With photography, video, sculpture, and installation, the artist narrates the story of her ancestors, the Indigenous Adivasi (formerly known as Vedda) people of Sri Lanka. 

"My work here for the Berlin Biennale is focusing about de-colonisation. And restitution. Especially in the field of restitution about our ancestral remains that is kept in European museums and institutions," she says.

Using her own body as the basis for one sculpture titled 'Self-Portrait as Restitution – from a Feminist Point of View', Arachchige holds a replica of the skull of an Adivasi man that was removed by the Sarasins. 

"I'm not a historian or anthropologist. But I am a human being and an artist coming from Sri Lanka. Born, brought up and educated from Sri Lanka. So for me as an artist, as a woman artist, it is very important to raise this issue. And bring these important topics, and archives to the surface of European society," she says.

More info see the the preview of our recent publication or the following pages:

Gandy gallery newsletter
Unhealed wounds of colonialism : Berlin Biennale's 12th edition showcases artists from the East
La Biennale de Berlin 2022 n’a, à juste titre, rien de commun avec le Humboldt Forum — vendredi
Bienal de arte de Berlín 2022: ‘Still Present!’

Photo credits: Sinni-coastal Vedda women, Wendelos-Bai, North of Batticaloa, Sri Lanka,’ 2020, from the series 136 years ago & now, 2019-22, Photograph, 40 × 60 cm // © Deneth Piumakshi Veda Arachchige, Gandy gallery