Original subtitles

Proceed?

Yes. Okay, go ahead.

So, we have the negative person, Shintu.

Shintu, you are from Assam, right?

Yes, yes.

What is the present scenario, the flat scenario in Assam right now?

It's fine right now.

Okay, it's fine. Okay.

So, yes.

Can you come on camera please so that we can see you?

This is the first time probably all of us meeting.

Thank you.

Thank you. Yeah, Sintu, go ahead.

My story is all about one-shot community of Arunachal Pradesh.

And I am documenting this community

from last two years.

Their traditional tattoos, hunting practices, and

the way they live, their

lifestyle.

and everything.

I also have photographs from their festivals also.

But in this competition I didn't submit the festival photos because the

main festival of one show community is called Orya festival and I feel this

festival is becoming more commercialized nowadays.

So that's why I submit all those photographs without festival

photos.

So the first photograph is a house. I started the series with a photograph of

a traditional one-store house.

I wanted to introduce the place before introducing the people.

The houses and the surroundings give the viewer a sense of whatever, where the

story is taking place and how people live in that environment.

The second the second photograph so shown or shown omen getting harvest

basket I Wanted to bring the viewers into the daily work.

I like the fact that they were not posing for me they were simply doing

something that was part of the normal day and And the third and the third

photograph of a grandmother carrying a baby

while walking with green.

This was a very simple moment but for me it shows many things together

like work, family, different generation.

I like these kinds of moments because they happen naturally and don't need to

be created for the camera.

Then I include the photograph of the bamboo classroom.

I felt this was important because I didn't want to show the one-show

community only through their traditional life. The school represents the younger

generation and some of the changes happening in the community.

It shows that their life is not frozen in the past.

And the fifth photograph shows a hunter with a gun and a bird.

hunting was one of the things that first made me curious about the one show

community while i visited in some of the communities i

visited hunting is still connected with their way of life and i wanted to

document it as something i observed there without trying to make it look uh

heroic or dramatic so after that i include the photograph of the woman

I wanted to show another part of the everyday life and traditional skill.

Weaving shows work, patience and knowledge that has been passed

down through generations.

The next two photographs focus on traditional tattoos.

The tattoos are one of the first things that attracted me to this community.

They are connected with their identity and history, but I didn't want to

photograph only the tattoo itself.

I wanted to show the people behind the traditions as well.

In the photograph of the tattooed woman, I didn't ask her to remove

her clothes or pose in the way.

her son came and asked her to show the tattoo because he wanted me to document

them properly and after he explained that this was how she had traditionally

lived earlier and that in that context uh it was not uh unusual from them

unusual for them uh i understand that uh that time have changed and people

don't necessarily live in the same way today for me The important part of the

photograph was documenting the tattoo and history connected to them, not the

nudity itself.

And the next photograph is the portrait of the elderly tattooed woman. I

included it because I wanted to move from showing the tattoo to showing the

person himself.

Her face is an expression telling another part of the story.

The tetu is the part of her identity but she is more than the tetu.

The ninth photograph shows a young boy carrying a hunted animal.

I included this because it connects the practice of hunting with the younger

generations.

It shows how children grow up around these activities and learn from the

people around them. I didn't include it to shock the viewer.

It is simply something I experienced and uh felt was important important to the

story finally i end with the photograph of the child carrying another child

while elderly they took couple in the background this is probably

sorry uh

this is probably my favorite photograph from the series there are different

generation in one frame the older generation in the background and the

children in from front for me it creates a connection between the past present

and future so so i don't believe these 10 photographs can

represent the entire one so community they are only my personal experience and

my observation of the people and places i was able to spend time with thank

you yeah thank you i just want to know one question so i mean this

is not very clear to me before i move to the judge what is your specific story is

there any specific story you have from the project this is all about their

daily life daily lifestyle of one so community okay thank you now go let's

move to the jury

I think I have some community-centric questions, which I think is the concern

or the kind of area of interest and attention for me.

How long was your engagement with the community?

What was the process of access?

It is an ongoing project.

uh it's been two years from uh documenting this tribe actually i am i

am documenting the entire northeast from last four four five years and this one

so community is one of them okay um

so there was a very interesting anecdote that he said that the

son of the mother wanted

You document, can you hear me well?

Sorry?

Can you hear me well?

Yes, yes, yes.

There was an interesting anecdote that you said about the son wanting to

document the mother's tattoos, which led me to the question that in a

project like this, how do you ensure content?

uh dignity of representation and also this aspect of giving back to the

communities it is important sorry i can't hear you properly no question

okay in your internet because the internet

problem probably yes yes okay i'll try again can you hear me now

yes yes okay perfect So my first question, I was

talking about the anecdote that you shared with us. Yeah?

Can you hear me?

Yes, please.

Yeah. The anecdote that you shared of the son wanting to die,

right? So from that, there is a kind of engagement with the community, which is

very clear.

My question is that, I think it's two-part, the question is, how do you

ensure consent, you know, dignity of representation?

And also, how do you give to the community, or if it is an important part

of your process?

Because that's my central question when you are talking, you're documenting any

Indigenous community.

Shintu, can you understand the question?

Yes, yes.

Okay.

You there?

You have any answer? I mean, you can...

It's an open question.

I can type it for you if you did not hear.

You need to give me more than that.

You need to tell me what your answer is or did you not hear the question

properly?

Yes, I didn't hear the question properly. Some words are breaking.

Okay. I'm going to type the question.

okay okay so during that time can you shift to olivia

lolo yeah yeah yes olivia i was wondering if you you

you choose this community um or or the the it was a coincidence or you

documented this kind of indigenous community to find them

actually i'm so interested in this kind of community because in northeast india

there are lots of uh communities tribal communities and there are uh some

friends some college friends in arunachal pradesh and i connect with

them and then got some information about this one show community and after

hearing uh about about the cultures and their lifestyle i'm so interested in uh

interesting about documenting their life so after that i am

engaged with this community okay okay and um do you share with them i mean

you involve them in the in the process or you stay silent somewhere in the in

the back do you spend time with them talk with them yes i spend i spend time

with them this project is uh is all about 10 days spending

with them okay so this project is 10 days of work with them yes yes yes

okay okay right these 10 images specifically this one yes

yes yes okay okay and did you show the photos to the community yeah yeah and

what did they say do they want to continue with you yes yes they're so

happy to

Because these villages are very remote villages and they don't use to eat

cameras. So after I entered their village with camera, they become so

happy and curious about to like, you know.

They have lots of energy.

They look at the camera.

Yeah, yeah.

All right, good. Thank you.

Thank you. I just am very intrigued in one thing. So you go to them, right?

You take their photograph.

I mean, do you think of giving them something? I mean, anything.

Do you give something or like you just go take photograph and come back? I

mean, is there any cultural exchange, any financial exchange or something like

that? I mean, I'm just curious.

Do you give them money or something like what?

How do you give them back something?

Some people ask money.

and i give them but not not more they're asking about 50 to 100 rupees

like that and and they're they're happy because i am

connected with some young young people young students also so they

understand about the process because uh i tell them i want to document your

community for future generation because there are some

festivals, there are some rituals which are slowly disappearing.

So I want to document them and I try to understand the process

why I want to document these festivals and the lifestyle.

So they understand.

Amar Prabhakar, this is one question from your part, right? One part question

of yours.

Yeah, I am just putting my question and i can sort of you can hear

from lolo also then if there is anything follow up i can sort of ask now let's go

to lolo hi lolo hi i don't have a question thank you

okay thank you so yeah

since you can see that

so do you do you ask them before photograph these people

yes i asked them

i took some permission i mean while i am going to uh shoot the tattoo community

people then i took some permission from them otherwise the landscape

and the festivals it i i think uh it didn't No need to take some permission

because festivals are openly celebrated because there are lots of photographers

present here to document festivals and all. But if I am going deep to document

the community, then I took permission from them.

I have a question.

Yes, Lolo, please.

Do you work with...

How do you say, forms that are asking for people to sign and

give away their rights to showcase their work?

Agreement forms?

No, no.

No, you don't work with that?

No. I don't. In some part of India, I mean, again, it's not that

very much.

popularized and there are a lot of slight unethical practices are there,

what people do.

I mean, I don't comment on that much. I have a lot of problem with that. Okay,

Amarnath, I mean, did he answer your questions?

It's not really important that he answers the question.

I think it's also, I can also, I've been into thought, so I know that it might,

take some time to sort of process it. But it's very important. I feel that I

can also hear references in what both my jury panel members are

pointing at.

So I'm not, I'm okay with not getting the answer because that's not important.

The question is, I just wanted to open it up.

Yeah, probably you're talking about ethics. The ethics code, right?

I think that is the central concern.

Yes.

I mean, we are also working with a lineage of colonial photography, looking

at the energy in a sort of sense, and the later spaces like National

Geographic sort of work.

So, for me, I also don't see that...

one person's work or one person's act but as a consortium that is discussing

the property and the subject is an indigenous subject i think that was the

most important uh question i think the other question i had i think she too

already answered that this is the 10-day engagement um yeah so that was how long

was the engagement

And maybe the third question is that do you also think about the writing that

accompanies the photographs to do? And if that is the case, what is the nature

of that writing?

Like in ideally, there is no... Can you hear me?

Yes, yes.

Ideally, there is no format.

how would you show that work so do the images

accompany any writings into actually i'm planning to uh

make a book about northeast india so

but not now uh it took some time because there are lots of uh things to document

Amanat, I just want to conclude in that way, like I have also some understanding

that probably a lot of people do not know all this part of documentation,

right? I mean, people end up with only photographing and then put it into

Instagram and that's all.

Yeah. So what is documentary, the real form of documentary?

unearthed for a lot of people so the ethical part the writing part probably

even in past when i have asked few people about these things these

questions i'm just sharing my own understanding so i mean they they stay

blank or something like that they don't have any concrete answer on that even

the ethical part you ask they don't even know that we have to ask them or they

don't even consider in their concern how do them return back to those people whom

I am going to and I am photographing.

So probably this is a part which is lagging in the form of academics,

photographic academics, which should be incorporated.

Well, again, this is my own understanding what I said, I shared with

you.

I know that these spaces that you are visiting and these interactions with

these people can be transformative and I'm looking forward to your work which

is sort of more expanded than we are seeing right now.

Thank you, Sintu.

Thank you.

So let's move to our next participant who will be the one.

Ayon, okay.

Hi, Ayon.

You there?

are you there yeah am i audible yes you are can you can you yeah yeah go ahead

please

Can I start now?

Yes. Ritika, can you scroll out of it?

Yeah. Move up, please. Yeah. Thank you. Yeah. Please go on.

First of all, thank you.

Thank you very much for selecting my project for the final round.

Thank you, the jury members and the team members of INDPC.

So the title of this project.

I took from one of the poems by Palestinian poet Muhammad Darwish.

So the title is on this land there are regions to live.

I am doing this work from the end of 2022.

It's kind of nearly four years now.

So the place is situated, the Ajutta hill is situated in Purulia district

in West Bengal.

Pajodha hill region is basically a tourist spot for

to the maximum people and I also knew the hills as a

tourist destination I visited twice as a school student and

for the beauty and the distance from home kind of things but in 2022

While I was working on an assignment for the Caravan Magazine.

So I was there with a journalist. I was doing the photo and video works.

And then the place kind of represented to me in

a different way. It came to me in a different meaning.

I came to know about some scenario which were going and till going

there. So the scenario was kind of striking to me.

And since then I have returned repeatedly

to the place, staying in the villages with the villagers.

And till now I stay there for a long period of time.

dividing time with that place and my home.

I have spent time with the elders, heard stories of Marangguru, the deity,

Jamsim Binti, the creation story of the community, the Santal community, and the

animals of the forest.

And I began reading the Santali mythology.

alongside this conversation with the elder members of the community.

So, Azadir became more than a landscape I had visited earlier.

It became a place of relationship, memory, work, belief and the

ongoing resistance, the ongoing struggle.

So, the project is saved by the uncertainty created by

dam construction, the Hydel project dam construction in and around this

landscape and by the possibility that villages, forests, river systems may be

altered or submerged.

Yet this word I can say that not only about the laws, the impending laws, it

asks what it means to continue living in a place

when The future of the place is planned elsewhere.

I also grew up in a village, but that doesn't make any position the same

as that of the people I photograph.

But it helps me recognize that land can hold more than property or scenery.

So there is childhood, labor, ritual, fear, ancestors and belonging.

attached to a place so the central question this project asks when

land is imagined as future infrastructure what counts as evidence

that life already exists there whose memory remains visible and who is

allowed to keep the record so i am going with this central question

For me, evidence is not only the photograph itself, it's the combination

of forms. So I am working in this project with many forms.

It gradually came to this place.

At first, I just started about documenting the place, but sometimes I

went to the place without the camera just for staying there to talk with the

elders and the other

members of the community, the eldest women of the community, the village.

So, this evidence for me is the

combination of forms.

A portrait alone can be dismissed as just an image, but when I place it

alongside oral testimony, family photographs, and even camera footage of

the same forest.

The villagers depends on. Together they build kind of evidence that's harder to

erase.

Also the anthotype prints, there is one collage of the anthotype prints.

So these prints work differently.

They are fragile, made from plant pigments, from the medicinal plant

pigments from the landscape.

uh from the river and location and uh they fade over time this this is uh the

beautiful thing about this amphotype process so it kind of fade over time so

i use this fragility uh deliberately because uh official service and

engineering reports project is kind of uh permanent and certainly about the

land's future

They try to portray these reports and kind of things about the land's future.

But while my materials admit uncertainty, the contrast itself is part

of the evidence. It says this land's future is not settled and neither is the

record of it.

So on the memory question, whose memory remains visible?

I made choices about those memories becoming visible and I don't pretend

that it's neutral.

I spent time with elders first because stories like the deity Marangguru and

the Jaheer Khan and the Jamshim Binti creation story, so these carry the

deepest layer of how this land is understood, not just as forest and

hills, but as ancestry and belief.

But I was conscious that focusing only on elders kind of grief, presenting the

community as belonging to the past. So I also photograph present day life,

the farming, the gathering, daily routine, the cockfights, the village

fairs, to show that this isn't a memory that already lost.

It's memory that's still being lived and passed on.

I know I haven't captured every voice, especially younger residents, whose

relationship to these stories may be more distant.

And that's a limitation I am aware of, rather than one I have fully resolved.

And who is allowed to keep the record?

So here I am kind of... One more minute. Okay, okay. So I am just

ending this part.

i am kind of very uncomfortable when this question arrives to me so honestly

i am an outsider with a camera even though i grew up in a village but that

doesn't justify this so but it doesn't make my position the

same as the santali family side photograph official bodies keep their

record through service and damn project documentation and that record tends to

erase the very relationship my work tries to show.

I don't think my photographs replace or overwrite that, but they exist as a, you

can say, counter-archive or alternative archive.

And insistent that live exists here, on terms the official record doesn't

recognize. What I try to do practically is spend real time in the villages, seek

consent at each stage. I wait for long times to click on images,

or kind of these things and um yeah and i don't think that um

fully answers who is allowed to keep the record question but uh it's how i

try to keep my own practice honest inside the question so yeah uh i think

that's all thank you so amarnath yes you have a question

Shravan, you're on mute. We can go to Q&A session after the jury comments,

right? So, Amarnath.

Hi. Thank you for your presentation.

Can you hear me?

Yeah, I can hear you.

The thing is that I am so audible to myself, so I cannot hear. I don't know

if other people are hearing.

I enjoyed your presentation and the way you were kind of describing the project.

um i have some questions about specific images and then a kind of larger

question yeah the third image would seem to be a kind of

um overlay uh yeah you can say yeah yeah or photo montage

yeah uh uh say again please

is it a dinosaur

No, actually this is a screenshot of the trap camera footage which I

placed on one of my landscape photos.

So, can I also say the reasons behind this process

or it's okay?

Is it a dinosaur or not? No, I got my answer.

that it's actually a trap cam uh photograph overlay digitally on a

landscape photograph that you've made right okay yeah perfect um i just want

you to talk about the anthotypes and the typology of that which is

really interesting but i want you to know what's the logic behind uh

the anthotypes okay uh so uh uh

Two years ago, while I was talking with Shombu Tudu, Shombu Tudu is a

priest and a Koviraj of the Borilohar village where I used to stay.

So while talking with him in the evening, then he started telling me

about the medicinal value of the plants of the area.

So which may be uh maybe which may be uh gone if the band the

dam will build there so then then the next morning i went to the

forest with him and he started showing me the small plants the big plants the

roots which are useful to their community and they are depending on

those things for a very long time and uh this kind of

So while I started studying about photography history, there is a book

called British Algae by Anna Atkins who was a botanist and a photographer who

just archived the botanical elements with the cyanotype process.

So this kind of made me think about if I can just

start it, archive these medicinal plants with that way.

But I don't want to use cyanotype process because in cyanotype process

there are kind of some, as my background is in chemistry, so I know that there

is, there are kind of chemical waste there in the cyanotype process. So I

didn't want to use this process. Then I think about alternative process. Then I

became know about this anthotype which is very much environmental friendly.

And there is also a thing that this print feeds over time.

So this is kind of very metaphoric, you can say to me.

So this plan may not be there after 10 years.

This knowledge also may be not there after 10 years because the generational

gap is also there and the land alienation is also there happening

through dam building, through resort kind of thing.

So that's why I started thinking. So what I started doing that I...

made some prints and then after six months or seven months I started

seeing the prints. They are gradually fading.

So this fades kind of connecting with the existing problem with the landscape

and the community.

So that's why I am trying to archive this.

did you follow that with just you had paid the other types i i made the prints

on a four seat uh the fabriano kind of paper and then i uh when

uh at the first stage i scan this with my phone and then after six or seven

months i scan again the prints and then uh did this collage kind of uh showing

the continuous fading of the images here I got an answer. Last question is

regarding the text and the image.

Okay.

So, the oral story and the mythological stories are very important

for my mind. Can I ask a question, please?

Oh, sorry.

I wanted to know about the origin of that story. And second, your choice of

language.

What is the community's language?

No, it's not the community's language, obviously.

The story is actually the oral stories from the landscape.

But yeah, after you asking me this question, it will be better if I can

write in the local language so that they can also understand the image.

But yeah, this language is obviously not.

It's just for my understanding.

I'm curious that the text, the English

text, the short story that we see is actually a translation that you have

made from the local folklore?

No, local folklore not. But I heard this story from one of the elders.

uh from uh village and what language what language that was that was

bengali language in another dialect but bengali language here okay thank you

thank you thank you olivia uh yeah hello um i had

exactly the same question So I have already the answer.

But I'm not sure I understood.

If you just explain in like two sentences the ontotype, why did you

choose to add it in your series?

I'm not sure I understood.

That's why.

If I can, I have to express in two sentences,

then I can say that.

I choose the anthotype process to make an archive

of a fading knowledge and a

fading indigenous knowledge and for the

fading nature of the prints. This is the two

main reasons.

Yeah, okay.

Right. I understood.

Okay. Thank you.

Thank you. Lolo, you there?

Yes, I'm here, but I don't have a question.

You don't have a question. Okay. Thank you. Shravan, you had a question.

Shravan, can you be quick? Because we have one more question.

Yes, yes.

I just had a question.

Do they speak in Alchiki as well, which is a language?

Alchiki is actually the written form.

And Olchiki also actually kind of there is Olchiki actually from

the Odisha Santali communities, the origin of the Olchiki. But the other

Santal communities, it's kind of there is a tendency to not kind of follow the

scriptures. Some follow, some didn't follow.

Okay, okay. Thank you.

Okay. Thank you. Thank you, Ayan.

Thank you. So now we have our last participant, Orun. Hi, Orun. You there?

Orun, you there?

Yes.

Yes, hi.

So that's just out of context question.

So are you organizing very recently, I mean,

residency program okay

go

ahead please

thank you yeah now your time starts yeah can i speak now everyone here yes

because they are running out of time okay

the uh the project called traces okay

uh as a photographer i carry a lot of memory with uh i have some

childhood memory with the land with the festival with the daily habits like that

so that's how i started the project around 24.

first i planning to do with the uh with the flame because i like the flames and

i want to keep it uh some archival images okay not look like a digital

image i plan to do that uh like archival images later i learned about uh the mile

print method in last year 2025 end i think december or now on november or

december

that time i learned about gamma oil printing method so after that i check my

editing image i choose to do the comma oil sometimes i i try to find what

can i do with the gamma imprint then i carry the images like around 20 or 50

images with the gamma oil print there is a lot of story to tell to me okay

not everyone it's like a it's tell to story first of all to me when i connect

the images it's like uh the festivals their memory the memory with the

landscape and that um and in the childhood time i see

the one of your one of the beautiful art i discovered in my childhood i

see the one of person bring the beer you see that images

Once upon a time, Indians, instead of drinking beer with their

master, they do some circus things for their daily routines.

So I quite... That time I don't have a camera because I'm a small boy, like

something like that.

Then I grew up, there is no certain culture now, but I see some unusual

things, like elephants, horses.

So, I can prove them with this project.

Yes. So, this is all about your project, right? So, I'll go and move to jury.

Avanath?

Hi, Arun. Can you hear me?

Yeah, yeah, yeah. I can hear.

Yeah. Thank you for your project and your presentation.

I wanted to know more about

The community?

The locality?

No, no, no. It's not a single community or single locality. It's all around the

Tamil Nadu.

All around the Tamil Nadu land and the festival. Not single land.

It's around the Tamil Nadu land.

It's a lot of cultural land.

One thing is hill land. One thing is sea land.

One thing is crabs land.

So I bring all the images, like not a single community or not a single

location. The project doesn't need a single location.

Okay.

Because I want to do all the location bring to the core memory of stuff.

Yeah.

Okay. That's very clear.

My second question is that could you walk us through a little bit of your

methodology? Because we as

people who appreciate your work. Amar,

can you repeat the question?

Yes. Can you take us through your methodology in terms of, do you shoot

digital first and then you sort of turn them into gum oil prints?

What is your, I mean, I'm just curious about you photographing and how that

transforms into a historical process.

No, no.

i didn't shoot a digital for this process it's all i think one or two

images only digital remaining all the film film only okay the project needs

the digital that's why i choose only two images in the digital i everything is a

film when i do the i like to do the alternative things i try to find i

try to learn so when i in 2023 i i selected for the residency called the

masculinity studio in delhi where i'd uh i learned about uh film developing and

silver delton fronting process the same lab they described about the gum oil

print i have a they have a gum oil print book it's a lovely book so i carry that

book with them uh i read that book how the process will go Then after that I am

going to do some other work. I started a lab previously.

I started a lab with silvertail printing process.

After 2025,

I just curiously about to put a YouTube videos how to do gamal print.

There is one Japanese artist, I forget the name. Just you put a name in gamal

print, the first video is called then that is Japan's photographer.

I saw that video because a lot of people told me that Gamayal is a very different

project. You can't do it without help or something like that. Then I saw the

video.

Okay, we can try.

But we can't do it.

Then after that, with the help of YouTube and obviously, Chrome and ZagGPT

helped. That time, I learned about Gamayal.

Then, in my...

i live in the small place i don't have the digital negatives so i asked a

question some of people do who do the gamma printer they said they in local

printing shop there is one sheet called the osp sheets yeah but the

ohp sheet not carry because the gamma will print need a image with a

good things not every minute not every image we can do that

Okay. So, that whole issue I went through.

Then I collected the local chart.

Then I tried to find what can I do.

Then I will do the altmos.

Okay. Thanks. Thanks.

Those are the kind of things that I wanted to know.

My last question is that when in this process, and this is my reading of your

work, that why so many things very effectively?

it also, and it's not a demerit, but it also hides many things from us. Have you

thought about this?

Like, let's say the image and its context as opposed to

the descriptive quality of images is taken over by a kind of

material quality of the model.

Right? So, have you thought or do you have any comments on this?

For example, as opposed to a digital format or

even a 35mm Tmax

black and white exposure, the information that

the image gives us is less.

Many things are obscured by the process, by the stroke, by the brush stroke,

right? You have to actually, sort of like painting, sort of develop the

image. Have you thought that?

Now I understand that. Yeah, yeah, yeah. I want to the same or play the method.

It's like a... It's not like a photograph. It's not like a printing.

It's like a... I want to like a painting.

Not like a certain painting. But it looks like a painting.

If someone sees the prints, oh, it's not a printing or a photograph. It's like

a... it's like a painting yeah yeah i know that yeah i want to carry that and

and do you work with different sizes or this is all uh one aspect no no right

now i have only a4 faces in my place you know i go to some other places now they

have a different different size but right now my place will have only a4

space control so i can do all the printers they are like a4 size yeah okay

thank you so much thank you thank you

From my side, I understood the project very well. For me, everything is clear.

It's beautiful.

It's very good. Thank you.

So I don't have more questions.

I wanted to know how do you plan on showing the work?

Definitely installation only. I can't bury the book from my print.

A book?

No, no. I can't carry the book with the Gamal print. I want to show the

exhibition way, installation.

Oh, okay.

I didn't carry the book like a Gamal print, this type of book. I can't carry.

So I want to do the installation only, like exhibition.

Okay. Alright. And what size are the images, if I may ask?

It's all images in A4 sizes.

A4.

A4. Yeah.

A4. Okay. All right. Yeah, yeah, wait. I'll show the one after me. Wait.

You

have

one handy with you, Arun?

Yeah, yeah, yeah.

Ah.

Okay.

Okay. And do you see them as that size or do you think you can see them bigger?

Can you increase the size?

He's on mute. You are on mute.

You are on mute.

Oh.

Hello.

Yes, we can hear you.

Can you see them in a bigger size format or do you only... Yeah, I can do, but in

my place, I don't have that facility in my place. Okay.

I can do it. I can do.

Okay.

Thank you, Arun. Thank you. Thank you.

Jury, I just want a concluding remark from each of you. If there is any,

Amarnath, Alizian, Lolo, because we have all of our presentations done.

So let's start with Amarnath.