Conflictorium is a participatory museum that addresses the ideas, questions and structures of conflict. With emphasis on art, audience and archives, where intersectional and interdisciplinary approaches to peace and conflict are explored, the museum tries to acknowledge the phenomenon of “conflict” as a key move in imagining a peaceful society.

While the idea of conflict conventionally refers to overt violences like war, the museum understands conflict as everyday tensions and disruptions that often manufacture and reveal the larger fears, shame and guilt operating to build miscommunications and boundaries between people.

POWER OF THE NEW

“If two entities have to occupy the same space, must one of them blend into or become subservient to the other? Is there a ‘third space’ which is beyond polarity, but opens up the possibility of something entirely new? Can aesthetics be such a space?”

A sound installation by Avni Sethi, “In This House and That World” introduces the layered history of the building and locates the audience participant within this continuum.

CONFLICT TIMELINE

“Histories are mostly records of conflicts, reflecting the ruler’s perspectives. They do not reflect the experiences of the people. Keeping this in mind, let us reclaim history to include your voice, my voice, everyone’s voice.”

The “Conflict Timeline” attempts to showcase the violent and oppressive past of Gujarat, since its inception in the year 1960.

GALLERY OF DISPUTES

“While conflict is unpleasant, turning our faces away does not remove them. The first step of healing a wound is to accept and acknowledge it.”

The “Gallery of Disputes”, designed by Mansi Thakkar, aims to bring forth various kinds of conflicts and their causes in the context of our social fabric. Most often interlinked, these conflicts and their causes may become hard to define and understand.

As a museum that aims to reach out to a wide audience with varying backgrounds, a decision to convey the content of the gallery through stories was made. ‘Museum culture’ may be western, but ‘story-telling’ is universal. Drawing from structures and motifs in animal fables like the ‘Panchatantra’ by Visnu Sarma and fiction like ‘Animal Farm’ by George Orwell, the gallery follows the story of a Donkey, a beast of burden living in a forest, with a social fabric as complex and conflicted as in the human world.

MORAL COMPASS

“While tradition continues to guide us, modernity calls for a restatement of our shared ideals, values and commitments to each other, in ways that are responsive to our present moral dilemmas and challenges.”

In this room we have displayed a copy of the Indian Constitution (a pre-1977 version) and there are no restrictions on visitors as to how they engage with it. We encourage the visitors to go through the world’s longest written Constitution and try to understand its different elements.

Knowledge of constitutional rights is essential for every citizen and the inaccessibility of the same is what we’re trying to overcome in this particular space of the museum. In addition to the Constitution’s presence, the space also has panels that display the human rights movement that spanned several years, for getting the inhuman practice of manual scavenging banned by the law of the land.

EMPATHY ALLEY

“When humans start behaving in exemplary ways, there remains no difference between us and gods. Throughout time, people just like you and me have renounced baseness and shown us what we all are capable of – even though the shadows of their differences continue to shape our destiny even today.”

The “Empathy Alley” comprises of silhouettes of political figures such as M.K. Gandhi, Dr. B.R. Ambedkar, Jawaharlal Nehru, Mohammed Ali Jinnah, Sardar Vallabhbhai Patel, and Indulal Yagnik. Each figure has a speech in the original voice and the speeches express the ideological thinking of each leader during the time of post-independent India.

SORRY TREE

The Peepal tree that is the identifier, nourisher and shade giver at the museum also serves as its Sorry Tree, holding space for apologies that were never asked for, expressed or understood

The sign of the truly powerful is humility; arrogance is a sign of cowardice. Apologizing and forgiving are perhaps the most profound of all human behaviors, with the capacity to transform the destinies of future generations.

FEELINGS MAP

The Peepal tree that is the identifier, nourisher and shade giver at the museum also serves as its Sorry Tree, holding space for apologies that were never asked for, expressed or understood

The sign of the truly powerful is humility; arrogance is a sign of cowardice. Apologizing and forgiving are perhaps the most profound of all human behaviors, with the capacity to transform the destinies of future generations.

MEMORY LAB

“Even in an ideal society, conflict would persist – pain, hurt, retribution would flare up. Instead of sowing seeds of silence inside our souls, can we find more creative and constructive ways to express and channel such memories?”

The “Memory Lab” is a community art installation that provides the visitors an outlet to express their innermost thoughts without any hesitation. The empty jars on the shelves are there to preserve the memories of conflict in the lives of the visitors.

    As we share memories and emotions, we bear witness together. Let’s not forget -James Nacthwey   

“Conflictorium was a new experience for me. Starting with history and exploring society and in the end, reaching to be humble & fearless.” – Ashwin Misra

“My experience at Conflictorium has been very unique. The way conflicting point of views are portrayed & the experience created through the audiovisual installations is phenomenal.” – Tuhin Paul

“This was a wonderful experience. It made me think and has left a spark in me to spread this and use the concept with educators and school children.” – Rajesh Ranjit

“A place that talks back to me. You have captured the most difficult thought process and displayed it with such a beauty and wisdom.” – Asma Hussain

“This is one of the most unique display of art I have ever seen. Artwork that stem water to all our senses including some of the deepest emotions – Empathy. The subtlety of the concept is great. My compliments to everyone involved in this project.” – Namit Joshi