Hit Man Gurung’s diverse works are concerned with some of the most pressing political, economic, and cultural phenomena transforming Nepal’s physical and societal landscapes. In particular, they address the country’s decade-long People’s War, several years of unstable governments, and the impact that these events have had on the personal and professional lives of Nepali citizens. His paintings, documentary photos, videos, performances, and installations are infused with political conviction and personal poetry. He has participated in exhibitions at SAVVY Contemporary in Berlin (2020), Artspace Sydney (2019), Yinchuan Biennale (2016), Para Site in Hong Kong (2016), and Asia Pacific Triennial of Contemporary Art in Brisbane (2015–16).
Sheelasha Rajbhandari’s longitudinal research
repositions quotidian and plural narratives by weaving folktales, oral histories, and performative rituals as a juxtaposition to conventional historiography. Her practice is rooted in the experiences of women and seeks to confront how female agency and corporeality become contested political sites for contemporary nation-states. Her installations and works have been presented at international venues, including the Museum of Arts and Design, New York (2022), the travelling exhibition A beast, a god, and a line (2018–20), Weltmuseum Wien (2019), Serendipity Arts Festival, Goa (2017), and Kathmandu Triennale (2017).
Their collective, ArTree Nepal, participated in the Dhaka Art Summit (2020) and the Biennale of Sydney (2020). They are also co-curators of the Kathmandu
Triennale 2077 and 12 Baishakh Post-Earthquake Community Art Project.