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Left: Kathmandu Triennale Patron Artist Francis Als with Kathmandu Triennale curator Philippe Van Cauteren at Yala Maya Kendra.Right: Kathmandu Triennale Symposium curator Veeranganakumari Solanki Jamwal with Kathmandu Triennale founder Sangeeta Thapa and moderator Sanjeev Uprety at Yala Maya Kendra.This situation is reflected in the exhibition’s recurring motif of cartography.Mapmaking manifests in manifold forms, from Francis Als’s inscription of a trail of melting ice through Mexico City to Alice May’s collaborative cityscapes, sketched in the back of shared cabs.The student base remained strong throughout the triennial, with swarms of smiling volunteers at each venue.“It was actually a little disconcerting,” Als admitted.Of course, part of Van Cauteren’s success was due to the generous loan of S. Thinking back to his 2015 Iraq pavilion in Venice, he clarified, “That was a little different.

Visitors were encouraged to walk across the model Carl Andre–style, reenacting the devastation.When I first heard the triennial’s theme—“The City”—I have to admit I winced.It struck me as just the sort of cop-out catchall one could expect from a European adventurer besotted with Bhaktapur and the thrill of a good haggle.There’s Lois Weinberger’s concept-based cartography; Jorge Macchi’s exquisitely excised roadmaps; Sunita Mahajaran’s gauzy textile collages of city terraces; Birendra Pratap Singh’s woozy street scenes, embedding buxom, bare-bellied women into architectural elements and open windows; and a photogenic contribution from Pokhara, Nepal–based artist Amrit Karki, who spent several months convincing residents of the suburb of Kirtipur to let him paint a red frame over a certain section of the hillside cityscape.Understandably, another common theme was ruin, but only in the sense of intentional collapse.

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