witness testimonies to explore De Silva’s influences and the challenges of her design approach. It offers a poignant reflection on the social and political transformations in Sri Lanka since the early 1950s, as seen through the lens of this remarkable architectural project.

The film screening was followed by a panel discussion featuring Dr Christopher Turner, the V&A’s Keeper of Art, Architecture, Photography, and Design, Sumayya Vally, architect and founder and Principal of Counterspace, and Sumedha Kelegama, architect and filmmaker. The panel discussed the significance of De Silva’s work and the collaborative efforts that brought ‘is this an architectural documentary?’ (2023) to life.

“We are honoured to have the film ‘is this an architectural documentary?’ (2023) showcased at the V&A,” said Sharmini Pereira, Chief Curator at the MMCA Sri Lanka. She added that, “Minnette De Silva’s work remains a testament to the power of architecture to shape communities and lives. This film, with its unique blend of artistic and documentary elements, offers a deep and nuanced perspective on her contributions.”

The animated documentary is supported by the British Council Digital Collaboration Fund, which fosters innovative cultural partnerships between the UK and overseas. Research and development support for the film is by Forensic Architecture, UK.

Speaking about their experience in creating the documentary, Sumedha Kelegama stated that “The research process and collaborative efforts in making our film provided an incredible opportunity to learn about Minnette De Silva’s practice. However, the most meaningful interactions came when engaging with the public through the series of Artist Tours and other public programmes curated by the MMCA Sri Lanka.”

The V&A, with its mission to champion design and creativity in all its forms, was the ideal venue for this screening. The museum’s rich history of advancing cultural knowledge and inspiring makers, creators, and innovators worldwide aligns perfectly with the ethos of De Silva’s work and the film’s exploration of her legacy.

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Promising Young Professionals Team Up at the Museum of Modern

and Contemporary Art Sri Lanka

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is an education-led initiative that aims to establish the country’s first public museum dedicated to the display, research, collection, and conservation of Sri Lankan modern and contemporary art, for the benefit and enjoyment of the general public, schools, and tourists.

Since its launch in 2019, this freely accessible museum has opened four successful exhibitions and welcomed over 30,000 visitors. Mounting an entire exhibition and opening it for the public for several months is a mammoth undertaking, and it is a task that Malshani Delgahapitiya, Manager Operations and Thariq Thahireen, Gallery Manager at the MMCA Sri Lanka are growing experts in. These two young professionals have shared their thoughts on their journeys at the MMCA Sri Lanka.

What are the highlights of your time at the MMCA Sri Lanka?

Malshani: I have been involved in almost all the projects at the MMCA Sri Lanka in different capacities, but the highlights have to be the three exhibitions I’ve managed so far— ‘Encounters’ (2021), ‘The Foreigners’ (2022), and ‘88 Acres’ (2023). While all exhibitions have similar workflows, each of them presented its unique challenges. The production and curatorial teams run on adrenaline in the final week of production, and installation is always draining and a repetition of sleepless nights! It always amazes me on the Preview days that we manage to pull things together on time despite all the challenges.

Thariq: It has been a challenging but rewarding work experience, because this position of being a Gallery Manager at a modern and contemporary art museum is a first in Sri Lanka. Working in the gallery means that I’m constantly interacting with visitors, and the Visitor Educators of the museum. The weekly MMCA Afterschool sessions, which are for children aged 6 to 10 years, and all the other weekly public programmes are always the highlight of my week!

How have your responsibilities within the team evolved since joining?

Malshani: I joined the team as the Exhibition Projects Coordinator in 2021. I had previously worked as an arts manager– mainly on performing arts projects— and had some experience in archiving and collections management. However, I had no direct experience working at a museum or on exhibitions. During the first six months at the MMCA Sri Lanka I took on project management and exhibition production tasks related to ‘Encounters’ (2021), and was in the deep end learning the ropes of the trade.

Then I moved on to the role of Manager Operations, where I now look at overall institutional operations as well as project management.

Thariq: In addition to overseeing the security of the artwork and the high quality of the visitors’ experience at the museum, I am also managing the Visitor Educators where I ensure their wellbeing in a positive work environment. My responsibilities also currently include job training for them. We have at least two, and sometimes up to five, public programmes taking place in the gallery weekly, and I oversee all the preparations for these.

Why do you want to work at the MMCA Sri Lanka?

Malshani: My observation is that strong arts and culture institutions in Sri Lanka are either highly commercial or have a high focus on international development, and that those which are artistically rich lack the institutional strength. In contrast, the MMCA Sri Lanka strives for a healthy balance to achieve a high quality in our work, which gives great work satisfaction. Another reason that I want to work at this museum, is that I just love the hands-on behind the scenes work we do. Art handling, collections management, or exhibition production may sound boring to others, but they are the most exciting things for me. It’s never a boring day when I get to dive into these tasks!

Thariq: Museology is one of my passions, and I’m honoured to be part of the Operations team at the MMCA Sri Lanka. We’re establishing a one of a kind museum in Sri Lanka, and the team behind this endeavour are also exceptional people who make working here rewarding. The gallery at the museum is a place where I feel my best, and all challenges and any hard work is worth it!

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MMCA Sri Lanka Brings Together Supporters of the Arts

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is the country’s first public initiative dedicated to the collection, research, conservation, and display of modern and contemporary art. The museum strives to make its exhibitions and public programmes more accessible for visitors by being free and offering all information in Sinhala, Tamil, and English. Towards this end, the MMCA Sri Lanka receives financial assistance through grants and private sector funding, alongside support from a group of Founding Patrons who are the first of their kind in Sri Lanka.

The MMCA Sri Lanka raises funding from a range of local and international sources such as the John Keells Foundation and Fairfirst Insurance. “These funders have started to recognise how the arts can build community in Sri Lanka. Their investment directly helps to establish a major cultural attraction for the benefit of multiple publics, and to train and provide livelihood development to young museum professionals,” said Sharmini Pereira, Chief Curator at the MMCA Sri Lanka.

Addressing the increasing recognition within the corporate sector of the arts’ role in community building, Pereira added that, “Many potential corporate funders probably think they don’t have funds to spare, but it’s not the level of funding that matters. We are more interested in a long-term relationship, and to develop funding support over a 3–5 year time frame. It is a more sustainable approach but also means more companies can get involved,” she said.

MMCA Sri Lanka’s exhibition ‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’ underscored the collaborative support of organisations in preserving and promoting modern and contemporary architecture in Sri Lanka. Support for the exhibition came from British Council, World Monuments Fund (WMF), Sri Lanka Institute of Architects (SLIA), Art South Asia Project (ASAP), Foundation for Arts Initiatives (FfAI), and Foto Design, with important marketing support provided by Lite87, Rhythm FM, and Rock FM.

One major impact of such funding is supporting the creation of new artworks in Sri Lanka which directly benefits the livelihoods of contemporary artists. ‘88 Acres’ featured the specially commissioned animated documentary ‘is this an architectural documentary?’ (2023) by contemporary artists Irushi Tennekoon, Sumedha Kelegama, and Sumudu Athukorala. The artwork was funded by the British Council Digital Collaboration Fund, which supports UK and overseas cultural partnerships to develop digitally innovative ways of collaborating. The work will shortly be premiering in London on 11 September as part of the Victoria and Albert Museum’s Tropical Modernism events programme.

In addition, the British Council funded 78 free, public programmes that the MMCA Sri Lanka curated alongside ‘88 Acres’, recognising the importance of supporting trilingual conversations around artists’ projects.

‘88 Acres’ was also endorsed by WMF, a first for an exhibition focussed on Sri Lankan modern architecture. Their recognition extended to supporting the Museum’s first research publication ‘Second Volume: The Watapuluwa Housing Scheme by Minnette De Silva’ (2024). Further support for the publication was received from SLIA who gave permission to republish De Silva’s seminal essay ‘Experiments in Modern Regional Architecture in Ceylon 1950 to 1960’ (1965–1966). One of the major highlights of the exhibition featured De Silva’s ‘Teaching slides of Asian Civilization through Architecture and Art’ (1975–1980), which were loaned from the SLIA archives.

A new partnership that started in 2023 with ASAP, who funded ‘Second Volume,’ further demonstrates the museum’s efforts in generating published research. The FfAI, with over 60 years of advocacy for contemporary arts and culture in countries where government funding does not exist, have been a long-term supporter of the museum and helped a two-year audience development and museum training programme.

Establishing a greater appetite for support of modern and contemporary art is something that the MMCA Sri Lanka has achieved, and the country can look forward to seeing more from this new museum in achieving its goal of opening a permanent venue.

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The MMCA Sri Lanka Launches Research Publications in Sinhala and Tamil

Since its launch in 2019, the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) has adopted a trilingual practice which incorporates Tamil, English, and Sinhala. In February 2024, the museum launched their first research publication ‘Second Volume’, which has now been translated into Sinhala and Tamil.

‘Second Volume’ was conceived to accompany the MMCA Sri Lanka’s exhibition ‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’. The exhibition invited visitors to engage with the history and design of the Watapuluwa Housing Scheme in Kandy (1958), and its pioneering architect Minnette De Silva (1918–1998).

Designed as free, open access, and downloadable e-books, the Sinhala and Tamil publications are titled ‘දෙවැනි වෙළුම’ (2024) and ‘இரண்டாவது தொகுப்பு’ (2024) respectively. The Sinhala and Tamil language editions have been translated from English by translators from the MMCA Sri Lanka’s team of Museum Associates. These practitioners make a vital contribution to the Museum’s trilingual practice by translating, copyediting, proofreading, and interpreting between Tamil, English, and Sinhala across a vast range of texts.

“Our Museum Associates, along with Editorial Assistant Kaumadi Jayaweera who oversees all editorial and translation work at the MMCA Sri Lanka, provide inestimable value to all the work we do in building more diverse audiences,” said Sharmini Pereira, Chief Curator at the MMCA Sri Lanka. “It’s been our ambition to publish some of our curatorial research in a format that was linguistically accessible, especially for students of architecture and urban planning in Sri Lanka,” Pereira further noted. She added that, “Being free also means that students and others can access the research without any paywalls or subscriptions.”

Translations of a specially commissioned essay by Pereira, who was also the lead curator of ‘88 Acres’, features in the Sinhala and Tamil e-books. These editions also carry translations of the transcript from the animated documentary ‘is this an architectural documentary?’ (2023) by contemporary artists Irushi Tennekoon, Sumedha Kelegama, and Sumudu Athukorala, which was on display in ‘88 Acres’. Moreover, ‘දෙවැනි වෙළුම’ (2024) carries a Sinhala version of De Silva’s seminal essay ‘Experiments in Modern Regional Architecture in Ceylon from 1950 to 1960’ (1965–1966), which has been especially translated from English by Athukorala who is also an established Sinhala writer in the field of architecture, and an architect in his own right.

A Tamil version of De Silva’s seminal essay translated by Miriam Naveendran, long time translator and Tamil language copy editor working with the MMCA Sri Lanka, is available in ‘இரண்டாவது தொகுப்பு’ (2024). “It has been a great joy to be a part of the trilingual practice of the MMCA Sri Lanka, and work towards making modern and contemporary art accessible to all the people in our country. We are constantly aware of how vital it is to ensure that quality is maintained and appropriate language is used, to ensure that every visitor at the MMCA Sri Lanka gets to experience and engage with the thought-provoking art on display,” said Naveendran. She added that, “In this process, it has been exciting to translate and copy-edit different parts of ‘Second Volume’, as I have learnt so much about Minette De Silva, and have been inspired to share her vision and achievements.”

As part of their trilingual practice, the MMCA Sri Lanka also provides free monthly Sinhala and Tamil Exhibition Tours for their visitors. Visit their Facebook and Instagram for more information on Sinhala and Tamil Exhibition Tours available for their upcoming exhibition.

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The MMCA Sri Lanka Hosts a Community Screening of Animated Documentary

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) recently hosted a private screening of the animated documentary ‘is this an architectural documentary?’ (2023), for the residents of the Watapuluwa Housing Scheme in Kandy. This artwork was specially commissioned by the MMCA Sri Lanka, and created by contemporary artists Irushi Tennekoon, Sumedha Kelegama, and Sumudu Athukorala. The screening which took place at the Lorna Wright Community Hall at Watapuluwa offered the residents an in-depth look at the uniqueness of their houses and community.

The animated documentary was commissioned for the MMCA Sri Lanka’s recently concluded exhibition ‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’. The exhibition delved into the pioneering work of Sri Lankan architect Minnette De Silva (1918–1998), focusing especially on her innovative design of the Watapuluwa Housing Scheme (1958). This scheme was ahead of its time in providing affordable accommodation for a diverse ethno-religious community of government public servants in Sri Lanka, and was notably created with the participation of its users.

‘is this an architectural documentary?’ (2023) weaves together animation, archival photos, film recordings, and witness testimonies to examine the environmental, social, and political transformations that the Watapuluwa Housing Scheme has witnessed since the 1950s. This film is supported by the British Council Digital Collaboration Fund, which fosters UK and international cultural partnerships to develop innovative digital collaborations. Research and development support was provided by Forensic Architecture, UK.

Sharmini Pereira, Curator at the MMCA Sri Lanka said that, “The challenge with curating this exhibition was that there are no original drawings or models from De Silva’s architectural practice, The Studio of Modern Architecture. We had to therefore take a different approach which involved commissioning three artists to research the scheme which has subsequently been crafted into a film animation. Their research involved interviewing residents of the Scheme and archival research, which has now produced the most up to date archive about the Watapuluwa Housing Scheme which we hope others will build on.”

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The MMCA Sri Lanka Hosts Second ‘Museum Intensive’

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) conducted the second edition of its Museum Intensive training programme on 27 June. This one-day workshop focused on paper and photography conservation, and was developed in close partnership with World Monuments Fund (WMF). The MMCA Sri Lanka’s Museum Intensive series is designed to address professional capacity-building needs within Sri Lanka’s cultural sector.

The workshop brought together 50 professionals in Sri Lanka with an entry-level understanding of paper and photography conservation. It was structured to provide an introduction to caring for paper-based materials and the agents of deterioration that affect paper, and covered handling, storage, and types of treatments. Participants benefited from hands-on demonstrations using actual paper and photographic samples.

Speaking about the second Museum Intensive on Paper and Photography Conservation, Sharmini Pereira, Chief Curator at the MMCA Sri Lanka said, “This programming is conceived in collaboration with international organisations, and targets professionals, including students, working or aspiring to work in public and private museum and gallery environments in Sri Lanka.” She added that, “The goal is to build capacity within our cultural sector, across a wide range of areas specific to the needs of the local context.”

The first Museum Intensive held in October 2022 focused on Audience Engagement. It included significant discussion, project-based learning, and collaborative work, guided by visiting professionals and MMCA Sri Lanka staff. Following its success, the second Museum Intensive on Paper and Photography Conservation was led by Dr Lois Rowe, Principal at the City and Guilds of London Art School, and Nicola Walker, Senior Conservator for Paper & Photography at the National Trust, UK, and Tutor on the Book and Paper Conservation course at the City & Guilds of London Art School.

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‘88 Acres’ by the MMCA Sri Lanka Closes

‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’, the first solo exhibition on the architect to be held during or after her lifetime, closed on 7 July at the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka). Curated by Sharmini Pereira and Ritchell Marcelline, assisted by Thinal Sajeewa and Nimaya Harris, ‘88 Acres’ was also the Museum’s first solo exhibition and its first architectural focused exhibition. The show attracted 13,187 visitors including 856 students from across the country.

The exhibition focused on the 1958 Watapuluwa Housing Scheme in Kandy, designed by De Silva. The Scheme heralded a new form of social housing in Sri Lanka, and was notably created with the participation of its users. ‘88 Acres’ explored how this sprawling hillside development was ahead of its time in providing affordable accommodation for a diverse ethno-religious community of government public servants in Sri Lanka. Alongside a specially commissioned artists’ film by Irushi Tennekoon (b. 1989), Sumedha Kelegama (b. 1988), and Sumudu Athukorala (b. 1980), ‘88 Acres’ looked back at the Scheme 65 years later to consider De Silva’s influences and the challenges of her design approach.

Looking back on the exhibition, Sharmini Pereira, Chief Curator at the MMCA Sri Lanka said, “The success of this exhibition underlines how critical it is to continue researching De Silva’s work in depth. Just looking at one project by De Silva has created so much interest and helped to challenge the status quo.” She further noted that, “There’s still so much more research to be done, and we are excited about continuing this with World Monuments Fund,” adding that, “The collaborative approach, especially working with contemporary filmmakers, animators, designers, and architects, is definitely something we will continue because of the immense research potential it brings about with all the different perspectives involved.”

“The research process and the collaborative efforts in making our film ‘is this an architectural documentary?’ (2023) provided an incredible opportunity for learning about De Silva’s practice,” noted Tennekoon, Kelegama, and Athukorala, adding that “However, the most meaningful interactions came when engaging with the public through the series of Artist Tours and other public programmes curated by the MMCA Sri Lanka.” They also said that, “Though the focus of the exhibition and film remained on one of De Silva’s important experiments with community architecture, the approaches we adopted invited those from diverse communities and disciplines to view ’88 Acres’ from multiple perspectives.” The artists added that, “The further we immersed ourselves in this project, creative collaboration and an interdisciplinary approach became essential in understanding a multifaceted figure like Minnette De Silva whose contributions spanned architecture, history, arts and crafts, writing, and more.”

‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’ was specially designed by Jonathan Edward, and the exhibition identity was created by Nia Thandapani. The exhibition featured photographs, publications, historical documents, installations, and architectural drawings and models alongside the artists’ film. “The exhibition design for ‘88 Acres’ drew from the extensive research produced by the artists and the prospectus put forward by the curatorial team of the MMCA Sri Lanka,” noted Edward. Speaking further of his design approach, he added that, “Designing an exhibition that looks so closely at the groundbreaking work of a visionary architect like Minnette De Silva was no easy task. The approach taken was simple, with the core idea of ‘Unboxing the Archive’, with a singular focus on the Watapuluwa Housing Scheme.” Edward also said that “The plywood used throughout the exhibition is a humble nod to Minnette’s ‘truth to materials’ approach.”

Reflecting on her identity design for ‘88 Acres’, Nia Thandapani noted how “The MMCA Sri Lanka’s distinct commitment to accessibility came through strongly in this process, both in terms of equal design standards across the museum’s three languages, and in terms of finding a visual language that was thought-provoking and understandable to a broad audience.”

Bringing a massive housing scheme located in Kandy to life within a museum in Colombo was an exciting challenge to Thandapani. “The intention behind the ‘88 Acres’ identity was to communicate the vast scale and achievement of the Watapuluwa housing project, in a way which would be accessible and evocative to a broad audience. With this in mind, the core of the identity was a grid of 88 aerial views of undeveloped landscape from the area that now surrounds Watapuluwa, creating a sense of the scale and land on which the project was designed and built,” she added.

Alongside the exhibition, the MMCA Sri Lanka offered a host of free public programmes and outreach activities aimed at the general public as well as students of schools and higher education institutions. These programmes included specially curated Gallery Talks, Workshops, Reading Groups, and Tours by the curatorial team, artists, and Visitor Educators.

The MMCA Sri Lanka also launched its first research publication ‘Second Volume’ to accompany ‘88 Acres’, offering readers unparalleled access to primary research and previously unpublished archival materials. Edited by Sharmini Pereira and Kaumadi Jayaweera, ‘Second Volume’ was designed by Nia Thandapani. “The design approach for ‘Second Volume’ sought to bring together three voices on De Silva’s Watapuluwa projects in an engaging and cohesive way. Containing remains of De Silva’s archive, the script from ‘is this an architectural documentary?’ (2023), and the curator’s reflections on Watapuluwa, the book intentionally stepped away from familiar approaches to an architect’s monograph,” noted Thandapani. She added that, “The design approach is intended to highlight and stay true to these different ways of considering the architect’s work.”

The success of ‘88 Acres’ was made possible with the generous support of British Council, with additional support from Art South Asia Project, Foundation for Arts Initiatives, Foto Design, Lite87, Rhythm FM, and Rock FM. Generous support was also provided by the museum’s major benefactors and funders: John Keells Foundation, Nations Trust Bank, Fairfirst Insurance, and the Founding Patrons of the MMCA Sri Lanka.

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Land, Conflict, and Art with the MMCA Sri Lanka

Since December 2023, the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) has been working on its ‘Arts 4 ADR’ project in partnership with Supporting Effective Dispute Resolution (SEDR Sri Lanka). It is a 12-month endeavour that aims to increase awareness and understanding of community-based Alternate Dispute Resolution (ADR) mechanisms, and facilitate dialogue about the root causes of community-based conflict, disputes, and grievances in Sri Lanka through art.

The project’s focus lies on the Northern, Eastern, and Uva provinces of the island. As a significant part of these efforts, the MMCA Sri Lanka has commissioned artists Anomaa Rajakaruna, Jasmine Nilani Joseph, and Hanusha Somasundram to develop three artworks in relation to contexts of communal conflict in Vavuniya, Mannar, Ampara, Trincomalee, Badulla, and Monaragala.

Sandev Handy, Senior Curator at the MMCA Sri Lanka said that, “Art may not necessarily be able to change the world, but it can act as a catalyst for moments of reflections, that may in turn provide us with some pause.” He added, “Our hope is that communities can begin new conversations instigated by artwork, that open up possibilities for new understandings of the ‘other’.”

In the chosen provinces in particular, land issues continue to hinder reconciliation efforts as a result of a combination of historical, political, ethnic, and socio-economic factors. The MMCA Sri Lanka hopes to pilot, test, and implement artwork-centred community dialogues that address land-based issues of exclusion and inequality.

The MMCA Sri Lanka is also launching the Dialogue and Civic Engagement Fellowship Programme as part of ‘Arts 4 ADR’, where Bavaneedha Loganathan, Chanthuru Thiveegan, Kalyani Suntharam, and Thamilini Siththiravadivel have joined the programme as cultural practitioners in the Northern, Eastern, and Uva provinces of Sri Lanka. Fueled by their interest in how art can instigate civic dialogue and foster alternate dispute resolution, the four Fellows will be given training in ADR, art programming, community engagement, and public pedagogical approaches as part of the Fellowship programme.

Led by the MMCA Sri Lanka and funded by SEDR Sri Lanka, ‘Arts 4 ADR’ aims to examine art’s potential to generate dialogue, shape narratives, provoke reflection, foster unity and offer alternative pathways to reconciliation. SEDR Sri Lanka is funded by the European Union and is one element of the European Union’s wider Strengthening Transformation, Reconciliation and Inclusive Democratic Engagement (STRIDE) programme in Sri Lanka, jointly implemented by the British Council, United Nations Development Programme (UNDP), and the World Bank.

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1.     In ‘Life and Work of an Asian Woman Architect Vol. 1’ (1998) Minnette De Silva traces her interest in architecture to when Oliver Weerasinghe, the Town Planner, lent her some journals. What made you get into the field of architecture/design?

Irushi: Early inspiration came from the predominantly Western-illustrated picture books and animated films I had grown up watching. As I continued in my practice there were several factors that made me realise that I can tell stories about home and the everyday people and places that make it special.

Sumedha: Architect Channa Daswatte and late Professor S. B. Dissanayake have always been my role models. Their innovative thinking, impactful writing, and exemplary work deeply inspired my passion for architecture from a young age. 

Sumudu: I got into architecture totally by accident. I always wanted to be an artist, and since I was child I wanted to explore the world of filmmaking. Having that intention in mind, I chose to pursue art subjects for my A Levels. During my A Level years, one of my brother’s friends who was studying architecture came to visit my brother. Knowing that I was interested in the arts he encouraged me to try architecture as it would suit my ambitions well. After that incident I started to think of becoming an architect despite not knowing much about the subject.

2.     Your film is not a typical architectural documentary.  Can you talk about what makes it different and why?

Irushi: Documentaries typically rely on historic artefacts and photographic evidence. When we began our documentary on the Watapuluwa Housing Scheme designed by architect Minnette De Silva, we didn’t have many primary documents related to the Scheme. We therefore started by gathering oral histories from the scheme’s residents and those who knew or worked with her. Animation played an important role by allowing us to re-imagine De Silva’s experiments with regional modernism, and also helped us to approach this story with a sense of whimsy and curiosity.

Sumedha: The documentary is crafted as an ‘artist’s documentary’, featuring layers of drawings, animations, research, and interviews created by the three of us. It represents the culmination of our research and artistic experimentation. Inspired by filmmakers like Michel Gondry and Nathaniel Kahn, this approach that we have experimented with seamlessly blends our investigative work with creative elements to produce an architectural documentary.

Sumudu: The three of us have been working in the creative and design field for years, and we had previously worked together on an animated short film. Our approach was not to make a typical documentary film but to create something different which would have a unique style. Since it is a collaboration of three different styles, thoughts, and creative thinking, naturally the film came out to be unique and distinct. 

3.     Were there any specific aspects of Minnette De Silva’s personality, philosophy, or approach to architecture that stood out to you during the filmmaking process?

Irushi: What I found very special about Minnette De Silva is her practice of documenting her work and process as evidenced in her autobiography. By looking through the lens of my own practice that involves detailed documenting and archiving of my work, I was able to better understand her efforts.

Sumedha: Minnette continually explored and experimented with her architectural approach, which paralleled our own process during the filmmaking. We experimented with various methodologies to effectively tell stories while simultaneously conveying architectural philosophies.

Sumudu: Minnette De Silva was not caught in the colonial architectural influence nor the ideas that came from the Western modern movement. She experimented with an architectural language which was more suitable and sustainable to this region. Considering the era she worked in, it may not have been an easy approach. She definitely had to go through a difficult process to achieve that. 

4.     The MMCA Sri Lanka commissioned you to carry out the research on the Watapuluwa Housing Scheme, which led to your film, and in turn the exhibition and the publication ‘Second Volume’. What was the experience like, of working with the MMCA Sri Lanka in this manner?

Irushi: Working closely with the museum’s Chief Curator Sharmini Pereira and the team at the MMCA Sri Lanka on this project has been an absolute privilege. It was a collaboration from the beginning and there was a generous sharing of knowledge and ideas that allowed both the film and exhibition to turn into what it did. By being closely involved with the museum’s public programmes, we were able to engage with audiences and share the nuances behind our research through various Tours, Gallery Talks, and Reading Groups. Our collaborative research, writings, and the transcript of our film are now published in the museum’s first research publication titled ‘Second Volume’, further enabling future scholarly research to be continued on Minnette De Silva.

Sumedha: It has been quite a remarkable journey. From the outset, the MMCA Sri Lanka provided us with a platform to create a 60-minute documentary, demonstrating immense patience and support throughout our experimental process. Collaborating with the curators was an incredibly educational experience. The networks we fostered during the creation of the documentary, as well as through assisting with the exhibition and publication, were truly special. 

Sumudu: It was a remarkable opportunity for us and a great experience to work closely with the MMCA Sri Lanka. The process of making the film and showcasing our research in the exhibition opened us to a new world of arts and creativity. We got to meet wonderful personalities like Sharmini. Through our research, and the subsequent film and exhibition, our thinking about architecture, Minnette De Silva, and filmmaking has also evolved.

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MMCA Sri Lanka Adds the Arts to the Classroom

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) particularly focuses on educational initiatives for various target groups across the country. These include the general public, and schools and higher educational institutions in Sri Lanka.

Through its Schools and Higher Education Institutions Outreach Programme, the MMCA Sri Lanka engages with preschools, schools, and higher education institutions within its immediate radius of 10km, as well as those institutions that have an educational interest in arts and culture. Guided tours, activities, specially designed workshops, and additional support (such as guest lectures) related to assignments and curriculum design are offered to educational institutions that would like to incorporate the museum’s exhibitions, artworks, thematics and publications in their classrooms.

Sharmini Pereira, Chief Curator at the MMCA Sri Lanka noted that, “Our outreach activities are conceived to dispel the perception of a museum as a mausoleum of dead objects or an elite, inaccessible place of abstract ideas.” She added that, “The many student populations of the country will in time, come to shape and form the future of Sri Lankan modern and contemporary art as policy makers, funders, academics, decision makers and creative leaders. They sit at the centre of our future, which begins with the work we are doing today around outreach and learning.”

The MMCA Sri Lanka engages with educational institutions via two main ways. The first is an Outreach visit to an exhibition on view at the Museum. The Education and Curatorial teams at the Museum work together to ensure a visit that combines a learning experience including a guided tour, and upon request, an activity, assignment, or reflection/discussion session based on the institution’s preferences. The Museum’s exhibition spaces are designed in a versatile manner and they can be converted into classrooms and/or spaces to hold crit sessions.

As of April 2024, the MMCA Sri Lanka has curated and organised visits for approximately 3,200 students from preschools, local, international, and semi-government schools, and public and private higher education institutions.

Pramodha Weerasekera, Curator Education and Public Programmes at the MMCA Sri Lanka said that, “The museum is designed for learning and educational experiences. We are excited to have students join us and contribute to the dialogue and discourse around our exhibitions and modern and contemporary art in Sri Lanka.” She also added that, “One of our larger goals is to expand the Outreach programme further and think about how we can contribute to much-needed changes in the formal education sector as well.”

As the second method of engagement, staff members from the MMCA Sri Lanka visit educational institutions. In these visits they speak about the museum, its efforts, Sri Lankan modern and contemporary art, and the thematics of a current exhibition on display. The Museum curates such visits based on the priorities of each educational institution and how they align with the Museum’s mission of display, research, collection, and conservation of Sri Lankan modern and contemporary art. As of April 2024, the museum’s staff has visited the Overseas School of Colombo, S. Thomas’ College Mount Lavinia, and the Department of English, University of Colombo.

Educational institutions (formal and informal) are encouraged to reach out to the MMCA Sri Lanka at [email protected] to request an Outreach visit.

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MMCA Sri Lanka launches ‘Second Volume’

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) announces the launch of its first research publication ‘Second Volume: The Watapuluwa Housing Scheme by Minnette De Silva’. Edited by Sharmini Pereira and Kaumadi Jayaweera, the publication explores the groundbreaking work of architect Minnette De Silva (1918–1998) within the context of the Watapuluwa Housing Scheme, Kandy (1958).

‘Second Volume’ accompanies the MMCA Sri Lanka’s current exhibition ‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’, offering readers unparalleled access to primary research and previously unpublished archival materials. Among the highlights of this publication is a transcript of the animated documentary ‘is this an architectural documentary?’ (2023) by contemporary artists Irushi Tennekoon, Sumedha Kelegama, and Sumudu Athukorala, which provides valuable insights into De Silva’s visionary approach.

The publication is priced at LKR 15,000 and features a specially commissioned essay by Pereira. It is complemented by measured drawings of De Silva’s five house typologies for the Watapuluwa Housing Scheme, skillfully crafted by architects Kelegama and Athukorala. A special supplement of De Silva’s seminal essay ‘Experiments in Modern Regional Architecture in Ceylon 1950 to 1960’ (1965–1966) adds depth and historical context to this research endeavour.

In line with De Silva’s ethos of sustainability and local engagement, ‘Second Volume’ is printed on locally available paper stock, minimising environmental impact and honouring her legacy of resourcefulness. Additionally, the publication extends De Silva’s archival efforts by following her posthumously published autobiography ‘The Life and Work of an Asian Woman Architect Vol. 1’ (1998). Along with the book, the MMCA Sri Lanka has created notebooks from the paper off-cuts of the book-printing process, which come in three different paper qualities—uncoated art paper, offset paper, and coated art paper—sold in a set of three at LKR 2,000 or as a single notebook at LKR 800.

Designed by Bangalore-based Nia Thandapani and printed by Gunaratne Offset Ltd. in Sri Lanka, ‘Second Volume’ exemplifies MMCA Sri Lanka’s commitment to education and cultural preservation. Proceeds from the sale of the publication and associated notebooks will support ongoing research on De Silva’s work, and public programming at the MMCA Sri Lanka. ‘Second Volume: The Watapuluwa Housing Scheme by Minnette De Silva’ is now available for purchase at the MMCA Sri Lanka, and through their Facebook at facebook.com/mmcasrilanka and Instagram at instagram.com/mmcasrilanka/.

The MMCA Sri Lanka will be launching Tamil and Sinhala translations of ‘Second Volume’ in April 2024. They will be available on the Museum’s website as free downloadables, encouraging wider accessibility and knowledge sharing.

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MMCA Sri Lanka announces the launch of ‘Second Volume’

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is pleased to announce its upcoming publication ‘Second Volume’ conceived to accompany their current exhibition ‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’. The exhibition focuses on the groundbreaking social housing project that was designed with the active participation of its users, heralding a new era in affordable accommodation for a diverse ethno-religious community of government public servants in Sri Lanka.

Published by the MMCA Sri Lanka, ‘Second Volume’ is the museum’s first research publication and is supported by World Monuments Fund, British Council, Art South Asia Project, and Vitra Design Foundation. ‘Second Volume’ will be launched on 10 February 2024 at the MMCA Sri Lanka, located on the ground floor of Crescat Boulevard, Colombo 3. Copies of ‘Second Volume’ will be available for pre-order from 1 February 2024. To pre-order or purchase the publication, please visit the museum’s Facebook page at facebook.com/mmcasrilanka or Instagram page at instagram.com/mmcasrilanka/. All proceeds will go towards supporting education and public programmes for ‘88 Acres’, and the MMCA Sri Lanka’s continued research on De Silva’s work.

Speaking about the launch of ‘Second Volume’, Sharmini Pereira, Chief Curator, MMCA Sri Lanka and Editor of ‘Second Volume’ said that, “Minnette De Silva is considered the first woman architect in Sri Lanka, and was a pioneering modern architect. Her work deserves to be looked at in much closer detail, which is why we have compiled our research, to date, in a book format so that it can be shared more widely.” Speaking of their support towards the publication, John Darlington, Director of Projects at World Monuments Fund said that, “Minnette De Silva deserves international recognition. Her legacy of buildings and her approach to architecture have a real resonance today. Minnette’s ideas on consultation, her use of local materials, craftspeople and artists, and her mission to root architecture in place are themes which are increasingly relevant well beyond her native Sri Lanka.” He added that, “World Monuments Fund is delighted to support the MMCA Sri Lanka in the publication of ‘Second Volume’. More people should hear about Minnette, and this publication will help spread the word – ensuring her legacy lives on.”

‘Second Volume’ brings together primary research and previously unpublished archival materials, including a transcript of the animated documentary ‘is this an architectural documentary?’ (2023) by contemporary artists Irushi Tennekoon, Sumedha Kelegama, and Sumudu Athukorala. It also includes a specially commissioned essay by Pereira, along with measured drawings of De Silva’s five house typologies for the Watapuluwa Housing Scheme by architects Kelegama and Athukorala. ‘Second Volume’ also contains a special supplement of De Silva’s seminal essay ‘Experiments in Modern Regional Architecture in Ceylon 1950 to 1960’ (1965–1966), first published by the Ceylon Institute of Architects in 1966.

Orlando Edwards, Country Director, British Council Sri Lanka said that, “We are very pleased to support ‘Second Volume’, the MMCA Sri Lanka’s first research publication accompanying the current ‘88 Acres’ exhibition. The work of Minnette De Silva was ahead of its time, and she has inspired and influenced generations of architects.” He added that, “We hope that this publication will inform and encourage the next generation of Sri Lankan architects to continue in the tradition of responsible, considered, and sympathetic design. This publication invites architects, art enthusiasts, scholars, and the public to celebrate the enduring legacy of one of Sri Lanka’s architects.”

‘Second Volume’ continues the archival process begun by De Silva with her posthumously published autobiography ‘The Life and Work of an Asian Woman Architect Vol. 1’ (1998). Similar in size, this publication, by contrast, focuses on a single project – The Watapuluwa Housing Scheme, opening up the prospect of future ‘volumes’ that would in turn look at her seminal practice one project at a time. ‘Second Volume’ is printed on locally available paper stock without any paper wastage highlighting the vital importance De Silva placed on using local materials, nearly 70 years ahead of her time.

Nour Aslam, Executive Director of Art South Asia Project (ASAP) said that, “Art South Asia Project is proud to have partially funded the publication ‘Second Volume’. Not only is MMCA Sri Lanka the first Sri Lankan grant partner for ASAP, but this is also the first museum publication we have supported. For us, literature and publications are key factors in contributing to the field of modern and contemporary South Asian art.” She further said that, “We are very fortunate to have received this project from the wonderful team at the MMCA Sri Lanka, especially under the vision of Sharmini Pereira, who has been pivotal in the field to further voice the Sri Lankan art historical narrative.”

‘Second Volume’ has been designed by Bangalore-based Nia Thandapani, and printed in Sri Lanka. The book has been edited by Pereira, and assisted by Kaumadi Jayaweera, Editorial Assistant at the MMCA Sri Lanka.

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Supporting Sri Lankan Contemporary Art at the MMCA Sri Lanka

Contemporary art in Sri Lanka is steadily gaining more recognition on both national and international levels. As the country’s first and only museum dedicated to showcasing Sri Lankan modern and contemporary art, the Museum of Modern and Contemporary Art in Sri Lanka (MMCA Sri Lanka) is one of the organisations leading the way in creating awareness and educating its audiences on the need to support them.

Supporting contemporary art in a region is not just about fostering creativity; it is also about preserving and celebrating its cultural identity. Sri Lanka’s rich cultural heritage, diverse landscapes, and historical significance have all contributed to an expanding art scene that reflects the complex tapestry of its society. The island can continue to nurture its thriving community of artists and ensure that their voices resonate both locally and globally, by providing resources, education, and exposure on its contemporary art scene. Most importantly, the patrons of Sri Lanka’s contemporary art must recognise the vital role it plays in shaping the country’s identity and fostering a sense of cultural pride among its citizens.

Connecting patrons of the arts with local artists, and facilitating supportive relationships between both local and international patrons and the Sri Lankan art scene, is an important part of the MMCA Sri Lanka’s efforts. As a reflection of this endeavour, their last exhibition titled ‘The Foreigners’ received the kind support of Anojie Amerasinghe and Hugues Marchand, and Radhika Chopra and Rajan Anandan who are based in the UK and India respectively.

Speaking about her support for Sri Lankan art Anojie Amerasinghe said that, “The exploration of modern and contemporary art by the MMCA Sri Lanka resonates not only with Sri Lankans but also with individuals worldwide. ‘The Foreigners’ focused on foreignness, and this was particularly compelling to me as I have spent a lifetime navigating diverse cultures. I feel this is probably how my family is seen as my husband is Belgian and my children have grown up travelling and belong to more than one place.” She added that, “I felt it was the perfect way for us to begin a conversation with the MMCA Sri Lanka about Sri Lankan contemporary art as it was also their first-ever all contemporary exhibition. Equally, it was an opportunity to show our support to the MMCA Sri Lanka as an institution which is an important part of the contemporary art world infrastructure that will benefit those in the art ecosystem and the development of contemporary art more broadly.”

Amerasinghe further emphasised that, “We need art that is not confined to the tastes of a select few but resonates with the broader population, including the youth. Contemporary art is a powerful tool for cultural education, fostering meaningful conversations, and building a deeper sense of community.” She went on to note that “it is an important way to create new opportunities for research and collaboration between institutions, for gallerists to engage with, and for collectors and patrons to participate in the ongoing endeavour to develop Sri Lankan contemporary art.”

Contemporary art is a reflection of society’s ever-changing dynamics, offering a lens through which the surrounding world can be explored and interpreted. In Sri Lanka, contemporary artists are using their creativity to address pressing social, political, and environmental issues, providing thought-provoking commentary on the nation’s evolving identity. This is an artistic endeavour that Radhika Chopra sought to nurture through her support towards ‘The Foreigners’. Speaking in this regard, she noted that, “While I have been supporting the arts for a very long time, our support for ‘The Foreigners’ by the MMCA Sri Lanka was our first institutional support in Sri Lanka. The exhibition’s focus personally resonated as my husband and family are part of the Sri Lankan diaspora and institution building has always been a key area of personal interest. We also felt the efforts in building an arts program in Colombo that engages with the public needed our support.”

She further said that, “The artists’ individual responses to a shared experience were so poignantly woven through the exhibition. Hema Shironi’s work titled ‘A Bundle of Joy’ (2020) is a part of our private collection and was shown at the exhibition, and I feel it spoke in depth about the subject.” Chopra also added that, “It’s important to showcase and engage global audiences with what we do in Sri Lanka and create a wider conversation about our contemporary art globally. This is the start of a greater commitment to supporting cultural institutions in Sri Lanka. Ironically, it took an exhibition titled ‘The Foreigners’ to bring us back home.”

The MMCA Sri Lanka remains committed to championing modern and contemporary art in Sri Lanka. Their new exhibition titled ‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’ is open to the public for free until 7 July 2024, at the museum located on the ground floor of Crescat Boulevard, Colombo 3. The museum is open daily from 10am to 6pm. The MMCA Sri Lanka is an education-led initiative that aims to establish a public museum dedicated to the display, research, collection, and conservation of modern and contemporary art for the benefit and enjoyment of the general public, schools, and tourists. Information about the museum and its exhibitions and public programmes can be found via its website www.mmca-srilanka.org, or on Facebook at facebook.com/mmcasrilanka and Instagram at instagram.com/mmcasrilanka/.

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The Visitor Educator (VE) programme at the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is an initiative aimed at enhancing the visitor experience at the museum and building capacity within the cultural industries in Sri Lanka. Launched in December 2019, the VE training position and programme is the first of its kind in Sri Lanka. The MMCA Sri Lanka’s VEs play a pivotal role as the first points of contact between visitors and the museum, where they enable visitors to learn about and engage with the artworks on view, provide context, and introduce close-looking techniques through conversations, tours, and educational activities for all age groups and levels. The VEs also support the care of the exhibits in the exhibition, observe health and safety protocols, and assist with the setup of its weekly public programmes.

Raeesah Samsudeen, Matthew Roger, Hussain Nizam, Prabodhi Navodya, and Virandi Kularatne reflect upon their journeys at the MMCA Sri Lanka as Visitor Educators.

What led you to join the MMCA Sri Lanka as a Visitor Educator?

RAEESAH: I was part of a university tour led by Sharmini during the past exhibition titled ‘Encounters’, during which she spoke of all the work that goes into putting up an exhibition. I had prior interests in exhibition design, so I asked if there were any internships open. There being none at the moment, they encouraged me to apply for the Visitor Educator role. However, I was later on able to take up an Exhibition Design internship during the design of our current exhibition ‘88 Acres’!

MATTHEW: I was looking for something different; something which is not in the corporate field, and where I can learn new skills and knowledge, and better my communication skills. When I saw the job call-out for the position it was exactly what I was looking for. The job title sounded unique, and the organisation and its goal and objectives stood out to me.

HUSSAIN: Volunteering has always held a special place in my heart, and my initial opportunity was at a contemporary arts festival in Colombo. It fuelled my interest in joining the MMCA Sri Lanka as a Visitor Educator, with the aim of imparting knowledge about the limitless potential of art to everyone.

PRABODHI: I had been following the MMCA Sri Lanka’s social media for quite a while, but never found the time to visit due to exams. Later, I came to see the exhibition ‘Encounters’ with my boyfriend, and oh my, it was impressive. Soon after, I heard about the Visitor Educator opportunity and eagerly applied for it.

VIRANDI: As an art enthusiast, I sought an art-centric job. The prospects of learning about art and interacting with visitors and other art enthusiasts, inside an art space while maintaining flexibility for my studies, drew me in.

What are some of the highlights of your experience as a Visitor Educator?

RAEESAH: Being a Visitor Educator is a multifaceted role. Some of my highlights involve being able to talk to and meet people from different backgrounds, especially from the art-world itself. Working on MMCA Afterschool with the kids, and learning from them while teaching, is definitely something I will take with me. Finally, getting to work on production and the exhibition design for ‘88 Acres’ has been one of my biggest highlights at the MMCA Sri Lanka.

MATTHEW: Giving tours for all kinds of groups of people, like foreigners, school students, and locals is definitely a highlight for me. They always help me look at the artworks in a different perspective, almost every time. Also being able to be a part of MMCA Afterschool and facilitating many different fun sessions for children is something I always enjoy.

HUSSAIN: I have been extensively engaged in the management of art, spanning from the detailed construction phase to the grand unveiling which is part and parcel of delivering a great exhibition. Through this experience, I have refined my expertise in art curation, installation, and the nuanced coordination required to create compelling exhibitions. Working with curators and getting hands-on experience is another thing I love!

PRABODHI: Although it has not been long since I joined as a VE, it has been a very good experience. This is my first job and it is fair to say that the experience of it has been the most valuable thing to me. I got to learn about the great many things that go into an exhibition, and to communicate much of that knowledge to the visitors. Also, I love it that I get to interact with such a diverse crowd of visitors including children, tourists from different countries, people of different communities in Sri Lanka, and visitors who are engaged in different professions.

VIRANDI: A lot of my fondest memories at the MMCA Sri Lanka are of my conversations with visitors. There is something so incredible about sharing a profound conversation about art and life, especially with those you just met. Seeing people connect with and relate to artwork in distinct ways is so incredibly moving.

How do you think your career at the MMCA Sri Lanka will contribute to your professional life?

RAEESAH: MMCA Sri Lanka has been the starting point and a great influence over my professional life. I am a graphic designer working towards becoming a multi-disciplinary designer, and the MMCA Sri Lanka has contributed to my professional life through advice and direction, resources, conceptual thinking, and finally opportunities to move forward. Although I’ve only been at the MMCA Sri Lanka as a Visitor Educator and intern for a year, there has been an overwhelming amount of support and opportunities to grow.

MATTHEW: Being able to work on production for three exhibitions at the MMCA Sri Lanka as both an intern and a Visitor Educator has exposed me to many new opportunities and experiences. Through these I learned how to coordinate and run projects on schedule, understand how to use a space for an exhibition, and many other things. I now also work on art installations and art production, thanks to the training I received at the museum.

HUSSAIN: My experience at the MMCA Sri Lanka spans across different facets of operations such as production and art handling, along with a track record in visitor-facing positions. This diverse exposure, combined with my current responsibilities, has helped me in developing a well-rounded skill set—both interpersonal and technical—integral to a successful professional journey.

PRABODHI: I study journalism and media, and in that field of work communication skills are very important. While speaking with diverse groups of visitors and engaging in effective communication with them, I was able to gain professional experiences first hand. The story-telling method of engaging our visitors with the artwork too has had a positive effect on my skills.

VIRANDI: Knowing how to relate to visitors’ experiences, and ensuring that conversations are appropriate and two-way, while respecting and appreciating the differences in the ways we see and relate to art and the world are skills I have refined at the MMCA Sri Lanka. This has definitely given me good training for my future professional life.

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The MMCA Sri Lanka Grows with the Founding Patrons Programme

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is known for taking bold steps forward in its mission to foster a deeper understanding and appreciation of local modern and contemporary art. The MMCA Sri Lanka Founding Patrons Programme is one such unique initiative where they hope to engage art enthusiasts, collectors, and philanthropists from all backgrounds on a profound cultural journey while supporting local art and artists.

This programme represents a significant leap forward in the realm of art institutions in Sri Lanka. It aims to bridge the gap between art and its patrons by offering an immersive learning experience that goes beyond the traditional gallery visit.

As part of the array of exclusive benefits that are included in the MMCA Sri Lanka Founding Patrons Programme, the museum organised a specially curated five-day visit to New Delhi earlier this year. During this visit which coincided with the India Art Fair, the Patrons had the opportunity to meet some of the key professionals, artists, gallerists, collectors, and fellow patrons who work in and contribute to the Indian art scene. Their second trip was a mid-year excursion to Jaffna where the Founding Patrons of the MMCA Sri Lanka were able to immerse themselves in learning about art and artists based in Jaffna, who are creating a name for themselves in both the local and global art spheres.

Speaking about the MMCA Sri Lanka Founding Patrons Programme, Sharmini Pereira, Chief Curator at the MMCA Sri Lanka said, “Art serves as a profound mirror reflecting the essence of society through the years. It is with immense pride and excitement that we introduce the Founding Patrons Programme for the MMCA Sri Lanka, a program that seeks to enrich the cultural tapestry of the city of Colombo and the entire nation.” She added that, “I am confident that this programme will be a learning opportunity for the Patrons, that allows them to absorb the work that we do as a museum. The MMCA Sri Lanka is an innovative institution dedicated to breaking away from the way museums in the country have been perceived. Museums are spaces of change and should reflect the societies they are located within. The Patrons have the opportunity to be part of specially curated travel events that introduce them to artists, galleries, arts professionals, and international museums.” Pereira further noted that, “These are meant to be once in a lifetime experiences, which simultaneously help to build our museum in Sri Lanka.”

Other opportunities that are exclusive to the MMCA Sri Lanka Founding Patrons include specially curated art tours of the MMCA Sri Lanka’s exhibitions led by the museum’s curators, access to exclusive events where they can meet local and international artists, and unique opportunities to gain insight into art collecting for those interested in building their collections. In addition to all this, one of the greatest benefits of this Programme is being able to contribute to art education in Sri Lanka, where the Patrons will actively contribute to the MMCA Sri Lanka’s mission of promoting art education through its curated exhibitions, Public Programmes, and many other outreach efforts.

As the MMCA Sri Lanka Founding Patrons Programme gains momentum, it is expected to contribute significantly to the growth of the cultural industries in Sri Lanka, and enhance the global perspective of modern and contemporary art among its Patrons. If you are interested and would like to know more about this Programme, please contact Onella Perera, Development Assistant at the MMCA Sri Lanka at [email protected]

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World Monuments Fund Officially Endorses ‘88 Acres’ by the MMCA Sri Lanka

World Monuments Fund (WMF), the leading global independent organisation devoted to safeguarding the world’s most treasured places, has officially endorsed the exhibition titled ‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’ by the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka). The exhibition is currently on display at the museum on the ground floor of Crescat Boulevard, Colombo 3, and will be open to the public until 7 July 2023.

Speaking of the recognition that the exhibition has received from WMF, Sharmini Pereira the Chief Curator at the MMCA Sri Lanka noted that, “The endorsement of WMF is a first for Sri Lankan modern architecture, and provides a much needed boost to recognising local art and architectural histories of the global south at an international level.” She added that, “Minnette De Silva was the first Asian female architect to be recognised by the Royal Institute of British Architects (RIBA) in 1948. Critical recognition of her contribution to architecture did not happen during her lifetime, which makes this endorsement all the more significant. The MMCA Sri Lanka is honoured to be working with WMF to further the research and discussion about De Silva’s work.”

The Watapuluwa Housing Scheme in Kandy was completed in 1958, and heralded a new form of social housing in Sri Lanka. Designed by architect Minnette De Silva (1918–1998), the Scheme was notably created with the participation of its users. ‘88 Acres’ explores how this sprawling hillside development was ahead of its time in providing affordable accommodation for a diverse ethno-religious community of government public servants in Sri Lanka. Alongside a specially commissioned artists’ film by Irushi Tennekoon (b. 1989), Sumedha Kelegama (b. 1988), and Sumudu Athukorala (b. 1980), ‘88 Acres’ looks back at the Scheme 65 years later to consider De Silva’s influences and the challenges of her design approach.

Addressing this milestone endorsement for both the MMCA Sri Lanka and WMF, John Darlington, the Director of Projects at World Monument Fund noted that, “Minnette De Silva was an extraordinary architect. Brave, creative and years ahead of her time, she deserves recognition within Sri Lanka and globally. World Monuments Fund is delighted to endorse ‘88 Acres’, which focuses on her Watapuluwa Housing Scheme, uniquely exploring it through the eyes of artists, friends, and those who live there.” He further added that, “We also look forward to working with the MMCA Sri Lanka, and other partners, to place a spotlight on Minnette’s wider legacy, not just of buildings but of approach.”

‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’ features photographs, publications, historical documents, installations, and architectural drawings and models, alongside an artists’ film titled ‘is this an architectural documentary? (2023). This animated documentary will be screened throughout the day when ‘88 Acres’ opens to the public from 30 November 2023 to 7 July 2024. The exhibition and the artists’ film are both made possible through the funding of the British Council Sri Lanka.

Expressing his support for the exhibition, Orlando Edwards, Director British Council Sri Lanka said, “We are proud to be supporting the MMCA Sri Lanka’s new exhibition titled ‘88 Acres’. The recognition from World Monuments Fund (WMF) and the emerging partnership with the MMCA Sri Lanka is excellent news for Sri Lankan architecture, heritage, and the importance of raising the profile of one of Sri Lanka’s unsung architects, Minnette De Silva.” He added that, “At the British Council we believe in the value of bringing design to a wider audience, challenging perceptions, and responding to social, political, and environmental contexts, and ‘88 Acres’ does just that.’’

ABOUT

World Monuments Fund (WMF) is the leading independent organization devoted to safeguarding the world’s most treasured places to enrich people’s lives and build mutual understanding across cultures and communities. The organization is headquartered in New York City with offices and affiliates in Cambodia, France, India, Peru, Portugal, Spain and the UK. Since 1965, our global team of experts has preserved the world’s diverse cultural heritage using the highest international standards at more than 700 sites in 112 countries. Partnering with local communities, funders, and governments, WMF draws on heritage to address some of today’s most pressing challenges: climate change, underrepresentation, imbalanced tourism, and post-crisis recovery. With a commitment to the people who bring places to life, WMF embraces the potential of the past to create a more resilient and inclusive society.

British Council is the UK’s international organization for cultural relations and educational opportunities. We build connections, understanding and trust between people in the UK and other countries through arts and culture, education, and the English language. Last year we reached over 80 million people directly and 791 million people overall, including online, broadcasts and publications. Founded in 1934 we are a UK charity governed by Royal Charter and a UK public body. We receive a 15 per cent core funding grant from the UK government.

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The MMCA Sri Lanka Opens ‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) opened its new exhibition titled ‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’ on 30 November at its premises on the ground floor of Crescat Boulevard, Colombo 3. Curated by Sharmini Pereira and Ritchell Marcelline, assisted by Thinal Sajeewa and Nimaya Harris, ‘88 Acres’ is the MMCA Sri Lanka’s first solo exhibition, and looks at the Watapuluwa Housing Scheme and the pioneering work of Sri Lankan architect Minnette De Silva (1918–1998).

The exhibition focuses on the Watapuluwa Housing Scheme in Kandy, designed by De Silva and opened in 1958. The Scheme heralded a new form of social housing in Sri Lanka, and was notably created with the participation of its users. ‘88 Acres’ explores how this sprawling hillside development was ahead of its time in providing affordable accommodation for a diverse ethno-religious community of government public servants in Sri Lanka. Alongside a specially commissioned artists’ film by Irushi Tennekoon (b. 1989), Sumedha Kelegama (b. 1988), and Sumudu Athukorala (b. 1980), ‘88 Acres’ looks back at the Scheme 65 years later to consider De Silva’s influences and the challenges of her design approach.

Sharmini Pereira, Chief Curator at the MMCA Sri Lanka said, “Rather than curate a full retrospective on Minnette De Silva’s architectural practice, we are focussing on a single project in order to study her work in detail, which is something that has not been done to date.” She added that, “The challenge with curating this exhibition was that there are no original drawings or models from De Silva’s architectural practice, The Studio of Modern Architecture. We had to therefore take a different approach which involved commissioning three artists to research the scheme which has subsequently been crafted into a film animation. Their research involved interviewing residents of the Scheme and archival research, which has now produced the most up to date archive about the Watapuluwa Housing Scheme which we hope others will build on.”

‘is this an architectural documentary?’ (2023) by Tennekoon, Kelegama, and Athukorala interweaves animation, archival photos, film recordings, and witness testimonies to consider what the Watapuluwa Housing Scheme bears witness to in terms of the environmental, social, and political transformations of Sri Lanka since the early ’50s. Reflecting on their research and creative endeavour, the artists noted that, “When we began this project, we were confronted with the question of how we could narrate a story about architecture through film. The rhetorical title of the documentary questions our own role as artists/filmmakers and how compelling we have been in our pursuit of narrating this story.” They further added that, “The genre of animated documentary has opposite properties, with documentary essentially being known for recording facts or truth, and animation as a medium historically associated with fiction. The use of illustrations and animation in our artists’ documentary has helped us to imagine what Minnette De Silva would have been like in her lifetime, and has helped us in conveying some of the technical and architectural ideas in the film to wider audiences.”

The film is supported by the British Council Digital Collaboration Fund, which supports UK and overseas cultural partnerships to develop digitally innovative ways of collaborating. Commissioned by the MMCA Sri Lanka, the Research and Development support for the film was provided by Forensic Architecture, UK. Speaking on their support towards ‘88 Acres’, Orlando Edwards, British Council Sri Lanka Country Director said, “The British Council seeks to address today’s global challenges through design, exploring the social and cultural value of a wide range of design disciplines. Minette De Silva was a pioneering architect, challenging perceptions and using architecture to respond to social, political and environmental contexts.” He further stated that, “We are delighted to support and see the fruition of the first solo exhibition on De Silva’s practice in Sri Lanka, which forms part of the 75th anniversary celebrations of UK-Sri Lanka diplomatic ties in 2023/24”.

‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’ is also the first exhibition of a modern architect in Sri Lanka to receive the endorsement of the World Monuments Fund. Ajit Gunewardene, the Chair of the Committee of the MMCA Sri Lanka spoke of this milestone partnership between the museum and WMF and noted that, “The MMCA Sri Lanka curates unique exhibition experiences that have already attracted large numbers of visitors. This is the museum’s first solo exhibition, and it could not be more fitting to focus on a female architect like De Silva at a time when international organisations like WMF are starting to recognise the importance of architects from the global south. The museum’s research promises to spearhead more focus on this much admired architect with her first ever solo exhibition, here in Colombo.”

The research-oriented curatorial process has led the curators of ‘88 Acres’ on a journey of re-discovering the architect, her writings and teachings, and most importantly her innovative orientations. “The exhibition brings about an inquiry, curatorially highlighting the work of Minnette De Silva,” said the Co-curator of the exhibition Ritchell Marcelline, adding that, “It explores the origin of the Watapuluwa Housing Scheme in detail within the context of a newly independent state, and looks at it within its culturally rich geographical area in the suburbs of Kandy.” He further added that, “We wanted to find as much as we could of the original material produced by De Silva in her practice as an architect, educator, and thinker. In our research, both the team of filmmakers and the curatorial team found an expansive and diverse body of material from various parts of the world, which has introduced a new way of looking at, enjoying, and researching architectural projects.”

‘88 Acres: The Watapuluwa Housing Scheme by Minnette De Silva’ has been specially designed by Jonathan Edward, and the exhibition identity has been created by Nia Thandapani. The exhibition features photographs, publications, historical documents, installations, architectural drawings and models alongside an artists’ film. ‘is this an architectural documentary? (2023) will be screened eight times daily, and ‘88 Acres’ opens to the public from 30 November 2023 to 7 July 2024. Thinal Sajeewa, Assistant Curator at the MMCA Sri Lanka noted that, “The works on display include sound material, commissioned drawings, architectural models, and video to help the audience better understand the Scheme and De Silva’s practice”, adding that, “The visitors are also able to engage with and appreciate De Silva’s thinking and writing. The exhibition is a must see for all those who are interested in or simply curious about architecture and Minnette De Silva.”

The exhibition is accompanied by a publication titled ‘Second Volume’, edited by Kaumadi Jayaweera and designed by Nia Thandapani, with contributions by the curator of the exhibition, Sharmini Pereira, and the artists, Irushi Tennekoon, Sumedha Kelegama, and Sumudu Athukorala. ‘Second Volume’ is generously supported by Art South Asia Project and the British Council, and will be launched in February 2024 to coincide with De Silva’s 106th birth anniversary.

Alongside the exhibition, the MMCA Sri Lanka will also offer a host of free public programmes and outreach activities aimed at students of schools and higher education institutions. These programmes will include specially curated Gallery Talks, Workshops, Reading Groups, and Tours by the curatorial team, artists, and Visitor Educators. The museum plans on placing specific focus on students of architecture, art history, fine arts, literature, and social sciences. All public programmes are made possible with the generous support of the Foundation for Arts Initiatives, the MMCA Sri Lanka’s Founding Patrons, and the British Council.

The exhibition is generously supported by the British Council, with additional support from Art South Asia Project, Foundation for Arts Initiatives, Foto Design, Advent Projects (PVT) Ltd, SriLankan Airlines, Lite87, Rhythm FM, and Rock FM. Generous support is also provided by the museum’s major benefactors and funders: John Keells Foundation, Nations Trust Bank, Fairfirst Insurance, and the Founding Patrons of the MMCA Sri Lanka.

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‘The Foreigners’ by the MMCA Sri Lanka Closes

‘The Foreigners’ exhibition by the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) closed on 22 October, after a successful six-month run at the museum located on the ground floor of Crescat Boulevard, Colombo 3. The show attracted 10,377 visitors, including 518 students from schools and higher educational institutes across the country.

Looking back at ‘The Foreigners’, the lead curator of the show Sandev Handy said, “My hope is that the exhibition helped begin a series of broader conversations not only on the relevance of contemporary art, but also on how the experiences of outsiderness, strangeness, and foreignness are in fact defining characteristics of our time.” He further expressed that, “The exhibition introduced a cacophony of voices which together testified to experiences that sit outside of, or depart from, neat and tidy attempts to conflate identity with nationhood or other reductive categories.”

‘The Foreigners’ displayed 19 photographs, performances, video artworks, installations, drawings, and paintings by 15 contemporary artists living and working in Sri Lanka, the United States, Sweden, and the United Kingdom. The artists included Arjuna Gunaratne (b. 1976), Danushka Marasinghe (b. 1985), Dinelka Liyanage (b. 1994), Hema Shironi (b. 1991), Hania Luthufi (b. 1989), Imaad Majeed (b. 1991), Janani Cooray (b. 1974), K K Srinath Chathuranga (b. 1987), Nina Mangalanayagam (b. 1980), Reginald S. Aloysius (b. 1970), S.H. Sarath (b. 1947), Shyama Golden (b. 1983), Stephen Champion (b. 1959), and Sumudi Suraweera (b. 1982).

Two of the artworks displayed titled ‘வாசல்/ එළිපත්ත/ Threshold’ (Part 1) and ‘வாசல்/ එළිපත්ත/ Threshold’ (Part 2) by Dinelka Liyanage, Hania Luthufi, and Sumudi Suraweera of the Musicmatters collective, were commissioned by the MMCA Sri Lanka in 2021 with the support of the European Union.

These two works, along with ‘Lacuna’ (2009) and ‘Balancing Act’ (2012) by Nina Mangalanayagam, and ‘the impossibility of leaving / the possibility of coming out’ (2022) by Imaad Majeed were presented at the MMCA Sri Lanka’s first international art event held in London on 12 October. The event took place alongside London’s Frieze Week (11–15 October 2023) at and in partnership with The Photographers’ Gallery London, and presented these specially curated selection of video works followed by a panel discussion. “Partnering with The Photographers’ Gallery in London during Frieze Week was a tremendous success. The event was sold out and the response to the artists’ films surpassed our expectations,” noted Sharmini Pereira, Chief Curator at the MMCA Sri Lanka. She added that, “We are pleased to know there is recognition of our work in London, and to have been able to find a new audience of supporters as we stride forward with our plans to establish a new museum of modern and contemporary art in Sri Lanka.”

This event also gave the international audiences an opportunity to engage in the global discourses on migrancy, national and communal borders, and transnational identities in relation to ‘The Foreigners’. On this regard Handy noted that, “We always saw ‘The Foreigners’ exhibition as a way of placing a stake in the ground, marking only the beginning of what is a much larger global conversation both for the MMCA Sri Lanka as an institution, and perhaps more importantly for everyone on or connected to this island having to reckon with a stratified and exclusionary world divided by boundaries.”

As part of its Public Programming curated alongside exhibitions, the museum also curated 65 events including nine Gallery Talk, eight Workshops, five Reading Groups, 11 Curator’s Tours, 22 Exhibition Tours by Visitor Educators, three performances, a Book Reading for children, and an activation of Danushka Marasinghe and K K Srinath Chathuranga’s performance ‘Text-ing-Be-ing’ (2019) exhibited in ‘The Foreigners’.

Mounting an entire exhibition and opening it for the public for six months straight is a mammoth undertaking. Handy extended his gratitude to his team at the MMCA Sri Lanka, noting that, “Looking back at this exhibition, I would especially like to recognize my colleagues from the MMCA Sri Lanka, who over the course of two years worked tirelessly and often invisible to help realise this landmark exhibition. Architect Jonathan Edward joined us to develop a careful and considered approach to the design of the exhibition space. Of our team members, Operations Manager Malshani Delgahapitya dealt seamlessly with all the complicated matters of operations and shipping, and Editorial Assistant Kaumadi Jayaweera and her team of Museum Associates worked on all the editorial and translation work that helped make the writing around the exhibition accessible.”

He further added that, “Pramodha Weerasekara, Curator Education and Public Programmes and her team developed a comprehensive, well rounded, and well attended series of Public Programmes. Our Gallery Manager Thariq Thahireen together with an incredible team of Visitor Educators were always welcoming and diligently speaking with every visitor who walked in, whilst juggling numerous events including the MMCA Afterschool programme.” Handy also said that, “This exhibition, like all our others, was supported by a multitude of individuals, too numerous to name. I think this is what it means to build an institution and thereby an infrastructure for the public benefit, by investing in the training, recognition, and support of people.”

All public programmes for ‘The Foreigners’ were made possible with the generous support of the European Union, whilst ‘The Foreigners’ exhibition was kindly supported by Anojie Amerasinghe, Hugues Marchand, Radhika Chopra, and Rajan Anandan, with additional support from the MMCA Sri Lanka’s Founding Patrons, the British Council, and Lite87. Generous support was also provided by the museum’s major benefactors and funders: John Keells Foundation, Nations Trust Bank, and Fairfirst Insurance.

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The MMCA Sri Lanka Hosts Its First International Event

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) will be hosting its first international art event, presenting a specially curated selection of artworks by Sri Lankan artists in London this October. Happening alongside London’s Frieze Week (11–15 October 2023), one of the most important events in the art world calendar, this event will feature a selection of video works from the MMCA Sri Lanka’s current exhibition titled ‘The Foreigners’, and will be followed by a panel discussion.

The event will be held on 12 October at, and in partnership with The Photographers’ Gallery London—a globally recognised museum which hosts the annual Deutsche Börse Photography Foundation Prize.

The screenings from ‘The Foreigners’ will include works by Dinelka Liyanage, Hania Luthufi, Imaad Majeed, Nina Mangalanayagam, and Sumudi Suraweera. It will be followed by a conversation between Sharmini Pereira, Chief Curator and Sandev Handy, Curator at the MMCA Sri Lanka and artists Nina Mangalanayagam and Reginald S. Aloysius, led by the UK based curator, writer, and researcher Hammad Nasar.

Speaking about the event, Handy said that, “Taking a part of ‘The Foreigners’ to London, especially during Frieze week, is significant because of the way in which the works in the exhibition speak to the entangled experiences of foreignness; a subject at the forefront of discussions on migration, climate, and asylum across the world.” He added that, “My hope is that this event will help bring local art histories of this island together to inform and fill the absences in global art histories, in turn resisting, reimagining, and re-mixing well-worn tropes of how otherness is categorised and foreignness is perceived.”

This major event has been curated to bring greater international attention to the MMCA Sri Lanka, the country’s first museum focused on the display, research, collection, and conservation of modern and contemporary art for the benefit and enjoyment of the general public, schools, and tourists. “Our partnership with The Photographers’ Gallery in London during such an important time in the art world calendar will bring the MMCA Sri Lanka to the attention of a global audience,” noted Pereira, adding that, “We want to build on what has already happened in the international art scene by amplifying it further, and most importantly by shaping the conversation from a position of research, local knowledge, and growing expertise as the museum starts to take shape.”

Frieze London is one of the world’s most influential contemporary art fairs, focusing only on contemporary art and living artists. The 2023 edition of the fair marks its 20th anniversary. Speaking on this milestone for the MMCA Sri Lanka, Orlando Edwards, British Council Sri Lanka Country Director said, “we are delighted to support the MMCA Sri Lanka curators’ participation at The Photographers’ Gallery in London event alongside Frieze London, as part of the 75th anniversary celebrations of UK-Sri Lanka diplomatic ties in 23/24.” He further noted that, “‘The Foreigners’ has been a great success, having attracted large audiences in Sri Lanka, provoked a lot of discussion, and stimulated all sorts of interesting responses from different sectors of society”.

This event is also sponsored by Sifani Jewellers based in Sri Lanka, and their Director Raaid Sahabdeen stated that, “Sifani is proud to be supporting the MMCA Sri Lanka’s partnership with The Photographers’ Gallery in London, because we recognise the importance of bringing international attention to the work of the museum in its mission to establish the country’s first museum of modern and contemporary art.” He added that, “Sifani intends to contribute to the establishment of museums through its own work, which makes partnering with a museum like the MMCA Sri Lanka a good way to build community and increase the cultural offer beyond what we currently have, as far as museum experiences in the country are concerned.”

‘The Foreigners’ will close at the MMCA Sri Lanka on 22 October. The museum is open daily from 10am to 6pm (except on Poya days and public holidays) at the ground floor of Crescat Boulevard, Colombo 3, and entrance to the museum and all its public programmes is free. Information about the museum, and its exhibitions and public programmes can be found via their website www.mmca-srilanka.org, or on Facebook at facebook.com/mmcasrilanka and Instagram at instagram.com/mmcasrilanka/

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Why Sri Lanka Needs To Look at Art Tourism

“Tourism would not exist without culture. Culture is one of the principal motivations for the movement of people, and… any form of tourism will provoke a cultural effect, on the visitor as well as the host.”

Professor Jafar Jafari, expert and theoretician of the tourism and hotel industry

Following the upheaval caused by a pandemic and an economic and political crisis, Sri Lanka’s tourism industry has begun a promising recovery in 2023. According to the Sri Lanka Tourism Development Authority (SLTDA), the number of tourist arrivals has been on an upward trend since January this year, with the purpose of travel of nearly 52% of the tourists arriving in July 2023 being on pleasure or vacation.

Speaking of tourists who travel to Sri Lanka in search of art, culture, and history, Stephani Fernando, Artisan in Travel at ArTravele, the luxury bespoke brand of Walkers Tours said, “As a country, we must look into how best we can cater to their needs. It is important to pair arts and culture with tourism, through which we can bring visitors to specific areas of the country. This will result in community wellbeing by invigorating local areas through creative practice.”

An aspect of tourism that has the potential to attract tourists of a similar interest group is art tourism, which involves travelling to experience and engage with art and art-based activities at destinations such as art festivals, galleries, and museums. With an intensely rich history, culture, and natural beauty, Sri Lanka is an ideal destination for art tourism. The country has a diverse range of artistic traditions that include music, dance, literature, and visual arts, and modern and contemporary artists who have been making a name for themselves in both local and international art scenes.

Sri Lanka can develop multiple methods to promote its art, culture, and tourism sectors. Speaking on how this can be achieved, hotelier, restaurateur, fashion and interior designer, and event planner Nayantara ‘Taru’ Fonseka said, “We need to promote cultural tourism through packages that highlight the country’s unique art and cultural experiences. This can include visits to historical sites, art galleries, museums, and festivals of traditional music and dance. If we promote local artisans, Sri Lanka can create a unique cultural experience for tourists while also supporting local livelihoods.”

Developing and investing in art and cultural hubs that bring together artists, audiences, and patrons of arts is extremely important to sustain this industry. Such communities can help foster a vibrant artistic community while attracting tourists, thus connecting the art tourism industry in Sri Lanka to the wider region. The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is an organisation that is working towards establishing a community of artists, patrons, and audiences around modern and contemporary art in Sri Lanka. Speaking on the work they do to establish a market for art tourism in Sri Lanka, Sharmini Pereira, Chief Curator at the MMCA Sri Lanka said, “In order to attract tourists, Colombo needs to have a strong cultural offer. The MMCA Sri Lanka is the only museum in the country dedicated to displaying modern and contemporary art. Modern art museums, especially those of architectural note, are tourism drivers.” She further added, “The Tate London, the Guggenheim Bilbao, MoMA New York, and Singapore Art Museum are not only tourist attractions but have helped to establish these cities as cultural destinations. We have the artists and the art history, all that is missing is a permanent modern art museum, which is what the MMCA Sri Lanka is endeavouring to establish.”

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The MMCA Sri Lanka and Selyn Introduce a Limited Edition Series of Fabrics

The sarong and scarves drawing inspiration from two George Keyt paintings are must-have pieces for all art lovers!

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) has collaborated with the Design for Impact initiative by Selyn to create a set of fabrics that respond to two paintings by George Keyt (1901–1993). The limited edition sarong and two scarves have been produced using the design and elements of the paintings titled ‘The Kandyan Bride’ (1951) and ‘The Offering’ (1948). Both paintings were on display in Rotation 3 of ‘Encounters’, the second exhibition by the MMCA Sri Lanka which closed in March 2023.

The collaboration came about when Sharmini Pereira, Chief Curator of MMCA Sri Lanka approached Selyna Peiris, Director of Selyn with an invitation to create a unique Selyn fabric in response to the two paintings. Speaking about the partnership Pereira said, “We are delighted with the outcome of this initiative with Selyn because it demonstrates how contemporary designers can help us look at the work of modern artists anew. The Selyn designers produced items that are not only exquisitely made but conceptually rooted in the stories that are part of this country’s art histories. Their agility to move from commercial large-scale products to limited edition collectables is something to be celebrated and definitely continued.”

After visiting the MMCA Sri Lanka to look at the two paintings by George Keyt, the designers from Selyn were able to identify the distinctive fabrics that Keyt was referencing in both paintings, specifically in relation to the osariya or Kandyan sari worn by the female figure in ‘The Kandyan Bride’ (1951). From here, they went away to research the fabrics in more depth, and over the next three months, they developed three distinctive handloom fabric designs that responded to each of the paintings. The intricate detailing and colours used by the designers Seemanthani Wanduragala, Jola Hauschild, and Lakshani Jayathilake not only responded to the colour palette used by Keyt but also explored the content of each painting conceptually.

For example, the fabric that responded to Keyt’s painting ‘The Offering’ (1948) combines the attires of the two figures in the painting into one fabric. The scarf is hence made up of green and purple stripes that borrow from the plaid clothing worn by the left-hand figure, which sits next to a contrasting panel of stripes that are drawn from the attire of the figure on the right-hand side of the painting. Like Keyt’s work, the scarf has a distinctive geometrical composition to it, alluding to the two figures and their symmetrical positioning on either side of the painting. Inspired by the ambiguity that surrounds the relationship between the two figures, the Selyn design team have created a scarf that can be worn by anyone, regardless of their gender identity. The other two fabrics take inspiration from ‘The Kandyan Bride’ (1951), drawing from the osariya worn by the female figure in the painting.

Selyn’s handwoven fabric stems from a 2500-year history of handloom weaving in Sri Lanka. All fabrics are fair trade, vegan, cruelty-free, and handwoven by Selyn’s artisans based in their Wanduragala workshop.
Speaking on the partnership with the MMCA Sri Lanka, Selyna Peiris from Selyn said, “We are pleased to partner with the MMCA Sri Lanka to create this limited edition sarongs and scarves that celebrate how the familiar can be reimagined in the hands of other artists and designers. By wearing and gifting these products you are supporting the Selyn Foundation and the MMCA Sri Lanka.” She added that, “These fabrics have been produced under Selyn’s Design for Impact programme which is a joint initiative between Selyn and the Selyn Foundation, to collaborate with the world’s leading designers, brands, universities, and organisations to raise awareness about, revive, and sustain Sri Lanka’s craft industry, and its artisans who are mainly women. We are happy to collaborate with an organisation like the MMCA Sri Lanka which also provides cultural entrepreneurship, leadership development, and financial management skills and opportunities to women.”

To order your limited edition scarf or sarong, send a direct message on the MMCA Sri Lanka Instagram page instagram.com/mmcasrilanka/ or Facebook page facebook.com/mmcasrilanka/

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Behind the scenes of ‘The Foreigners’ at the MMCA Sri Lanka

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) opened its new exhibition titled ‘The Foreigners’ on 4 May 2023, at its premises on the ground floor of Crescat Boulevard, Colombo 3. Curated by Sandev Handy, Curator and Sharmini Pereira, Chief Curator at the MMCA Sri Lanka, this exhibition is the first by the museum to focus solely on contemporary artists. ‘The Foreigners’ is the culmination of a year’s worth of planning, design, and production, which brought together 19 artworks that include photographs, performances, video artworks, installations, drawings, and paintings.

Handy, the lead curator of the exhibition, shared that, “The impetus of this exhibition emerged from a research interest of how Sri Lankan contemporary living artists were reflecting on their relationship to home through their work, regardless of them living or being a citizen in this country. What emerged through this research was a selection of artists who see themselves as foreigners and testify to this experience, whilst defying and going beyond the rigid frameworks of national borders.” He went on to invite the public to visit the exhibition and “to reflect on how the experience of being a foreigner, an outsider, or a stranger is in fact a familiar feeling shared by many and a defining characteristic of being connected to this island.”

The MMCA Sri Lanka takes research very seriously, especially when it comes to mounting a museum-quality exhibition. Handy noted that, “Research, planning, and exhibition design has always been crucial to our work, as we move towards building a world class museum. Many of the works in the show emerged from concerted research online and in person, through studio visits, travel, and relationships nurtured with institutions, collectors, and artists.” He further added that, “Some of the works, however, came from mine and Sharmini’s previous research, references from previous exhibitions we had seen, and artist practices we have been observing over time.”

‘The Foreigners’ exhibition has been specially designed by architect and designer Jonathan Edward, who has worked closely with the MMCA Sri Lanka curatorial team over the course of six months, while the exhibition identity for ‘The Foreigners’ has been designed by Emile Molin. Speaking on his design process, Edward said that, “The exhibition design of ‘The Foreigners’ was a response to the curatorial prospectus and narrative put forward by Sandev Handy and Sharmini Pereira. The design itself was conceptualised around the introduction of a single ‘Foreign object’ and how it would affect the space and the visitor experience.” He further stated that, “Colour plays a key role in this design, with ‘Signal Orange’ being used to guide visitors through the exhibition.”

This exhibition design has also taken into consideration the Public Programmes and group visits that take place at the museum alongside the exhibition, for which large crowds of students and other visitors gather in the galleries. Commenting on these concerns, Edward added that, “What sets the MMCA Sri Lanka apart is its people-focused approach to exhibitions and art education. Thus the design of the space is flexible and free flowing, providing space for the diverse public programmes that the MMCA Sri Lanka has to offer.”

‘The Foreigners’ features 15 artists who live and work in Sri Lanka, Sweden, the UK, and the USA. All artworks on display are on loan to the MMCA Sri Lanka from lenders, including artists, who are based in India, Sri Lanka, Sweden, the UK, and the USA. Speaking of the manner in which the MMCA Sri Lanka acquired the artwork for ‘The Foreigners’, Handy noted that, “In the absence of a permanent collection, we rely primarily on securing loans of artworks from artists, collectors, and institutions for our exhibitions. ‘The Foreigners’ is the first exhibition by the MMCA Sri Lanka to have almost half its artworks coming in as loans from outside of Sri Lanka, often directly from the artists themselves.”

Following the trilingual language practice of the MMCA Sri Lanka, all texts on display in ‘The Foreigners’ including the labels for artworks have been produced in English, Tamil, and Sinhala languages. A group of translators, copyeditors, and proofreaders who are part of the MMCA Sri Lanka’s Museum Associates had come together to support the museum’s Editorial desk in creating these texts. Speaking of the language practice at the MMCA Sri Lanka, Handy reflected that, “Most writing about contemporary art is filled with jargon and terminology that is impenetrable to audiences. At the MMCA Sri Lanka we’ve taken it upon ourselves to make sure that the labels, or what we call the Extended Captions, of artworks are accessible, digestible, and invites engagement with the artwork.”

He further said that, “Prioritising accessibility in our writing, however, has to sit alongside doing justice to the artworks and the artists. We thus endeavoured to write captions in a way that was incisive to each work, whilst in conversations with the artists of the works themselves. Through our trilingual captions my hope is that everyone might feel invited to reflect on the work and to explore their familiarity with contemporary art.”

‘The Foreigners’ will be on display until 22 October 2023 at the MMCA Sri Lanka premises. The museum is open daily from 10am to 6pm (except on Poya days and public holidays) at the ground floor of Crescat Boulevard, Colombo 3, and entrance to the museum and all its public programmes is free. Information about the museum, and its exhibitions and public programmes can be found via their website www.mmca-srilanka.org, or on Facebook at facebook.com/mmcasrilanka and Instagram at instagram.com/mmcasrilanka/.

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MMCA Sri Lanka Builds Web3 Solutions at the WAC Fellowship

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) joined eleven other cultural institutions from around the world in successfully completing the Web3 for the Arts and Culture (WAC) Fellowship, led by We Are Museums based in Paris and Berlin.

This was the second four-month innovation laboratory offered under the programme, which offered online training and mentoring that onboarded these institutions onto Web3. The participants also explored and prototyped blockchain-based projects, which were presented at an online Demo Day on 25 May 2023.

MMCA Sri Lanka staff members Ritchell Marcelline and Thinal Sajeewa, Assistant Curators (Exhibitions) teamed up to collaborate with a tech integrator and—bolstered by blockchain and UI/UX experts— dedicated the last month of the program to prototyping and developing their own blockchain application. “Our final project, ‘Museum of School,’ entailed the development of a prototype learning and training portal designed specifically for the Visitor Educators of the MMCA Sri Lanka. This platform incorporated NFT collectibles as incentives for completing various courses, including art security and handling, observation and slow-looking techniques, and effective visitor engagement techniques,” Sajeewa noted. He further added that, “While initially aimed at internal staff of the MMCA Sri Lanka, specifically the Visitor Educators, this program has the potential for broader implementation across Sri Lankan institutions, museums, schools, and even the wider South Asian region.”

Speaking of his experience at the WAC Fellowship, Sajeewa said that, “The WAC fellowship provided a valuable opportunity to explore the intricacies of Web3 technology. The program’s well-structured and systematic approach enabled us to grasp the larger vision behind each weekly session held.”
Other participants in the programme include the Australian Centre for the Moving Image (Australia), Belvedere Museum (Austria), Haus der Kunst München (Germany), House of Electronic Arts (Switzerland), French Ministry of Culture (France), Institute for Sound and Music (Germany), Musée d’Orsay and Musée de l’Orangerie (France), National Taras Shevchenko Museum (partnering with ArtAegis and Modern Art Research Institute) (Ukraine), The Reel Store (United Kingdom), The Royal College of Art (United Kingdom), and the Wooko Makandie Foundation (The Netherlands).

The programme covered blockchain’s role in the culture sector, its impact on identity, security, legal and social implications, gaming, metaverse, Web3 communications, and community building. In total, the fellows had access to 25 trainers, 50 mentors, 35 lessons, 10 practical challenges, and 15 case studies. “The WAC Fellowship stands at the forefront of a cultural metamorphosis, empowering institutions to harness the immense potential of blockchain technology,” said Diane Drubay, Founder of We Are Museums and WAC-Lab.

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Public Programmes at the Museum of Modern and Contemporary Art Sri Lanka

Public programmes allow the general public to experience museums beyond what is offered in walk-in visits, by welcoming visitors to engage in creative, reflective, and recreational activities in response to what is offered on exhibition and gallery spaces. The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) opened in December 2019, and has facilitated public programmes for its visitors since its inception. These free programmes are curated alongside the museum’s exhibitions, as part of its efforts to engage the public with the artworks on display, while welcoming educational and recreational opportunities for the participants.

The museum’s public programmes include and are not limited to Gallery Talks, Workshops, Performances, Poetry Readings, a Poetry Club, Curator’s Tours, Exhibition Tours, and Puzzle Days. They provide opportunities for the public to receive art-related education, acquire further knowledge on socio-cultural and political discourses related to art and culture, and enjoy themselves in the rejuvenating context of the country’s first museum of modern and contemporary art.

Sharmini Pereira, Chief Curator at the MMCA Sri Lanka said that, “Other than being free, our Public Programmes are geared towards providing more access to modern and contemporary art because beyond having commercial value, it provides such a stimulating means to reflect on the societies we live in. As such, we also recognise that modern and contemporary art can also be baffling to some audiences, which is why our public programmes are key.” Pereira added that, “Building audiences for our planned permanent facility is part of this exercise, and we have seen our audience widen and multiply since our inception.”

The free public programmes by the MMCA Sri Lanka are led by its Education Department, and curated by Pramodha Weerasekera, Assistant Curator of Education and Public Programmes. Weerasekera noted that, “These programmes are learning experiences for all audiences, often revolving around the themes of our exhibitions. Our aim is to ensure that everyone leaves an event with a better understanding and awareness about Sri Lankan modern and contemporary art, relevant thematics, discourses, skills, and much more.” She further added that “Resource persons who collaborate with us on Public Programmes are experts who work with a sensibility about art, and we are grateful to have worked with more than a 100 of them so far.”

A host of new and exciting free public programmes await the museum’s audiences with its new exhibition titled ‘The Foreigners’, which will be on display until 22 October 2023 at its premises on the ground floor of Crescat Boulevard, Colombo 3. ‘The Foreigners’ brings together the works of 15 contemporary artists, who use varying media to address the entangled ways in which foreignness is inscribed onto them, marking them as strangers, outsiders, or transgressors. Public programmes during ‘The Foreigners’ will include Gallery Talks with artists and experts of the ideas and disciplines related to the artworks, along with performances, workshops, and more. The programming will also introduce a new series of Reading Groups that will critically read literary texts alongside the artworks on display.

All public programmes are made possible with the generous support of the European Union, whilst ‘The Foreigners’ exhibition is kindly supported by Anojie Amerasinghe, Hugues Marchand, Radhika Chopra, and Rajan Anandan, with additional support from the MMCA Sri Lanka’s Founding Patrons, the British Council, and Lite87. Generous support is also provided by the museum’s major benefactors and funders: John Keells Foundation, Nations Trust Bank, and Fairfirst Insurance.

The museum is open daily from 10am to 6pm (except on Poya days and public holidays) at the ground floor of Crescat Boulevard, Colombo 3, and entrance to the museum and all its public programmes is free. Information about the museum, and its exhibitions and public programmes can be found via their website www.mmca-srilanka.org, or on Facebook at facebook.com/mmcasrilanka and Instagram at instagram.com/mmcasrilanka/.

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The Museum of Modern and Contemporary Art Sri Lanka Opens ‘The Foreigners’

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) opened its new exhibition titled ‘The Foreigners’ on 4 May 2023, at its premises on the ground floor of Crescat Boulevard, Colombo 3. Curated by Sandev Handy and Sharmini Pereira, ‘The Foreigners’ brings together the works of 15 contemporary artists who use varying media to address the entangled ways in which foreignness is inscribed onto them, marking them as strangers, outsiders, or transgressors. Together their works resist, reimagine, and re-mix well-worn tropes of how otherness is categorised and foreignness is perceived. These works include photographs, performances, video artworks, installations, drawings, and paintings.

The exhibition has been specially designed by Jonathan Edward and the exhibition identity has been created by Emile Molin. Speaking about the exhibition, lead curator of the exhibition Sandev Handy noted that, “The Foreigners considers how contemporary artists grapple with often contradictory ideas of home, borders, and belonging. We imagine this exhibition as a complicated cacophony of both local and diasporic voices coming together to testify to their experiences of place and displacement, inviting visitors to listen, tune in, and parse through them.” He further added that, “My hope is that this exhibition is a starting point; a stake in the ground from which we may begin to recognise the experiences of the foreigner, the outsider, and the stranger, as crucial artistic voices towards helping us critically examine how borders often imposed upon us by dominant cultural narratives may be questioned and even dismantled.”

‘The Foreigners’ features 15 contemporary artists who include Arjuna Gunaratne (b. 1976), Danushka Marasinghe (b. 1985), Dinelka Liyanage (b. 1994), Hema Shironi (b. 1991), Hania Luthufi (b. 1989), Imaad Majeed (b. 1991), Isuru Kumarasinghe (b. 1987), Janani Cooray (b. 1974), K K Srinath Chathuranga (b. 1987), Nina Mangalanayagam (b. 1980), Reginald S. Aloysius (b. 1970), S.H. Sarath (b. 1947), Shyama Golden (b. 1983), Stephen Champion (b. 1959), and Sumudi Suraweera (b. 1982). Two of the artworks titled ‘வாசல்/ එළිපත්ත/ Threshold (Part 1)’ and ‘வாசல்/ එළිපත්ත/ Threshold (Part 2)’ by Dinelka Liyanage (b. 1994), Hania Luthufi (b. 1989) and Sumudi Suraweera (b. 1982) of Musicmatters, were commissioned by the MMCA Sri Lanka in 2021 with the support of the European Union. Lenders to the exhibition are based in India, Sri Lanka, Sweden, the UK, and the USA.

Speaking about the exhibition, Sharmini Pereira, Chief Curator at the MMCA Sri Lanka said, “‘The Foreigners’ will give the museum’s visitors an insight into the works of contemporary artists living and working in Sri Lanka, the United States, Sweden, and the United Kingdom. One of the most important aspects of our work is to support and showcase the work of living artists; an opportunity not afforded to the generation of modern artists”, adding that “We look forward to welcoming visitors to an exhibition that we believe touches on many contemporary issues about who we are and where we are from.” Pereira further stated that “This is also our first exhibition to receive support from a group of individuals who reside outside of Sri Lanka and who wish to bring international attention to the country’s many contemporary artists. Through their example, we hope that other individuals will do similar and support research and curation around contemporary art.”

The MMCA Sri Lanka will also offer its visitors a host of free public programmes alongside ‘The Foreigners’. These programmes include Gallery Talks with artists and academics, Workshops conducted by art practitioners and professionals, guided Curator’s and Exhibition Tours, a Poetry club, performances, and other special events. All public programmes are made possible with the generous support of the European Union, whilst ‘The Foreigners’ exhibition is kindly supported by Anojie Amerasinghe, Hugues Marchand, Radhika Chopra, and Rajan Anandan, with additional support from the MMCA Sri Lanka’s Founding Patrons, the British Council, and Lite87. Generous support is also provided by the museum’s major benefactors and funders: John Keells Foundation, Nations Trust Bank, and Fairfirst Insurance.

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‘Encounters’ by the Museum of Modern and Contemporary Art Sri Lanka Closes

‘Encounters’ curated by the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) closed on 19 March, at its premises on the Ground floor of Crescat Boulevard, Colombo 3. The exhibition opened on 10 February 2022, and featured 59 loaned artworks by 15 artists from across the country and Berlin.

Each of the six displays in ‘Encounters’ revolved around and responded to a specially chosen painting drawn from the John Keells Holdings or George Keyt Foundation Collections. The exhibition included paintings, drawings, performances, installations, and photographs from the 1950s to the present by Abdul Halik Azeez (b. 1985), Aubrey Collette (1920–1992), Martin Wickramasinghe (1890–1976), Senaka Senanayake (b. 1951), George Keyt (1901–1993), Pradeep Thalawatta (b. 1979), Asai Rasiah (1946–2020), the Afro-Asian Writers’ Bureau, the Permanent Bureau of Afro-Asian Writers, Richard Gabriel (1924–2016), Susiman Nirmalavasan (b. 1982), Firi Rahman (b. 1990), Gamini Ratnavira (b. 1949), Ismeth Raheem (b. 1941), A. Mark (1933–2000), Nelun Harasgama (b. 1959), and Janani Cooray (b. 1974).

Speaking of ‘Encounters’, Sharmini Pereira, Chief Curator of the MMCA Sri Lanka noted that, “By rotating displays, we showed what we could do in a small exhibition space, without compromising on content. Each of the six displays provided a wide array of subject matter catering to many different interest groups.” She further said that “The imperative behind ‘Encounters’ was to show how the modern and contemporary can be seen hand in hand, and how in turn, research based curatorial displays and exhibition design can bring about ways of seeing that raise new questions about the familiar and unknown.”

‘Encounters’ attracted over 20,000 visitors who enjoyed the artwork on display and the museum’s public programmes for free. The MMCA Sri Lanka also curated 132 free public programmes which included 20 Gallery Talks, 30 Workshops, 30 Curator’s Tours, three sessions of the MMCA Sri Lanka’s first Poetry Club, four Poetry Readings, 10 Exhibition Tours by Visitor Educators and Museum Associates, and 40 special events including Puzzle Days, performances and film screenings. The museum’s outreach programmes facilitated a further 40 Guided Tours for groups that included 887 students from schools and universities. The MMCA Sri Lanka also conducted a four sessioned Writing Workshop with Kanya d’Almeida in March 2023.

“We are extremely thankful to the European Union, Nations Trust Bank, the Foundation for Arts Initiatives, and the John Keells Foundation for supporting the MMCA Sri Lanka’s Education and Public Programmes,” said Pereira, adding that “Public engagement with the museum’s activities is essential as we develop greater visibility and support for building a permanent museum of modern and contemporary art for the country.”

Over the coming year, the MMCA Sri Lanka plans to open two more exhibitions. Curated by Sandev Handy and Sharmini Pereira, ‘The Foreigners’ will open in early May featuring a collection of contemporary Sri Lankan artworks by artists such as Imaad Majeed (b. 1991), Nina Mangalanayagam (b. 1980), and the Musicmatters collective. Following which, the MMCA Sri Lanka will open an exhibition focussed on Sri Lankan architect Minnette De Silva in October 2023, curated by Sharmini Pereira and Ritchell Marcelline.

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The Museum of Modern and Contemporary Art Sri Lanka Launches Term 3 of ‘MMCA Afterschool’

In October 2022, the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) launched ‘MMCA Afterschool’, an initiative that provides children aged 6–10 with stimulating, fun, and collaborative learning experiences in the context of the country’s first museum of modern and contemporary art. The programme has successfully completed two terms, with the participation of 20 children in Term 1 (October–December 2022), and 30 children in Term 2 (January–February 2023).

MMCA Afterschool is a programme led by the Education Department of the MMCA Sri Lanka, and delivered with the support of the Visitor Educators (VEs) of the museum. Speaking on the conceptualisation and planning that led to the programme, Sanuja Goonetilleke, Curator of Learning and Training noted that, “The MMCA Afterschool programme began with the question ‘how can a modern and contemporary art museum based in Colombo cater to a child?’”, adding that, “Observing how children in Sri Lanka typically experience syllabi and assessment-based ‘cramming’ in schools, we felt that opportunities which make space for children to develop their overall life skills in formal educational settings are sporadic at best. MMCA Afterschool is hence offered as an educational, yet fun programme that contributes to a child’s overall developmental and learning needs in Sri Lanka”.

The Visitor Educators of the MMCA Sri Lanka guide the children through all the activities that span across four two-hour sessions. Goonetilleke reflected on the learning and training opportunities that the programme opens for the VEs, noting that “To keep things novel and interesting for children, no two sessions of MMCA Afterschool are exactly the same. This means that behind the scenes, our VEs research, create, tweak, deliver, and evaluate activities on a weekly basis.” She continued by adding “I am incredibly proud of how our VEs–some who have prior teaching experience and some who have none–have taken on these responsibilities and new roles.”

These sessions engage the children in conversations, tours, discussions, creative writing, object/art-making, movement-based activities, treasure hunts, and much more. Speaking on the enthusiasm shown by the children and their parents/guardians/caregivers alike towards the programme, Pramodha Weerasekera, Assistant Curator of Education and Public Programmes said that, “The reception from parents has been wonderful. Many of them are excited about the creative freedom with guidance that the programme provides. The programme is also an opportunity for children to gather and socialise after almost three years of reduced social interaction.”

The MMCA Sri Lanka is an education-led initiative that aims to establish a public museum dedicated to the display, research, collection, and conservation of modern and contemporary art for the benefit and enjoyment of the general public, schools, and tourists. As a space that facilitates learning experiences at the intersections of education, entertainment, and creative engagement, the MMCA Sri Lanka is an ideal context for children to engage in learning through interaction with Sri Lankan modern and contemporary art. Parents/guardians/caregivers are invited to visit the museum with their children, at the Ground floor of Crescat Boulevard, Colombo 3, from 10am–6pm daily. Parents interested to learn more about MMCA Afterschool may email [email protected].

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February 2023

Promising Young Professionals Team Up at the Museum of Modern and Contemporary Art Sri Lanka

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is an education-led initiative that aims to establish a public museum dedicated to the display, research, collection, and conservation of Sri Lankan modern and contemporary art for the benefit and enjoyment of the general public, schools, and tourists. During a time when most other museums around the world were downsizing, a dynamic group of young professionals have been driving this much needed initiative forward. Since it launched in 2019, the team behind MMCA Sri Lanka has grown from a four to a 12 person full-time team. This growing team of professionals includes Pramodha Weerasekera, Assistant Curator, Education and Public Programming, Sanuja Goonetilleke, Curator, Learning and Training, and Thinal Sajeewa, Research Assistant. These promising young professionals have shared their thoughts on their journeys at the MMCA Sri Lanka.

What are the highlights of your time at the MMCA Sri Lanka?

Pramodha: Since joining in 2019 as part of the founding team at the MMCA Sri Lanka, the main highlight for me was our first exhibition ‘one hundred thousand small tales’. I enjoyed supporting the curatorial process behind all the public programmes and the school/university visits we organised. A school visit I will always remember was a special field visit we organised for 60 preschool children on Valentine’s Day, 2020.

Sanuja: Seeing our Visitor Educators receive positive feedback from visitors, and hearing an intern indicate an interest in a long-term career path in this field are always moments of highlight for me. A highlight from just last year has to be the completion of the Museum Intensive, our first collaborative international training program, after a year of online research and planning.

Thinal: One of the highlights was the opportunity to intern with the museum, which ultimately led to my full-time position. I am grateful for the open-minded and supportive work environment, as well as the guidance and mentorship provided by my line managers. These factors have contributed significantly to my personal and professional growth since joining the MMCA Sri Lanka.

How have your responsibilities within the team evolved since joining?

Pramodha: In the first year my work involved researching the educational landscape of Sri Lanka and greater Colombo, and curating the museum’s Outreach programme. As our second exhibition ‘Encounters’ came into being, my work evolved with the growing approach to public programmes. I was soon working with a significant number of resource persons to curate and execute public programmes for all target audiences.

Sanuja: I applied to and joined the MMCA Sri Lanka in mid-2021 as its first Assistant Curator of Learning and Training. I was promoted to Curator of Learning and Training in early 2022. My role entails research, management, and evaluation of all our training activities. In addition, I’ve increasingly begun to ideate new, longer term programs.

Thinal: Upon joining the MMCA Sri Lanka as a Visitor Educator, my initial responsibilities included facilitating interactions with visitors and assisting public programmes. During my internship, I had the opportunity to engage further with the artworks during production. In my current full-time position, I am responsible for conducting research and cataloguing a collection, which I think reflects the evolution and increasing seriousness of my responsibilities at the museum.

Why do you want to work at the MMCA Sri Lanka?

Pramodha:

My values related to art align very closely with the museum’s approach. I have always believed in the museum’s larger mission of establishing a museum of modern and contemporary art in Sri Lanka, and especially the drive of the core team and its founders to face this challenge. I am also driven by my passion to give back to the communities of students, art educators, children, intellectuals, and artists through knowledge sharing and learning experiences.

Sanuja:

Museum-based learning and creative placemaking are stubbornly tangible phenomena in an increasingly digital-obsessed world. I like that. My current role in Learning and Training often looks to the future. Therefore, I value contributing to the MMCA Sri Lanka’s journey to being such a culturally and economically symbolic organisation in time.

Thinal:

I was not initially interested in art, but upon receiving an opportunity to work at the museum, I realised the potential for personal growth in this field. As such, I am motivated to develop my skills and eventually become a curator at the museum.

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February 2023

Headline: Pramodha Weerasekera from the MMCA Sri Lanka speaks at the Museum of Art and Photography, Bangaluru

Pramodha Weerasekera, Assistant Curator of Education and Public Programmes at the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) will be speaking at the conference ‘Beyond Theory: Mapping Feminist Practices in the Contemporary’ organised by the Museum of Art and Photography (MAP) in Bangalore, India. The conference will be held on 24–25 March 2023, and Weerasekera has been invited to participate in a panel about curatorial practices in South Asia, which will be held on 24 March.

The conference will be held in conjunction with an exhibition titled “Visible/Invisible: Representation of Women in Art through the MAP collection”. The focus of the conference will be on feminist practices in visual arts, and Weerasekera will speak about a feminist approach to public programmes at museums.

“I am excited to be part of a panel of emerging professionals in the South Asian art community at this conference. While we often think of Public Programmes at a museum as just executing an event, it is much more, as it involves spurring conversations among participants. This requires dedicated creative thinking about the artworks on display as well as the intended audience. I think MAP has taken a significant step towards thinking about programming at arts organisations through a feminist lens,” noted Weerasekera.

The subject matter of her talk will be the conversations Weerasekera has initiated among participants of Gallery Talks, Workshops, and Special Performances at the MMCA Sri Lanka, about themes related to living a feminist life every day. Central among them will be the conversations she facilitated on divorce and family law, the stigma around menstruation, as well as women’s labour as a contribution towards the economy, at the public programmes hosted by the MMCA Sri Lanka in relation to Women’s Day 2022. Weerasekera will also touch upon the feminist approach taken towards the Gallery Talks relating to the artworks of George Keyt (1901–1993), Nelun Harasgama (b. 1959), and Janani Cooray (b. 1974) that are on display in Rotation 3 of MMCA Sri Lanka’s exhibition titled ‘Encounters’.

Reflecting on the significance of this conference upon her career as a museum professional, Weerasekera stated that, “Since 2019, through my work in Education and Public Programmes at the MMCA Sri Lanka, I have been able to contribute significantly in engaging members of the public with the visual arts. I look forward to this opportunity to reflect on my work as a curator and what it means to conceptualise and execute public experiences informed by feminist thinking.”

Weerasekera will be speaking alongside Srajana Kalkini (based in Chennai, India) and Veeranganakumari Solanki (based in India).

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February 2023

Headline: Sandev Handy and Ritchell Marcelline of the Museum of Modern and Contemporary Art Sri Lanka on a Residency at the Singapore Art Museum

Sandev Handy, Curator and Ritchell Marcelline, Assistant Curator at the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) took part in the EX-SITU: Art Spaces Residency at the Singapore Art Museum (SAM) from 10 January to 6 February 2023.

SAM has introduced this residency as ‘a museum-run programme committed to supporting the development of innovative artistic and curatorial practices that respond to current global discourses’. During their residency Handy and Marcelline focused on understanding current backend museum practices, exhibition making strategies, and the future institutional and pedagogical trajectories of the Singaporean museum landscape, in order to examine what an art museum in the making in Sri Lanka can absorb from it. They further directed their attention to learning new approaches around audience engagement, developing workflows and best practices for museums, along with training in collections management and conducting curatorial research that connect discourses in South East Asia to those in Sri Lanka and the broader South Asia region.

Speaking about the Ex-Situ Residency, Marcelline recalled “The time in Singapore was crucial to understanding what it takes to build and grow sustainable institutions dedicated to public benefit. I learned the mechanics of big ideas such as developing a long-term vision, growing and training a dedicated team, and planning years ahead to structurally prepare an institution to grow into its future projects.” He further noted that “The training on essential smaller components such as back-end processes, timelines, and budgets was also extremely helpful. Most importantly, the Ex-Situ Residency made me reflect on the necessity of not being afraid to experiment.”

Handy and Marcelline’s itinerary included visits to institutions such as the National Art Gallery Singapore, Singapore Art Museum, Heritage Conservation Centre, the National Archives, the National Museum and the STPI: Creative Workshop and Gallery, and independent art spaces such as Hot House, Aliwhal Art Centre, OH! Open House, and Kult Kafe. They further took part on a walk across Punggol with Farhan Idris, met with Eugene Tan, Director of National Gallery Singapore and Singapore Art Museum and joined Shabbir Hussain Mustafa on a Residency Thursday Talk. They also visited the Singapore Art Week events, exhibitions, galleries, and talks, and the Singapore Biennale exhibitions.

“What underscored my time in Singapore, was learning how crucial it is for Sri Lanka that both state and private bodies recognise the importance of funding the contemporary arts and cultural fields, and recognise the role they play in the country’s future,” said Handy, adding that “My time there showed me the rich culture of exchange and conversation across the arts in South East Asia, and how important it is to not only facilitate a similar conversation in South Asia, but bridge the gulf of discourses that exist between South Asia and South East Asia.”

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February 2023

Headline: MMCA Sri Lanka Selected for the Web3 for the Arts and Culture (WAC) Fellowship

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is participating in the Web3 for the Arts and Culture (WAC) Fellowship programme, offered by We Are Museums and TZ Connect with the support of the Tezos Foundation. The MMCA Sri Lanka is the only arts and cultural institution from Asia out of the 12 recipient institutions in this cohort of the 12-week fellowship, which began on 26 January 2023.

This innovation laboratory aims to educate and onboard participants onto Web3, with a focus on using blockchain technology to further their missions for culture preservation, social good, environmental justice, and financial stability.

“As arts institutions navigate the current climate, Web3 offers a new world of challenges and opportunities,” said Diane Drubay, Founder of WAC Lab. “Our goal is to work with these institutions to explore how they can use blockchain technology in innovative ways to achieve their goals and build a sustainable future,” she added.

Other participants in the WAC Fellowship include the Australian Centre for the Moving Image (Australia), Belvedere Museum (Austria), Haus der Kunst München (Germany), House of Electronic Arts (Switzerland), French Ministry of Culture (France), Institute for Sound and Music (Germany), Musée d’Orsay and Musée de l’Orangerie (France), National Taras Shevchenko Museum (partnering with ArtAegis and Modern Art Research Institute) (Ukraine), The Reel Store (United Kingdom), The Royal College of Art (United Kingdom), and the Wooko Makandie Foundation (The Netherlands).

Reflecting the multidisciplinary applications of blockchain in the arts and culture, the MMCA Sri Lanka staff members participating in this fellowship are; Sanuja Goonetilleke, Curator of Learning and Training; Ritchell Marcelline, Assistant Curator (Exhibitions); Thinal Sajeewa, Research Assistant (Exhibitions); and Manuja Mallikarachchi, Digital and Design Intern.

Speaking about the MMCA Sri Lanka’s objectives of participating in the programme, Ritchell Marcelline, Assistant Curator noted that “As technology constantly evolves, we as a museum in the making have an opportunity to take a step in this direction, by using technology to advance access and opportunities.” He further added, “Through this fellowship I hope to learn how to put Web3 or blockchain technology to practical use in our museum activities, ranging from better archiving to integrated programming access.”

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December 2022

Headline: Suhanya Raffel Appointed as the President of CIMAM for 2023–2025

Suhanya Raffel, Director of M+, has been appointed as the President of the International Committee for Museums and Collections of Modern Art (CIMAM) for 2023–2025. Raffel has led the M+, a visual art museum in Hong Kong, since 2019. She is also a founding Committee Member of the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka).
Acknowledging her appointment, Raffel noted that “To serve as the next President of CIMAM is an honour, and I am excited to work together with my fellow board members to contribute to our modern and contemporary art museum community as we face a complex and challenging world.”
She added, “The past three years have seen much tumult and division, with the global Covid-19 pandemic adding a further degree of separation within our societies. In this context, the roles our museums play in bringing people together, with the work of artists providing necessary insight, vision, and perspective has become ever more urgent.”

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December 2022

Headline: The European Union Partners to Support ‘Encounters’ by the Museum of Modern and Contemporary Art Sri Lanka

In February 2022, the European Union (EU) entered a partnership with the Museum of Modern and Contemporary Art Sri Lanka’s (MMCA Sri Lanka) second exhibition titled ‘Encounters’ which opened on 11 February 2022.
Acknowledging the support extended by the EU to ‘Encounters’, Sharmini Pereira, Chief Curator of the MMCA Sri Lanka said, “The EU’s support of the ‘Encounters’ exhibition made it possible for the MMCA Sri Lanka to offer a six month free public programming. Many of these programmes were offered during the aragalya, which saw people across the island protesting against the extreme hardships inflicted by the economic and political situation in the country.” In spite of the difficulties in the country, the MMCA Sri Lanka continued to attract visitors. Speaking about audience attendance, Pereira states that “Those who attended group events like puzzle days or discussion-based events during this time were higher than expected. This indicates how vital it is for museums like ours to prioritise public engagement, and open up our doors more consciously to the societies in which we are located.”
Through this grant, the EU generously supported the delivery of 61 free, public programmes which saw 1,087 participants. These included 11 workshops which engaged the participants with the artworks on display through hands-on experiences. “These workshops, curated alongside thematics related to the exhibition, have allowed participants to engage in a variety of interests ranging from reading history from stamps, storytelling, botanical drawing, visual journaling, sewing and embroidery, and origami to eco-friendly living,” noted Pramodha Weerasekara, Assistant Curator of Education and Public Programming, MMCA Sri Lanka. Elaborating on the educational aspect of these workshops, Weerasekara said, “Participants engage in these learning experiences within the context of the museum and the exhibition. They leave with not only the knowledge they gained from the workshop but hopefully, a renewed interest in Sri Lankan modern and contemporary art.”
At the beginning of each rotation of ‘Encounters’, the MMCA Sri Lanka hosted private previews for educators connected with the museum through its outreach programmes. This is another initiative which the EU’s support enabled, encouraging the educational endeavours of the MMCA Sri Lanka. At the beginning of Rotation 1 and 2 of ‘Encounters’ two such events were held on 10 February and 22 June 2022, attended by a total of 34 teachers. “As an education-led museum, providing learning experiences for our audiences is a priority for us,” stated Weerasekara, adding that “we are therefore extremely grateful for the continued support of the European Union towards Public Programmes related to ‘Encounters’.”
The MMCA Sri Lanka invites a diverse range of people, including artists, architects, and designers amongst others, to facilitate their public programmes. The EU grant made it possible to work with and support 103 such resource persons for various workshops, gallery talks, and other public events. In addition, the grant supported the recruitment of 25 Visitor Educators (VEs) to the museum. As the first points of contact between visitors, and the exhibitions and programmes, VEs are present in the MMCA Sri Lanka’s galleries to engage with audiences of all levels.
Speaking on this partnership, Anne Vaugier-Chatterjee, International Relations Officer for Politics, Trade, and Economics Relations- Sri Lanka and the Maldives said, “It was a pleasure for the EU Delegation to support the innovative approach of the MMCA Sri Lanka and its Chief Curator Sharmini Pereira. As well as repositories of the past, museums should be living experiences and this was achieved in a very successful way with the current exhibition ‘Encounters’.” Addressing the socio-political significance of the exhibition, Vaugier-Chatterjee noted that, “‘Encounters provides a new window into the country’s modern and contemporary art, while also reflecting socio-political developments of significance,” adding that “We trust that it will continue to attract a very diverse audience of young and old, cutting across class and age groups in an inclusive outreach.”
For more information on the Museum of Modern and Contemporary Art Sri Lanka, visit www.mmca-srilanka.org or follow them on Facebook at facebook.com/mmcasrilanka and Instagram at instagram.com/mmcasrilanka/

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December 2022

Headline: The Museum of Modern and Contemporary Art Sri Lanka opens Rotation 3 of ‘Encounters’

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) opens Rotation 3 of its exhibition titled ‘Encounters’ today (8 December 2022). The public can view the exhibition until 19 March 2023, at the museum premises inside Crescat Boulevard, Colombo. Curated by Sharmini Pereira, Chief Curator, MMCA Sri Lanka and Sandev Handy, Curator, MMCA Sri Lanka, ‘Encounters’ opened on 11 February 2022 and will close to the public on 19 March 2022. Entrance to the exhibition is free.
‘Encounters’ Rotation 3 introduces two new displays with artworks by A. Mark (1933–2000), George Keyt (1901–1993), Nelun Harasgama (b. 1959), and Janani Cooray (b. 1974). With a focus on clothing, one of the new displays looks at how garments, beyond their functionality, can convey information about class, professional status, gender, and nationality. The display brings together a startling juxtaposition between a painting titled ‘Kandyan Bride’ (1951) by George Keyt and a barbed wire costume worn as part of a performance titled ‘Osariya’ (2015) by performance artist Janani Cooray. Both works highlight the historical relationships between clothing and social identity, inviting audiences to compare and contrast the different ways in which the Kandyan sari or ‘osariya’ is viewed in Sri Lanka.
“My hope is that this display aids us in re-considering George Keyt and the political reverberations embedded in his paintings; particularly in his depiction of women. As recently seen by the public outcry on the clothing standards required of female state employees, this encounter may lead us to not only re-consider Keyt, but to further question the role clothing itself has played in crafting a national identity,” noted Handy.
The second new display to open on 8 December is also prompted by a George Keyt painting, but turns attention to a topic of a spiritual nature. Here, George Keyt’s 1949 painting titled ‘The Offering’ is placed in a conversation with three artworks that explore representations of the crucifixion. This display includes works by Nelun Harasgama and A. Mark, with the addition of another George Keyt who also painted the subject of the crucifixion.
Pereira, Chief Curator, MMCA Sri Lanka said, “Showing George Keyt’s ‘The Offering’ alongside crucifixion-based works by two contemporary artists are exactly the kinds of provocations between artworks we wanted to create in ‘Encounters’. As the first exhibition in Sri Lanka to publicly exhibit individual paintings by George Keyt, ‘Encounters’ begins the task of dismantling outdated art history or ‘connoisseurship’ that has not addressed his actual artworks. We hope our approach will encourage a more critically engaged discussion about Keyt and other artists of his generation.”
A new line up of free public programmes accompanies Rotation 3 of ‘Encounters’ to engage the public with the artworks on display. These include weekly gallery talks with artists, workshops with professionals, and exhibition tours with the museum’s curators and Visitor Educators.
‘Encounters’ is generously supported by the European Union and the Goethe Institut, with the additional support of Fairfirst Insurance and Nilu’s Construction and Engineering. The radio partners for ‘Encounters’ are Lite 87, Rhythm World, and TNL Now.
For more information on the Museum of Modern and Contemporary Art Sri Lanka, visit www.mmca-srilanka.org or follow them on Facebook at www.facebook.com/mmcasrilanka and Instagram at https://www.instagram.com/mmcasrilanka/ for updates.

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November 2022

Headline: The MMCA Sri Lanka concludes its first Museum Intensive training programme

The Museum of Modern and Contemporary Art (MMCA Sri Lanka) successfully held its first Museum Intensive (MI) from 24–28 October 2022 as a five-day museum training programme. The training was conducted at the MMCA Sri Lanka premises and the John Keells X co-working and accelerator space. The MI programme was the culmination of a year-long collaboration between the MMCA Sri Lanka, the Reinwardt Academy at the Amsterdam University of the Arts, and the Cultural Heritage Agency of the Netherlands, with the support of the Netherlands Embassy in Sri Lanka.

Acknowledging the support extended by the Netherlands Embassy in Sri Lanka, H.E. Bonnie Horbach, Ambassador of the Kingdom of the Netherlands to Sri Lanka said, “This initiative not only strengthens the capacity of Sri Lankan professionals, it also preserves and promotes Sri Lankan culture by involving current and future generations. Knowledge exchange and creating professional networks amongst young professionals working in the museum sector is more important than ever. The sector has a lot of potential in Sri Lanka. We are very honoured to be supporting this major initiative, the first of its kind in Sri Lanka.”

Twenty two full-time participants and nine part-time participants representing over 19 cultural organisations in Sri Lanka joined the programme. Together, they took part in four lectures, six workshops and group activities, five field visits to the MMCA Sri Lanka, eight guided discussions, and final group presentations. The field visits to the gallery space of the MMCA Sri Lanka provided a case study for the participants. “Having no academic background in gallery or museum studies,” noted one participant, “I learned the important basics that are applied to this area which has helped me immensely to better understand my visitors and customers.” Echoing the sentiments of many participants, one claimed that “Building networks and learning from different institutions” was one of the perks of joining this training programme.

Museum training can take many forms, and the Museum Intensive is a pilot programme that aims to build capacity in the museum sector in Sri Lanka. The programme involved a range of activities which aimed to help these professionals think about how their audiences engage with their work. Speaking about the training programme, Sharmini Pereira, Chief Curator, MMCA Sri Lanka, remarked “We debunked many ideas about what a museum should be in order to think out loud about the many ways a museum might be experienced if the rule book about how audiences engage with art was re-written. The Museum Intensive gave rise to five stimulating days of conversations and role play, where the participants sang happy birthday, answered 50 questions about a can of sprite, tied knots in a piece of string, and displaced the word ‘audience’ with a list of other terms. They connected the importance of objects to storytelling from the small stories to the bigger issues that surround and inform all the work that they do. It was intense for good reason. Audience engagement is where we need to think together and build better museum experiences.”

At the closing event of the programme, participants were presented with certificates of participation. They were presented by H.E. Bonnie Horbach, Ambassador of the Kingdom of the Netherlands to Sri Lanka; Yolanda Ezendam, Head of Collections, Cultural Heritage Agency of the Netherlands; Ruben Smit,Senior Lecturer and Manager of International Programmes, Reinwardt Academy of the Amsterdam University of the Arts and Sharmini Pereira, Chief Curator, MMCA Sri Lanka.

For more information on the Museum of Modern and Contemporary Art Sri Lanka, visit www.mmca-srilanka.org or follow them on Facebook at www.facebook.com/mmcasrilanka and Instagram at https://www.instagram.com/mmcasrilanka/

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November 2022

Headline: Sri Lanka’s global relationships highlighted in ‘Encounters’ by the Museum of Modern and Contemporary Art Sri Lanka

‘Encounters’ by the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) takes one on a journey of multiple encounters. Display 1 of this exhibition follows the historical trail of Sri Lanka’s emergence in the international arena through diplomatic and geopolitical relationships. The artworks and artefacts on display, from as early as the 1960s, documents this development through several milestones in the island’s history.

The first Asian-African Conference, titled the Bandung Conference, took place in 1955 to bring together a group of Asian-African nations representing 54% of the world’s population. The conference was a precursor to the creation of the Non-Aligned Movement (NAM) in 1961, amidst the steeping Cold War between pro-Soviet and pro-USA countries. Sri Lanka was a part of the coalition of nations that formed the NAM to recognize their shared post-independence economic and political struggles.

‘The Bandung Conference’ (1955) by Aubrey Collette (1920–1992) caricatures those in attendance at the Bandung Conference. Sri Lankan Prime Minister General Sir John Kotelawala (1897–1980) is foregrounded next to prominent figures of the NAM, including President of Egypt Gamal Abdel Nasser (1918–1970), and Indian Prime Minister Jawaharlal Nehru (1889–1964). Of the 29 government representatives, Collette also foregrounds the Chinese Premier and Foreign Minister Zhou Enlai (1898–1976). The Chinese Premier is depicted at the corner of the work alluding to China’s emerging influence on conversations related to economic development that was part of the larger agenda of decolonization, self-rule, and non-aggression.

Under the leadership of Prime Minister Sirimavo Bandaranaike (1916–2000), Sri Lanka hosted the 5th Summit of the Non-Aligned Movement with 86 countries in participation, on 16–19 August 1976 in Colombo. Bandaranaike was astute with marketing initiatives, and commissioned artistic talent to showcase Sri Lanka through many media such as artwork, commemorative artefacts, and literary publications aligned with the spirit of the NAM.

A central piece of art commissioned for this event is a painting by Senaka Senanayake. This large-scale work was hung in the lobby of Hotel Lanka Oberoi (Cinnamon Grand), in the line of sight of visiting dignitaries. In this painting, animals roam freely within a fantastical landscape visualised through a palette of vibrant greens and browns with hues of aqua blue, grey, and off-white. All the facial features of the animals are noticeably absent, creating a sense of uniformity between the species. Similarly, their bodies are reduced to radiating discs of flat colour, marking out their commonality rather than difference. Such details offer an image of the nation in equilibrium with the forces of nature, while underlining the idealism and optimism held out for the Non-Aligned Movement.

Moreover, Bandaranaike had commemorative Five and Two Rupee coins issued by the government of Sri Lanka. The coins depict the Bandaranaike Memorial International Conference Hall (BMICH), established in memory of the late Prime Minister S.W.R.D. Bandaranaike (1899–1959). Built between 1970 and 1973, the BMICH was gifted to Sri Lanka by the People’s Republic of China. This was in response to a request made in 1968 by Premier Bandaranaike for a fully equipped conference hall, as part of preparations to host the 5th Non-Aligned Summit Conference. The coins commemorate not only the Summit, but also the diplomatic relationship that was being laid between China and Sri Lanka.

Following the declaration of Sri Lanka as a republic in May 1972, a national emblem was designed by the ‘National Emblem and Flag Design Committee’. The emblem included the petals of the blue lotus flower which is a symbol of purity and detachment in Buddhist culture.

The Lotus imagery makes an appearance in two publications from the period, both of which are on view in Display 1 of ‘Encounters’. In 1968 the Afro-Asian Writers’ Bureau published a bulletin entitled ‘The Call,’ and a trilingual quarterly journal entitled ‘Afro-Asian Writings.’ The latter was renamed as ‘Lotus: Afro-Asian Writings’ in the 1970s, and is considered as one of the most important and prolific contributions to Cold War era anti-colonial ‘Third Worldist’ literature.

It is evident through these many ‘Encounters’, that Sri Lanka has risen above murky waters and established strong diplomatic ties across the globe. ‘Encounters’ so richly raises our awareness of where Sri Lanka was headed between the 60s and the 70s. It exemplifies what 50 years of encounters and leadership can manifest and create.

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October 2022

Headline: Pivotal Conversations about Sri Lankan Contemporary Art Continue: The #SupportLocalArt Talk Series Completes Its Second Edition

The second edition of the #SupportLocalArt: The Talk Series, curated and organised by the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) took place from 24 July to 14 August 2022. Initiated by the Saskia Fernando Gallery and supported by Nations Trust Private Banking, the first edition of the series took place in 2021.

“The #SupportLocalArt Talk Series was launched during a Covid lockdown with the intention of creating further collaboration and conversation within the Sri Lankan art industry,” recalls Saskia Fernando, Director of the Saskia Fernando Gallery. “We soon realised that the best way to sustain the programme was if we passed on to our entire community, thus widening the reach and scope of these discussions. Edition Two of the series was hence presented by the MMCA Sri Lanka during a turbulent time, and its curation was influenced by various elements of the protests within the island in 2022,” she continued.

The second edition of the #SupportLocalArt Talk Series, curated by the MMCA Sri Lanka, in response to the current economic and political situation in Sri Lanka, consisted of three online talks. Bringing together a host of panellists from different backgrounds and points of view, the talks addressed the role of art in relation to community, cultural diplomacy, and humour.

The first talk, #SupportLocalArt Talk: The Power of Community which took place on 24 July 2022, was a conversation between Sandev Handy, Curator at the MMCA Sri Lanka with Kamala Vasuki (artist), Shamara Wettimuny (academic), and Venuri Perera (artist) about the role of community in relation to their activist practices. The talk responded not only to the current momentum of the ‘aragalaya’ in Sri Lanka, but also to the ways in which the artists in the panel have combined their art with activism and community to spread awareness and build audience engagement.

In the second talk, #SupportLocalArt Talk: The Power of Diplomacy held on 7 August 2022, Sharmini Pereira, Chief Curator at the MMCA Sri Lanka spoke to Aurelia Collard (Cultural Attachė, French Embassy in Sri Lanka), George Cooke (academic and diplomatic historian), and Kelly McCarthy (First Secretary, Public Affairs Section, US Embassy in Sri Lanka) about the role of diplomacy in arts and culture in Sri Lanka. The talk highlighted the history of cultural diplomacy and the soft power role of cultural work to raise issues that traditional forms of cultural diplomacy cannot do. The panellists compared and contrasted cultural diplomacy in action across time and place in France and the USA. They discussed the numerous challenges as well the opportunities that exist when cultural diplomacy is framed in arm’s length to state policy, where cultural diplomacy can become an effective way to mitigate the negative perceptions created by higher level politics.

In the third and final talk of the series held on 14 August 2022, Pramodha Weerasekera, Assistant Curator Education and Public Programmes at the MMCA Sri Lanka chatted with Dino Corera (comedian), Gehan Blok (comedian), Gihan de Chickera (political cartoonist), and Sharmini Pereira (art historian and curator) about the relationship between humour and art. The talk highlighted the ways in which the panellists and their peers have used humour in their digital content, theatre performances, and cartoons, in the current moment of heightened economic and political instability in Sri Lanka. The panel also touched on the history of art and humour in Sri Lanka by acknowledging the practices of modernist artists such as cartoonist Aubrey Collette (1920–1992) who went into exile following criticism of his work during the 1950s and 1960s.

Sanjaya Senarath, Chief Marketing Officer of Nations Trust Bank noted that, “The Bank believes that the partnership with the MMCA Sri Lanka will serve as an opportunity to empower the next generation of artists and art lovers alike. We believe that this talk series serves as a unique platform to reach out to communities and develop their talent and creativity. Nations Trust Bank has been an ardent supporter of local art and artists through its various past initiatives, and together with the MMCA Sri Lanka we look forward to exposing Sri Lankan contemporary art to the new generation, whilst uplifting local artists to a next level.”

Video recordings of all the talks of #SupportLocalArt: The Talk Series Edition Two can be viewed on its YouTube channel https://www.youtube.com/channel/UCylvj8EIwenvXEjCdKQgZ9A and the MMCA Sri Lanka’s Facebook page: https://www.facebook.com/mmcasrilanka.

Image: Kamala Vasuki, Venuri Perera, and Shamara Wettimuny in conversation with Sandev Handy, Curator, MMCA Sri Lanka at the #SupportLocalArt Talk: The Power of Community held on 24 July 2022.

Image: Kelly McCarthy, George Cooke, and Aurelia Collard in conversation with Sharmini Pereira, Chief Curator, MMCA Sri Lanka at the #SupportLocalArt Talk: The Power of Diplomacy held on 7 August 2022.

Image: Dino Corera, Gihan de Chickera, Gehan Blok, and Sharmini Pereira in conversation with Pramodha Weerasekera, Assistant Curator Education and Public Programmes, MMCA Sri Lanka at the #SupportLocalArt Talk: The Power of Humour held on 14 August 2022.

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September 2022

Headline: Visitor Educator Programme at the Museum of Modern and Contemporary Art Sri Lanka

“How important is the visitor experience to a museum of modern and contemporary art? Does it begin when someone steps foot inside its physical space, or over social media? What motivates people to visit a museum? Do all visitors experience a museum in the same way? These are some of the questions we ask ourselves as we look at how to create the best possible museum experience for our visitors,” says Chief Curator, Sharmini Pereira.

To achieve its vision of establishing a more publicly accessible museum in Sri Lanka, the Museum and Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) needs to build capacity of museum sector personnel, preparing them to not only meet professional standards set by the museum industry internationally but also equipping them with the knowledge required for meeting challenges that are relevant, above all, to the Sri Lankan context. One of the key areas of capacity building for the museum is thinking about ways to facilitate meaningful arts-based learning and engagement experiences for a variety of visitors.

In early 2022, the museum launched the second phase of its Visitor Educator (VE) programme. Conceived and designed on docent programmes that are hallmarks of professional museum operations and pedagogical approaches worldwide, the VE position and training programme is the first of its kind in Sri Lanka. It is at the heart of MMCA Sri Lanka’s learning and training efforts, not only for its internal staff, but also for its public.

In 2022, the role of Curator Learning and Training was created, underlining the commitment of the museum to educational work over exhibition making. As the first curator to take on this role, Sanuja Goonetilleke, has been involved in setting up and designing the VE programme. Speaking about her work, Sanuja says “VE training covers multiple disciplines including research, collections safety, customer service, pedagogical methods for working with adult and child learners, data collection, making sense of visual art terminology, event management, and public speaking. VEs can transfer the skills they gain through their experience at the MMCA Sri Lanka to a variety of careers within, but also beyond, the world of professional museums in Sri Lanka and internationally. This is what makes it such an attractive role.”

The MMCA Sri Lanka’s VEs play a pivotal role as the first points of contact between visitors and the museum. Learning through art, particularly in the context of a museum, is a relatively new approach to learning in Sri Lanka. Often, school visits to museums are passive, non-interactive experiences with little to no contact with staff who work in the museum. By contrast, the MMCA Sri Lanka takes an entirely different approach by focussing on the quality of the visitor experience from the time they might engage with the museum online to their experience in the galleries and as they leave. MMCA Sri Lanka’s Gallery Manager Thariq Thahireen says “Visiting the museum in person, audiences encounter VEs, who are trained to greet them at the front desk and interact with them inside the galleries. They can be identified by their ‘Visitor Educator,’ ‘Ask Me,’ and ‘Free Tour Guide’ badges they wear in Sinhala, Tamil, and English. Although approaching a VE might not be every visitor’s preferred way of experiencing an exhibition, the VEs are present in the galleries to engage with those who have questions, or want to talk about artworks on display and do a tour of a gallery or the entire exhibition”.

VEs enable visitors to learn about and engage with the artworks on view, provide context, and introduce close-looking techniques through conversations, tours, and educational activities for children. VEs also support the care of the exhibits in the exhibition, observe health and safety protocols, and assist with the setup of its weekly public programmes. All VEs work part-time on a shift basis, with many of them fitting in their work alongside full-time jobs or studies in the education or arts and design sectors. Since the launch of the programme in December 2019, the museum has worked with over 40 VEs.

“Funding makes so much of what we do possible. While exhibitions are a central aspect of what we do, we rely on the dedication and commitment of our VEs to help break down the barriers for many audiences, who walk into our galleries and may not know how or where to begin taking in what they are looking at.” says Pereira. The VE programme is supported by the Foundation for Arts Initiatives (FfAI) and the Nations Trust Bank. Speaking about their support of the MMCA Sri Lanka, Sanjaya Senarath, Chief Marketing Officer at Nations Trust Bank PLC, echoes the importance of empowering the next generation of change-makers “As a strong supporter in promoting local art and artists, Nations Trust Bank looks forward to backing the initiatives taken by the MMCA Sri Lanka to expose Sri Lankan contemporary art to the new generation whilst uplifting local artists to the next level.”

Speaking about the preparation that goes into creating the VE programme, Goonetilleke, Curator Learning and Training at the MMCA Sri Lanka, says “Our Visitor Educators are a truly diverse group of young professionals. Some are educators in schools. Some maintain artistic practices in visual, literary, or performing arts. Some work/study in STEM fields but have a strong affinity for the arts and education. For all of them, however, this is the first time they are working in a museum context, and without realising it, helping to build the country’s first museum of modern and contemporary art through their important work.”

Those interested in working at the MMCA Sri Lanka in this role may email their CV to [email protected].

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September 2022

Headline: Internships at the Museum of Modern and Contemporary Art Sri Lanka

As a museum in the making, the MMCA Sri Lanka is preparing the ground for a new generation of museum professionals to work at and be involved in delivering exhibition and education programmes, within the context of a modern and contemporary art museum. One of the initiatives through which they are addressing this challenge, is their internship programme.

At present, the museum offers two types of internships: the University Internship Programme and the Young Professionals Internship Programme. In both cases, interns are given positions that involve working closely with one or more museum staff, and give the interns a taste of working life in a fast-paced museum setting.

To accompany the University Internship programme, the MMCA Sri Lanka staff are also involved in teaching students enrolled in degree or diploma programmes in Sri Lanka. The dual focus of the university-led programme enables students to gain practical experience in understanding how their studies apply to a professional museum setting. In today’s job market, a qualification is not enough. For many employers, work experience on the job is becoming more and more important. To-date, ten undergraduates from the Department of Fine Arts, University of Jaffna have interned to work on projects related to art history, education research, and translation.

For those interested in specific areas of work in a professional museum setting, the museum offers internships under a programme called Young Professional Internships. Since February 2022, the MMCA Sri Lanka has worked with twelve Young Professional Interns in the areas of exhibitions research, exhibition production, graphic design, digital projects, public programmes, education research, and education data analysis.

Speaking about the MMCA Sri Lanka’s internship programmes, Chief Curator Sharmini Pereira recalls, “Doing internships at museums was something I was eager to do but, which I did not think I would qualify for. We make a point of offering as many internships as possible at the MMCA Sri Lanka to encourage people to apply. As we continue to improve our internships, I am hopeful that these opportunities will cultivate career paths for young professionals who, like me, never considered a career working in the art industry.”

Inquiries about internships at the MMCA Sri Lanka should be directed to both [email protected] and [email protected].

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September 2022

Headline: The MMCA Sri Lanka partners with the George Keyt Foundation

The Museum of Modern and Contemporary Art Sri Lanka showcases work of George Keyt, documenting and creating awareness on select paintings by the Sri Lankan artist

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) works with many lenders and private collectors to curate its exhibitions, with the objective of helping the public to learn more about modern and contemporary Sri Lankan art. In 2021, the museum was given access to the George Keyt Foundation Collection (GKF) which is installed in various offices of the John Keells Holdings Group. It was during this research visit that Chief Curator Sharmini Pereira and Curator Sandev Handy found inspiration for the MMCA Sri Lanka’s second exhibition ‘Encounters’, which places four paintings by Keyt at the centre of four displays of art.

Speaking about the partnership Pereira said, “It was a great opportunity to have a guided tour of George Keyt’s works by Chair of the GKF, Mike Antoniasz, and to see physical works by Keyt because there are no paintings by him on public display that are easily accessible seven days a week.” This observation was a key factor that led Pereira and Handy to consider the inclusion of works by Keyt in ‘Encounters’ which opened to the public in February 2022 and is free of charge.

“The GKF was established in 1988 in the lifetime of the artist and was founded on the principles of promoting the works of emerging artists and Sri Lankan art. We are thrilled to work with an organisation such as the MMCA Sri Lanka, that creates knowledge and documents the works of Sri Lankan artists. Over the years, the foundation has led many initiatives such as the annual ‘Kala Pola’, an open air art fair, the ‘Young Contemporaries’, ‘Nawa Kala Karuwo’, and the ‘Sri Lankan Art Exhibitions’. We aim to preserve the work done by Keyt and have produced several publications on his work, most notably a publication that commemorated Keyt’s Centennial anniversary in 2001,” said the Chairperson of the George Keyt Foundation Mike Antoniasz.

Speaking about the works displayed Handy commented, “George Keyt is such a well known name in Sri Lanka – yet the public have limited knowledge of his actual works, due to a lack of access to them other than through publications. While the published material is vast compared to many other modern Sri Lankan artists, there are only a few texts that look in detail at specific paintings. With the ‘Encounters’ exhibition we want to familiarise audiences with specific paintings by Keyt, choosing to look closely at four of his paintings namely ‘The Friends’ (1982) and ‘Pounding Paddy’ (1952) which were exhibited from 11 February to 22 May as part of ‘Encounters’ Rotation 1, and ‘The Offering (1949) and ‘Kandyan Bride’ (1951), which will be displayed as part of ‘Encounters’ Rotation 3 from 13 November 2022 until 19 March 2023.”

“Each of the four paintings provided Sharmini and I with the starting points for ‘Encounters’. We have created a conversation or ‘encounters’ with other artist’s works,” Sandev further noted, “which sees the inclusion of works by Pradeep Thalawatta (b.1979), Abdul Halik Azeez (b.1985), Aubrey Collette (1920–1992), Martin Wickramasinghe (1890–1976), Asai Rasaiyah (1946–2021), Richard Gabriel (1924–2016), Susiman Nirmalavasan (b.1982), A. Mark (1933–2000), Nelun Harasgama (b.1959), and Janani Cooray (b.1974).” The juxtapositioning of artworks that explore similar subject matter from artists of different generations has been championed by the MMCA Sri Lanka. The curatorial approach contributes to seeing and thinking about art historical narratives in new and unexpected ways.

One of the ongoing problems faced by the GKF is the costs for looking after their collection, which includes the conservation of the paintings and drawings by Keyt. As part of ‘Encounters’, four paintings by Keyt were successfully conserved. Speaking about the conservation work Udaya Hewawasam from ConsArt, commented “The biggest damage was to the wooden stretchers which were almost totally infected by insects (wood worms) thus providing no mechanical stability. In such cases there is no option other than to replace all the stretchers. Only one painting had large paint lost due to a flood. Fortunately, GKF provided a photograph of the painting before the damage occurred, which helped to reconstruct the exact area that had been lost.” Udaya Hewawasam is one of the most informed and experienced conservators of modern art in the country. Sharing Keyt’s work with the public could not have been done without the months of intensive conservation work performed by his conservation studio ConsArt.

One of the highlights of the conservation process was the discovery of information at the back of the paintings, including details from past exhibitions, and information on the paintings’ titles. Following standard conservation practises, Udaya confirmed how “After these labels were safely detached, they were de-acidified and then relocated to the back side of the painting in safe acid free sealed transparent cases.”

The MMCA Sri Lanka’s ambition to create a museum of modern and contemporary art is dependent on the work of such experts and professionals in the museum field, who help to reveal information about artworks that shape and inform how curators present the work of an artist.

‘Encounters’ is generously supported by the European Union, Foundation for Arts Initiatives, John Keells Foundation, and the Nations Trust Bank. The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is an education-led initiative that aims to establish a public museum dedicated to the display, research, collection, and conservation of modern and contemporary art for the benefit and enjoyment of the general public, schools, and tourists. Presenting curated exhibitions and education programmes, the MMCA Sri Lanka is the first publicly accessible trilingual venue of its kind in Sri Lanka.

For more information, visit www.mmca-srilanka.org or follow them on Facebook at www.facebook.com/mmcasrilanka and Instagram at https://www.instagram.com/mmcasrilanka/

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September 2022

Headline: The Museum of Modern and Contemporary Art Sri Lanka Organises its First Museum Intensive Training Programme

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is pleased to announce its first Museum Intensive programme, which has been conceived as a series of focused training programmes that address professional capacity-building needs within Sri Lanka’s cultural sector.

The MMCA Sri Lanka is working in partnership with the Cultural Heritage Agency of the Netherlands, and the Reinwardt Academy at the Amsterdam University of the

Arts, to deliver the first Museum Intensive which is generously supported by the Embassy of the Netherlands in Sri Lanka.

The Museum Intensive targets cultural sector professionals working in public and private art organisations, who work with collections of art and/or exhibition programmes. The programme will include a significant amount of discussion, project-based learning, and collaborative work amongst participants, who shall benefit from feedback and guidance provided by the visiting professionals from the Cultural Heritage Agency of the Netherlands and the Reinwardt Academy, with the support of the MMCA Sri Lanka staff.

The inaugural Museum Intensive looks at the subject of Audience Engagement, which has become one of the most significant areas of debate in the global cultural sector. The training programme has been designed to help participants become more familiar with common themes and current debates about audience engagement in order to help organisations they are affiliated with to make long-term commitments that enhance visitor experience, increase audiences, and build a greater public connection to the inspiring work they do.

“The facilitation team has great expertise on how to think about museums today. Their commitment, knowledge and immense energy are outstanding. With their full focus and stamina, I am sure that the upcoming training programmes are going to be highly successful. The Reinwardt Academy is truly looking forward to this upcoming collaborative training programme,” noted Ruben Smit, Senior Lecturer and Manager International Programmes at the Reinwardt Academy of the Amsterdam University of the Arts.

The first Museum Intensive training programme will take place in-person in Colombo, from 24—28 October 2022.

To apply, prospective participants should email their CV or résumé to [email protected] by or before the priority deadline of 5 October 2022. They may call +94 76 22 43 120 for further information.

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July 2022

Headline: Announcing the first ‘Museum Intensive’ organised by the Museum of Modern and Contemporary Art Sri Lanka

To meet this challenge, in 2021, MMCA Sri Lanka conducted a study, funded by the Netherlands Embassy in Sri Lanka, that looked at the professional development landscape in Sri Lanka’s museum sector. The study highlighted several shortcomings regarding how museums interact or engage with audiences as part of the visitor experience. The research identified how exhibition design, public programmes, and social media contribute to the visitor experience but were not areas that museums were either investing in or recognising as important. The study drew attention specifically to the skills gaps and lack of professional museum expertise, particularly amongst younger professionals. As a next step, MMCA Sri Lanka is organising a series of ‘Museum Intensives’ (MI) for professionals in museums and collection-based cultural institutions in Sri Lanka. The programme aims to catalyse knowledge-sharing and professional development in under-explored areas in the sector.

Thanks to the Netherlands Embassy’s continued funding support, MMCA Sri Lanka will work with two primary partners, the Cultural Heritage Agency of the Netherlands (RCE), and the Reinwardt Academy (RA) for the first MI, which will focus on audience engagement. Key to the MI’s design and delivery, both Netherlands-based organisations bring a wealth of experience and international standards in museum training, having worked with partners internationally. The MI will hence strengthen cross-cultural knowledge and expertise sharing between professionally engaged learning organisations in Sri Lanka and the Netherlands, where the shift in focus is on mutual exchange rather than on a one-way conversation.

“The Embassy is proud and pleased to have partnered with MMCA Sri Lanka in this groundbreaking initiative. Sri Lanka has a rich culture in terms of history and heritage and contemporary and modern art. The MI will bring these two together, and engage Sri Lankan and Dutch professionals. It will be a unique opportunity to exchange, learn, and inspire. The project will help to strengthen the capacity of Sri Lankan museum professionals to preserve and promote their culture and to further engage current and future generations.”

— Tanja Gonggrijp, Ambassador for the Kingdom of the Netherlands in Sri Lanka

The International Heritage Cooperation Programme’s mission is to create a worldwide heritage community, in which professionals connect, learn, and develop knowledge together towards finding solutions to shared challenges.

“We hope the MI will be the start of a long-term cooperation.”

— Yolanda Ezendam, Head of Collections, International Heritage Cooperation Programme of the Cultural Heritage Agency of the Netherlands

Reinwardt Academy, based at the Faculty of Cultural Heritage at Amsterdam University of the Arts in the Netherlands, is the second oldest university in the world working in the international field of museum and heritage studies.

“The MMCA Sri Lanka team has great expertise on how to run a museum for our times. Their commitment, knowledge, and energy are outstanding. I am sure that the training programme is going to be highly successful.”

— Senior Lecturer and Manager International Programmes, Reinwardt Academy of the Amsterdam University of the Arts

The first Museum Intensive is planned to take place in Colombo, Sri Lanka in October 2022.

“As a museum in the making, our first few years have been spent learning and looking at how we can be relevant to the societies we are located within. The chance to share our learnings with others in the cultural sector feels timely; it encourages greater inter-museum exchanges and networks across the island. MMCA Sri Lanka is tremendously grateful to the Netherlands Embassy for supporting this initiative that will usher in new conversations about museums and provide career pathways for young professionals who would never have considered the museum sector as a career option.”

— Sharmini Pereira, Chief Curator MMCA Sri Lanka

Presenting curated exhibitions and education programmes, MMCA Sri Lanka is the first publicly accessible trilingual venue of its kind in Sri Lanka. For more information, visit www.mmca-srilanka.org or follow them on Facebook at facebook.com/mmcasrilanka and Instagram at instagram.com/mmcasrilanka for updates. For information about the Museum Intensive in particular, write to [email protected].

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July 2022

Headline: Nations Trust Bank Partners with MMCA Sri Lanka as a Major Benefactor

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) is pleased to announce a new working relationship with Nations Trust Bank (NTB), who will be supporting the museum as a major benefactor for a period of three years, from 2022 to 2025.

Sharmini Pereira, Chief Curator, MMCA Sri Lanka, speaking about the partnership said, “The museum is hugely grateful to NTB for its three years of support of the MMCA Sri Lanka. Their funding helps build the MMCA Sri Lanka which is a museum in the making. As we endeavour to build such an institution, we are also focused on building capacity by offering opportunities to a new generation to think about careers as young museum professionals. Empowering the next generation of professionals to tell stories through modern and contemporary art through exhibition-making, public programmes and digital engagement is essential if we are to be relevant to a society of young people that want change, prosperity and inspiring career opportunities in Sri Lanka.” MMCA Sri Lanka prides itself as a cultural initiative focused on building modern and contemporary art for the country and fostering learning and engagement for the public. Alongside its curated exhibitions and education programmes, the museum is the first publicly accessible trilingual cultural initiative in Sri Lanka.

Speaking about the partnership, Sanjaya Senarath, Chief Marketing Officer of Nations Trust Bank, said, “We are very proud to champion arts and culture in Sri Lanka by helping to support the MMCA Sri Lanka. The museum is the first of its kind and is helping to raise the bar in showcasing the work of our modern and contemporary artists in ways that have not been done before. We are committed to giving back to society, through our CSR activities, with a broader view of “Empowering Our Next Generation.”

For the past 22 years, Nations Trust Bank has supported a range of art-related activities in the country, leading the ways in which the private sector should. The Bank commits themselves to this initiative as an effort to create a sustainable tomorrow. Providing quality education is one of the key pillars of the Bank’s CSR policy which has been derived from the sustainability development goals set by the UN. This association will pave the way for the country’s next generation to enhance their knowledge on modern and contemporary art while helping develop future experts in this field.

Nations Trust Bank Private Banking creates solutions to satisfy the financial needs of the customer’s lifestyle. Focusing on three main criteria of wealth management, lifestyle and the next generation, Nations Trust Bank Private Banking provides an unparalleled array of products and services that cater to specific everyday requirements of their discerning clientele. Each product and service offer numerous benefits, allowing them to focus on the important task of creating “A Timeless Legacy”. Information on the Art Advisory Service for a creative investment can be seen at https://www.nationstrust.com/personal/exclusive-memberships/private-banking.

MMCA Sri Lanka is located at Crescat Boulevard, Colombo 3, and is open daily from 10am to 6pm, and until 8pm on Fridays. All events of the public programmes at the museum are free-of-charge. ‘Encounters’ is generously supported by Asian Hotels and Properties PLC, the European Union, Foundation for Arts Initiatives and the John Keells Foundation. For more information, visit www.mmca-srilanka.org or follow them on Facebook at facebook.com/mmcasrilanka and Instagram at instagram.com/mmcasrilanka/ for updates.

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June 2022

Headline: An Audience Engaged Approach to Education: The Museum of Modern and Contemporary Art Sri Lanka

The exhibition ‘Encounters’ at the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) completed the first of its three exhibition rotations on 22 May 2022. A total of 37 free public programmes were offered to engage audiences of all ages, taking inspiration from the artworks on display. Public programmes are specially curated by staff of the MMCA Sri Lanka and form a hugely important interface between the content in the galleries and the audience’s engagement with it.

The exhibition launched with contemporary artist Pradeep Thalawatta (b. 1979) speaking about his artwork ‘Athi Vishesha (Extra Special)’ (2008) and how it relates to ideas of friendship and love. Thalawatta’s work was on display as part ‘Encounters’ Rotation 1, placed in conversation with a painting by George Keyt (1901–1993), titled ‘The Friends’ (1982). Visitors were also given the opportunity to hear art historian T. Sanathanan pay homage to artist Asai Rasiah (1946–2020), whose work ‘(வாழ்க்கை) கைவினைஞன்’ ((Life) Craftsman) (1970) was on display in the same rotation. This was the first public talk about his work since his passing in 2020. Conversations were also held between art patron Malaka Talwatte and Chief Curator Sharmini Pereira about George Keyt and the various personal and professional influences that may have played significant roles in Keyt’s practice. All places for these free events were sold out, indicating a keen interest from local audiences to engage in discussions with and about artists that deserve greater critical attention.

The changing displays will foster further public events around the practice of Keyt, whose work will be featured again in Rotation 3 of ‘Encounters’ which will open on 19 October 2022. The MMCA Sri Lanka also organised four themed poetry readings about ideas of love and intimacy. Poets Malinda Seneviratne, Vivimarie Vanderpoorten, Phusathi Liyanaarachchi, Surekha Samarasena, Saumya Sandaruwan Liyanage, and Anar responded to artworks in Display 2 with poems in English, Sinhala, and Tamil. At an Open Mic event, young and emerging poets aged 16 to 21 read their poetry on the theme ‘intimacy’. The poetry events brought together a total of 40 participants and generated how interest in modern and contemporary art connects with poetry and the spoken word.

Pramodha Weerasekera, Assistant Curator Education and Public Programmes, said, “it is important to curate unique experiences that allow audiences to meaningfully engage with art. In Sri Lanka, we want to encourage a museum-going public. Our aim is to make this a reality in the long-term through regular events and experiences that are accessible and free-of-charge.” All these events are funded with the support of the European Union, the Foundation for Arts Initiatives and, the John Keells Foundation who view the investment in public programmes as essential to the impact that modern and contemporary art can have on society at large.

The public programmes at the MMCA Sri Lanka also place specific emphasis on activity-based learning experiences for younger audiences in the form of workshops. A workshop by Kiyawana Muddara for instance, trained young adults to learn history through stamps that have been released on various important moments in Sri Lanka. Stamps are some of the ephemera exhibited in Display 1, focusing on the Non-Aligned Movement, on view until 8 January 2023. Similarly, Artists Sabeen Omar and Shahdia Jamaldeen conducted a workshop about experimenting with storytelling using fabric, sewing and embroidery, taking inspiration from the much talked about artwork ‘White Curtain and Women’ (2016) by contemporary artist Susiman Nirmalavasan (b. 1982) which was on display as part of Rotation 1. Sharmi Thavayogarajah, Coordinator Education and Public Programmes, spoke of the workshops: “Visitors participate hoping to learn about various things, from history to mediums of art. They also want to relax after a long workday, for example, by learning to sew and embroider. Through such workshops, the exhibition space becomes more dynamic and participants end up engaging with the artworks on display without even realizing it.”

Alongside the public programmes, the MMCA Sri Lanka also works directly with schools and universities by organising visits for students that cater to their curriculum needs. In the first three months of ‘Encounters’, the museum hosted up to 78 school students and 116 university students. Curator Sandev Handy spoke is interested in the way the MMCA Sri Lanka “can think of the galleries of the museum as classrooms, where learning can go hand in hand with reflection, loitering and playfulness; hopefully encouraging students to return with friends outside of school hours.” The MMCA Sri Lanka team is not only made up of exhibition curators but also curators of education, learning and training. Three dedicated staff members are involved in ongoing discussions with school teachers and university lecturers about the numerous ways in which the MMCA Sri Lanka can work with the formal education sector and how in turn students start to think about the museum industry as a career path.

Entry to the museum alongside all of its events is free. Visitors are encouraged to stay updated about all our events via the museum’s website www.mmca-srilanka.org and social medias: Facebook www.facebook.com/mmcasrilanka and Instagram www.instagram.com/mmcasrilanka/. For any queries about its education and public programmes visitors may also write to [email protected].

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May 2022

Headline: Artist Pradeep Thalawatta and Friends Speak about Extra Special Friendships at MMCA Sri Lanka

On Friday, 20 May from 6 pm to 7 pm, Pradeep Thalawatta (b. 1979) and five of his friends who appear in his artwork, ‘Athi Vishesha (Extra Special II)’ made in 2008 will be in conversation at the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka).

Friendships shape and form each of us. The MMCA Sri Lanka’s current exhibition ‘Encounters’ takes the idea of friendship as a starting point for a display that places Thalawatta’s work in conversation with a painting by George Keyt (1901-1993) on loan from the George Keyt Foundation art collection. Both works explore the subject of friendship as something that is not only special but also intimate. The pairing of artworks by the MMCA Sri Lanka’s curators brings attention to the way this timeless subject has been explored by artists from different generations and through different media. Seeing the two artworks opposite one another invites comparisons about how the subject of intimacy is represented. Keyt’s painting, titled ‘The Friends’ from 1982, depicts a blurring between male and female and the two heads appear to be more intimate than friends. Both works draw attention to the physical and sensual aspects of friendship, whilst also pointing to the ways in which such friendships are understood and seen through the same gender.

Join the discussion at the MMCA Sri Lanka, located at Crescat Boulevard, Colombo 03, on Friday, 20 May 2 at 6 pm. All events of the public programme at the museum are free-of-charge. ‘Encounters’ is generously supported by Asian Hotels and Properties PLC, the European Union, Foundation for Arts Initiatives, John Keells Foundation, and Nations Trust Bank. The MMCA Sri Lanka is a cultural initiative focused on building a museum of modern and contemporary art for the country and fostering learning and engagement for as wide a public as possible. To complement its curated exhibitions and education programmes, the museum practices trilingual access and is one of the only cultural institutions to do so in Sri Lanka.

For more information, visit www.mmca-srilanka.org or follow them on Facebook at www.facebook.com/mmcasrilanka and Instagram at https://www.instagram.com/mmcasrilanka/ for updates.

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April 2022

Headline: MMCA Sri Lanka Extends Rotation 1 of ‘Encounters’

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) has extended Rotation 1 of its current exhibition ‘Encounters’ until 22 May 2022. The three artworks that provide the starting points for Rotation 1 include one painting by Senaka Senanayake (b. 1951) and two paintings by George Keyt (1901–1993) titled ‘The Friends’ (1982) and ‘Pounding Paddy’ (1952). The two paintings by Keyt provide the starting points for two displays that explore stories and ideas about love, intimacy, friendship, and family. The museum has extended this rotation by over a month to allow audiences more opportunities to visit the exhibition and look at artworks by Pradeep Thalawatta (b. 1979) in relation to Keyt’s ‘The Friends’ and further artworks by Asai Rasiah (1946–2020), Richard Gabriel (1924–2016) and Susiman Nirmalavasan (b. 1982) in relation to Keyt’s ‘Pounding Paddy’.

The MMCA Sri Lanka, located at Crescat Boulevard, Colombo 03, is open all seven days of the week from 10 am to 6 pm. Entrance to the museum and participation at all events in its public programmes are free-of-charge. For visitors who cannot visit during daytime opening hours, the museum is open until 8 pm on Fridays. The museum is easily accessible by both private and public transport.

‘Encounters’ is generously supported by the European Union, Foundation for Arts Initiatives, John Keells Foundation, Asian Hotels and Properties PLC, and Nations Trust Bank. The MMCA Sri Lanka is a cultural initiative focused on building a museum of modern and contemporary art for the country and fostering learning and engagement for as wide a public as possible. To complement its curated exhibitions and education programmes, the museum practices trilingual access, and is one of the only cultural institutions to do so in Sri Lanka.

For more information, visit www.mmca-srilanka.org or follow them on Facebook at www.facebook.com/mmcasrilanka and Instagram at https://www.instagram.com/mmcasrilanka/ for updates.

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March 2022

Headline: Art as a medium of #Breakingthebias

The Museum of Modern and Contemporary Art Sri Lanka’s current exhibition “Encounters” aims to structure a sequence of changing displays that bring together six encounters between artworks and ephemera from the 1950s to the present. The exhibition questions if a chance encounter between one thing and another alters how something familiar or commonplace is otherwise seen? Can two artworks placed side by side reveal something new about each of them? Putting on another set of lenses, one can argue that through the artwork and ephemera on display that the presence of women and their representation in society is boldly and sometimes subtly expressed. In conjunction with International Women’s Day and the theme #Breakthebias, “Encounters” highlights the presence of women and brings to focus the breaking of bias subconsciously and consciously in Sri Lanka.

A stark reflection of this can be observed in the first body of artworks, artefacts and literary publications that highlight the events from the 5th Non-Aligned Summit Conference held in Colombo in 1976. In 1961, against the brewing Cold War tensions between pro-Soviet or pro-American countries, a coalition of nations formed the Non-Aligned Movement (NAM) to recognize their shared independence struggles. Sirimavo Bandaranaike at the time was Prime Minister of Sri Lanka and was Chairman of the summit. Specially produced stamps with the portrait of Sirimavo Bandaranaike were issued at that period and one could question in today’s context if this was done with a view of breaking a bias in terms of the fact that was the world’s first female prime minister, when she became Prime Minister of Sri Lanka in 1960, going on to server three terms in national politics: 1960–1965, 1970–1977 and 1994–2000. The BMICH was gifted to Sri Lanka in 1970 by the Chinese Premier Zhou Enlai (1898–1976) in response to a request from then Prime Minister of Sri Lanka Sirimavo Bandaranaike for a fully equipped conference hall as part of her preparations to host the conference. The stamp serves as a reminder of the strong diplomatic ties between nations amidst the tensions and the strength of a leader hosting the summit in this instance Prime Minister Sirimavo Bandaranaike. Here again, the symbolism of these acts showcases the constant presence of female leadership within a perceived patriarchal society.

Another set of poignant artworks representing the family unit from the 1950s to the present day with a painting by George Keyt (1901–1993) from 1952 of an agricultural family pounding paddy, its vivid colours and stylised figures contrasts with the realistically observed working-class family by Asai Rasiah (1946–2020) from 1970. Both paintings describe the family in relation to acts of labour, with the female figure additionally involved with the labour of motherhood. In contrast and by extension, the works by

Richard Gabriel (1924–2016) and Susiman Nirmalavasan (b. 1982) convey what happens and what is yearned for when a family unit is torn apart, by internal or external disputes. All these bodies of work when viewed together and separately bring the audience’s attention to the women in the family and one may sense the enormous role of the woman being in the labour of love for her family or being the missing link that connects and builds society at large.

Art has always been a medium of expression that has captured the essence of any community or society. #Breakingthebias will only be further enhanced and realized if we continue to allow for varying mediums of art to be showcased especially those that capture and frame how women have been represented in society. The Museum of Contemporary Modern Art Sri Lanka aims to continue the dialogue and discussion around all things gender, keeping an open mind through the varying artists and artforms that come through its doors.

The Museum of Modern and Contemporary Art Sri Lanka is a cultural initiative focused on building a museum of modern and contemporary art for the country and fostering learning and engagement for as wide a public as possible. Alongside its curated exhibitions and education programmes, the museum is the first publicly accessible trilingual venue of its kind in Sri Lanka. For more information, visit www.mmca-srilanka.org or follow them on Facebook facebook.com/mmcasrilanka and Instagram instagram.com/mmcasrilanka/ for updates.

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January 2022

Headline: Museum of Modern and Contemporary Art Sri Lanka – ROTATION 1

A review by Arun Dias-Bandaranaike

Confluence, conflict, confusion and comprehension- were literary ‘signals’ that flowed through my consciousness, as I perused the exhibits at this presentation, “Encounters”, hosted by the Museum of Modern and Contemporary Art Sri Lanka (MMCA) .

Let me begin with ‘comprehension’. Ceylon, in the 20th century, was headed toward its own self-discovery and the vanguard was formed of artists, writers and creative souls with different motivations, facilities, ability and levels of awareness of history, and geography; convinced as they were, of the relevance of this island in the firmament of world culture. The Exhibition compellingly presented evidence these creative energies belonged to intellectuals; persons imbued with a sense and a purpose.

I was made aware that in as much as there was Tagore in Bengal, and W.E.B. du Bois defined the spirit of the Harlem Renaissance and its Afro-American verity, Ceylon too, had compelling personalities who drew, painted, sculpted and wrote, effectively calling attention to the uniqueness of the land on which they strode.

Those individuals whose work was selected to represent the period following ‘independence’, had sought to find confluence after the rupture of empire, and they formed alliances and sought fresh avenues to reach out to more of the world than was found in the Atlantic power-alliance and ‘old’ Europe and the colonial experiments, which had wrought much influence in this island over several centuries.

In art, as early as in 1943, the now famous group of painters had already charted a course that recognised the ethos of the people of Lanka. Samples were included of George Keyt and also Aubrey Collette’s telling “social commentary” through art. The earthy impact of Richard Gabriel’s singular style impacts with his own narrative.

In their own way, they dealt with the conflict and confusion in a self-identity of Lanka as emerging ‘nation’. “Encounters” also powerfully projects the idea that long since 1948, the land is still beset by the same unstable tectonics and fractured fault-lines. The sometimes hideous and generally egregious cultural divisions and class-consciousness, privations and exclusion of segments in what could be a unified society, remain as saddening subjects of several of the works of contemporary artists, and, the symbols of culture such as the “Lotus” are given a degree of treatment fore and aft.

The Bandung conference in the 1950s (Collette’s take) was the issuing of the call to make something of a once-colonised polity, with its own signature, and similarly in 1976, the same energy was on display, as Non Aligned nations strove to grapple with inequity both in geo-politics and the economics of the ‘south’ and convened in Colombo. Martin Wickramasinghe’s pithy prose (Viragaya) contributed its own clarity of vision, and the efforts of Ratna Deshpariya Senanayake, through his contra-colonial leaning, built a body of significant work under the Afro-Asian Writers’ Bureau of which he was a prime mover. He was one who also linked with the academics of W.E.B. du Bois’ widow, who continued to nourish the legacy of the African sensibilities and pride in negritude awakened by her husband in the 1920s.

How wonderful that these disparate elements are found in the same space at ‘Encounters’ at the MMCA Sri Lanka located at Crescat Boulevard, Colombo 03! Viewers at MMCA Sri Lanka will be rewarded with seeing what Ceylon was and how much of the same prevails in ‘Sri’ Lanka or is lost.

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January 2022

Headline: Art and Architecture exhibitions highlight a thriving arts scene

– Six of the country’s leading arts organisations announce projects and events that celebrate Art, Architecture and Design during the first half of 2022

The year 2022 marks the start of a series of important and unmissable art and architecture events taking place in Colombo involving artists from across the country and internationally. Six of Sri Lanka’s leading arts organizations are coming together to raise awareness and promote their respective projects to the city’s residents and returning tourists. Each of their upcoming projects clearly positions Colombo as a must-see destination for local and international art. The participating galleries and institutions are Colomboscope, the Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka), the Geoffrey Bawa Trust, the John Keells Foundation in partnership with the George Keyt Foundation, Saskia Fernando Gallery and Barefoot Gallery Colombo.

Natasha Ginwala, Artistic Director, Colomboscope, speaking at the event said, “We are celebrating the seventh edition of the interdisciplinary art festival Colomboscope that will be the first event to start off art events in the city from 21 to 30 January 2022. This edition of the festival will bring together over 50 Sri Lankan and international artists, especially fostering South Asian dialogue and encounters with cultural practitioners from the diaspora with exhibitions and events spread over six locations in Colombo. Embarking from the words of poet-artist Cecilia Vicuña: ‘Language is Migrant’ – artistic and literary contributions map hybrid belonging, diasporic lineages, and coerced dislocation. Across six chapters, this edition explores how language relations form our selfhood and affinities that outweigh the bind of nationhood and citizenship. Between the counterpoints of stillness and motion, we situate practices that critically explore emancipatory and forced mobility—for we cannot deny that the world as we know it is composed of movement at galactic, human, and atomic levels. Artists compose, decipher and perform as vital travellers and storytellers of our times. Often, repairing relations by drawing material articulations from deep losses, silence and erasures while inventing language forms as bridges between communal narratives, official records, and submerged histories.”

The second event, will be by The Geoffrey Bawa Trust, and will commence on February 01st, 2022. It is Essential to be There is the first major exhibition that draws from the archives to look at Bawa’s practice. Organised in four thematic sections, exploring relationships between ideas, drawings, buildings and places, the exhibition explores the different ways in which images were used in Bawa’s practice. Over 120 documents from the Bawa archives, most of which have previously never been shown publicly, will be on view, including a section on unbuilt work and Bawa’s own photographs from his travels. Although Bawa’s work has been exhibited at multiple venues in the UK, USA, Australia, India, Brazil, Singapore and Germany, this is the first exhibition on Bawa’s work to be shown in Sri Lanka. The exhibition is curated by the Geoffrey Bawa Trust’s curator Shayari de Silva, and includes new photographs and video works by Sebastian Posingis, Dominic Sansoni and Clara Kraft Isono. The exhibition is on view from 1 February until 3 April, 2022 at The Stables at Park Street Mews in Colombo 02. Open daily from 11 a.m.–7 p.m., it is presented in English, Sinhala and Tamil languages. The exhibition is accompanied by an extensive public programme of talks, tours and workshops as well as a website with additional digital content to enhance accessibility of the works on view. This exhibition received generous financial support from the primary partner Kohler, local partners Nations Trust Private Banking, Crystal Property Group, JAT Holdings and the venue partner, Park Street Mews.

Speaking at the event Sharmini Pereira, Chief Curator, MMCA Sri Lanka, said, “We are delighted to work alongside such a stellar lineup of arts organizations in Sri Lanka to promote art and architecture in the country. We hope this drive creates awareness about the high calibre and diversity of art activities taking place in Sri Lanka. MMCA Sri Lanka will be launching our second exhibition titled ‘Encounters’. The exhibition will run from 11 February to 28 August 2022 and will be presented at our new location inside Crescat Boulevard. ‘Encounters’ brings together 56 artworks as part of an exciting series of changing displays that draw from the art collections of the George Keyt Foundation and John Keells Holdings as the starting point. The exhibition will include work by 18 modern and contemporary artists and will include a 6-month trilingual public programme that is free and open to everyone. ‘Encounters’ is generously supported by the John Keells Foundation, the European Union and the Foundation for Arts Initiatives. Artworks have been kindly loaned to the exhibition from collectors in Sri Lanka and internationally.

John Keells Foundation, the CSR entity of John Keells Group, announced that they together with The George Keyt Foundation are organising the open-air Kala Pola event in August/September 2022. In 2021, due to the COVID-19 pandemic restrictions, Kala Pola went online for the first time on www.srilankanartgallery.com hosted by John Keells Foundation, and following its success and to continue to empower artists during the pandemic, Kala Pola went online once again in the form of a Christmas Edition in December. Kala Pola has evolved as an eagerly anticipated event in the arts and culture calendar of Sri Lanka providing a platform for over 300 visual artists to connect with over 30,000 visitors from around the world each year, as a launchpad for emerging artists and a forum for artists and art professionals to network and learn while promoting public social dialogue through the powerful medium of art.

John Keells Foundation also noted that the Gratiaen Trust – which it partners as primary sponsor – will be organizing the annual Gratiaen Prize event in late June/early July and is also planning a series of events to mark its 30th anniversary this year. The Trust was founded by Sri Lankan-Canadian writer Michael Ondaatje with his Booker prize money for `The English Patient’ and its objective is to promote Sri Lankan creative writing in English and translations of Sinhala and Tamil literature into English. Its flagship event is the Gratiaen Prize which is awarded annually to the best work of creative writing in English submitted by a Sri Lankan resident in the country.

For the first quarter of 2022, in addition to the monthly calendar of exhibitions, Saskia Fernando Gallery (SFG) is pleased to announce the participation of artists Chandraguptha Thenuwara and Saskia Pintelon in the forthcoming Venice Biennale 2022, Italy. The installations by both artists will be a part of the Personal Structures Exhibition presented by the European Cultural Centre Venice. This January, SFG is also kicking off the first projects of the A4A Production Fund, established in 2021 in collaboration with the Udayshanth Fernando Foundation, with the aim of lending support to emerging contemporary Sri Lankan artists. The fund will support three Sri Lankan artists in the creation, exhibition and publication of their selected project. Finally, the #SupportLocalArt Talk Series supported by Nations Trust Bank Private Banking, established in 2021 with the intention of creating a much needed platform for conversation on the developments of the Sri Lankan art industry, will establish an independent youtube channel as an archive of previous talks and in keeping with the objective of the talk platform to engage the entire industry, SFG will be passing the baton to the MMCA for the next round of conversations.

Puja Srivastava, Manager, Barefoot Gallery Colombo, speaking on the happenings at the gallery added, “Barefoot was established in 1993 and has been a progressive gallery. We have been known as a venue for various contemporary and modern Sri Lankan artists, we also direct the work of artists from overseas. An exciting new development is the revival of the area above the Gallery known as THE BAREFOOT LOFT. Our objective with The Loft is to enable the Gallery to expand and showcase more artworks and all other forms of expression – turning this intimate loft into a working area.”

Celebrate art in Colombo from January to August 2022, to find out more information on each of the events log on to the websites mentioned below.

– Colombo Scope visit www.colomboscope.lk

– The Geoffrey Bawa Trust visit bawaexhibition.com

– Museum of Modern and Contemporary Art Sri Lanka visit mmca-srilanka.org/new-home

– Kala Pola hosted by John Keells Foundation visit www.srilankanartgallery.com

– Saskia Fernando Gallery visit www.saskiafernandogallery.com

– The Barefoot Gallery Colombo visit barefootceylon.com/gallery/

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January 2022

Headline: The Museum of Modern and Contemporary Art Sri Lanka Announces its Second Exhibition Titled ‘Encounters’

– ‘Encounters’ is an exhibition of Sri Lankan modern and contemporary art that will be launched in February.
– The exhibition will bring together six encounters between artworks from the 1950s and the present.

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka) announces the launch date of its second exhibition titled ‘Encounters’. The exhibition will be open from 11 February to 28 August 2022, and will be presented at the museum’s new venue at Crescat Boulevard. ‘Encounters’ will be structured as a sequence of changing displays bringing together six ‘encounters’ between works of art created between the 1950s and the present by various artists such as George Keyt, Pradeep Thalawatta, Nelun Harasgama, Senaka Senanayake, Abdul Halik Azeez, and Janani Cooray.

The artworks and ephemera that will be showcased as part of ‘Encounters’ revolve around, and respond to, specially chosen paintings drawn from the John Keells and George Keyt Foundation Collections. ‘Encounters’ provides the public with a rare opportunity to view several artworks from two of the country’s most important collections of art.

Sharmini Pereira, Chief Curator, MMCA Sri Lanka, said, “we are excited to announce the launch of our second exhibition. The past two years have not been ideal for exhibition programming around the world, with the unexpected travel restrictions and lockdowns. So, we are really pleased that we can begin this year with a newly curated exhibition which includes 46 artworks by approximately 18 artists along with historically important magazines and photographs. The exhibition has been curated as a series of changing six displays, where five displays are on view for approximately two months and one display will remain on view for the entire six months. We encourage visitors to return to the exhibition for each display changeover as each ‘encounter’ will be different to the previous one.”
During the duration of ‘Encounters’, the MMCA Sri Lanka will be open from Tuesdays to Sundays from 10am to 6pm. Entrance to the museum and participation at all events in its public programme will be free-of-charge. For visitors who cannot easily visit during daytime opening hours, the museum will be open until 8pm on Fridays. The museum is easily accessible by public and private transport at its new venue with ample parking available.

‘Encounters’ is generously supported by the European Union, Foundation for Arts Initiatives, John Keells Foundation, and Asian Hotels and Properties PLC.
The Museum of Modern and Contemporary Art Sri Lanka is a cultural initiative focused on building a museum of modern and contemporary art for the country and fostering learning and engagement for as wide a public as possible. Alongside its curated exhibitions and education programmes, the museum is the first publicly accessible trilingual venue of its kind in Sri Lanka. For more information, visit www.mmca-srilanka.org or follow them on Facebook and Instagram for updates.

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02 December 2021

Headline: The Museum of Modern and Contemporary Art Sri Lanka Opens in a Newly Designed Public Venue

– Sri Lanka’s first museum dedicated to modern and contemporary art will be shifting its location to Crescat Boulevard, Colombo 03
– Museum of Modern and Contemporary Art Sri Lanka moves location to be more accessible to the general public

The Museum of Modern and Contemporary Art Sri Lanka (MMCA Sri Lanka), the country’s first public museum committed to the display, research, collection and conservation of modern and contemporary art moved to Crescat Boulevard in November 2021. The move to its new location meets its objective of being more accessible to the general public, schools and tourists. The MMCA Sri Lanka was launched in 2019 as a not-for-profit organisation and receives local and international funding. Its first exhibition attracted over 3500 visitors. In addition to hosting 37 school and university groups from across the country. The museum hosted 165 free public events, 11 kids workshops, and 12 trilingual talks by artists, educators and curators during the course of the exhibition.

Speaking of the location change, Ajit Gunewardene, Chair of the MMCA Sri Lanka Committee said, “the MMCA Sri Lanka’s decision to move to Crescat Boulevard was a strategic one. As a museum in the making, it adds huge value to Colombo’s development post-pandemic. Crescat provides an easily accessible, non-intimidating setting that is a good fit for MMCA Sri Lanka.”

Nayana Mawilmada, Sector Head of the Property Group of John Keells Holdings speaking about the partnership said, “we are delighted to host MMCA Sri Lanka at the newly revamped Crescat Mall. With its central and easily accessible location, Crescat will offer MMCA Sri Lanka an opportunity to showcase the country’s contemporary art to a wide audience. It brings an essential cultural attraction to enhance Colombo’s tourism offering and we believe that visitors to the mall will enjoy using the multifactorial activities now offered. With its thought-provoking exhibits and programming for children and adults, we are happy to partner with the museum in showcasing the rich history and social discourses of our society.”

Sharmini Pereira, Chief Curator, MMCA Sri Lanka, said, “MMCA Sri Lanka is not the first museum to be located in a shopping mall––there is a history of art spaces being located inside retail environments, especially across Asia, in countries like Japan, India and China. Our new location provides us with countless opportunities to reach audiences who would not otherwise venture into museums of modern and contemporary art. We encourage people to follow us over social media because we have plenty of unmissable events lined up over the next six months. Our goal is to once again create a unique, museum-quality experience that not only raises awareness about the country’s modern and contemporary art but also raises the profile of the city of Colombo itself.”

Crescat Boulevard is located at the heart of Colombo 03, with easy access points from Galle Road and Sri Uttarananda Mawatha. MMCA Sri Lanka is due to open its second exhibition in February 2022, in a 3,800sq. ft space on the second floor of Crescat Boulevard.

MMCA Sri Lanka is founded upon the values of learning and discovery and is committed to artists past and present, living and working across the country and internationally. Alongside its curated exhibitions and education programmes, the museum is the first publicly accessible trilingual venue of its kind in Sri Lanka.

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