Voice from the margins: Naga artist Temsüyanger Longkumer’s quest for cultural representation

The poster for Temsüyanger Longkumer’s immersive installation film ‘home' was featured at the 80th International Film Festival in 2023.

Synopsis:‘home’ portrays humanity's intricate and often troubled bond with our planet, symbolised by a beehive. Nature and society flourish as complex organisms. Within it, unintentional yet flawed choices imperil our future, posing an existential threat to all inhabitants. Loss of habitat and forced extinctions become increasingly common. Ingenious adaptations by humanity shape our environment to suit cultural beliefs, crafting elaborate systems to fulfil ever-growing perceived desires for comfort and leisure. We march on and press forward, forging new paths and conquering virgin frontiers, convinced that this is the right way, the only way.

• DIMAPUR — For Temsüyanger Longkumer, an artist originally from Nagaland, art is a dialogue—a way to connect seemingly disparate worlds while staying rooted in a strong cultural identity. His practice involves themes of migration, identity, and interconnectedness, drawing inspiration from his personal experiences and the rich cultural narratives that shaped his early years in Nagaland.
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• As indigenous and under-represented voices increasingly find their place in the global art scene, Longkumer is one of the artists leading this shift. Fresh from his showcase at the London Art Fair 2025, he reflects on how this evolving landscape is embracing artists from marginalised communities.
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• “There’s a growing appreciation for diverse perspectives and narratives, which reflects a broader shift toward acknowledging cultural richness and complexity,” he told Eastern Mirror during an interview conducted via email.

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• “Platforms like the London Art Fair and other international exhibitions provide opportunities for artists like myself to engage with global audiences, sparking conversations that were not always possible before,” he noted.
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• Longkumer’s journey began in Nagaland, where the exposure to rich oral traditions, the community-centred way of life, and the challenges of living in a changing world were pivotal in shaping his artistic path.
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•  “Growing up in a place rich with natural beauty, diverse cultures, and traditions, I was always surrounded by stories, rituals, and the art of daily life,” he recalled. “The visual languages embedded in our culture—whether through textiles, ceremonial masks, or carvings—were my first sources of inspiration.”
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• Whether he is creating immersive installations and paintings or exploring sculptural forms, Longkumer said he draws on themes of community, resilience, and the relationship between people and their environment—concepts that are deeply rooted in the Naga cultural heritage.
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• Further, the communal ethos of Naga society, how “the idea of ‘we’ often took precedence over ‘I,’ and this interconnectedness finds its way into my art, where I explore the bonds that connect people, places, and time,” he explained.
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• The journey, however, has not been without challenges. Opportunities to pursue art professionally were scarce in Nagaland, but determined to follow his passion, Longkumer pursued art education in India before earning a scholarship to study at the Royal College of Art in London.
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• “This incredible opportunity opened doors to a broader world of artistic exploration and practice,” he noted.
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• Living in fast-paced London in contrast with Nagaland’s slower, community-centred way of life has created a “unique tension” as he merges both worlds in his work, he explained.
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• Moreover, being away from Nagaland, he said, has provided the space to reflect more deeply on his roots and cultural identity.
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• Bridging the personal and the universal
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• It is within this context that Longkumer, the artist, bridges the personal and the universal, engaging with themes of migration, community, identity, and the environment.
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• Examples of his work include home, an immersive film installation featured at the 80th Venice International Film Festival in 2023. The project uses the metaphor of a beehive to explore humanity’s intricate and often troubled bond with the planet. It offers a provocative commentary on ecological decline and how unintentional yet flawed human choices imperil our future.

• Temsüyanger Longkumer’s solo exhibition at Greatorex Gallery in London, 2024, titled “Beast of Burden; or, The Modern Frankensteins” (Kinetic Sculpture). This exhibition explores one of our contemporary counterparts to Dr. Frankenstein’s creation—the oil pump machines, affectionately known as “Nodding Donkeys.” The exhibition showcases this modest yet unfortunate machine, which has become emblematic of the environmental challenges and ecological decline confronting our planet. Drawing upon the intricacies of unintended consequences and the paradoxes entangled within our pursuit of “progress” and “development,” this work serves as a poignant tribute to the symbol of human culpability—the scapegoat of our modern era.

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• Another notable work, Beast of Burden; or, The Modern Frankensteins, a kinetic sculpture exhibited at Greatorex Gallery in London in 2024, critiques the environmental consequences of modern industry. Using oil pump machines as a symbol, the piece enquires into humanity’s paradoxical pursuit of progress and innovation.
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• Through works like these, he invites audiences into a cross-cultural dialogue and offers insights that are hard to articulate through traditional discourse.
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• “Art bridges gaps by fostering empathy, enabling people from different backgrounds to find common ground,” he maintained.
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Longkumer’s work has garnered attention from prestigious platforms, including features in Forbes and Prestige magazine, with the former noting his exploration of “humanity’s interaction with nature” at the London Art Fair

• Such recognition, he said, is “humbling and motivating” and serves as a reminder of the responsibility to foster meaningful dialogue and contribute to the ongoing conversation around art, culture, and society.
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• “It reassures me that my work, which is deeply rooted in my cultural heritage and personal experiences, resonates beyond local or regional boundaries,” he added.
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• Going back to his beginnings in the global art community, the artist recalled that “coming from a small, remote region like Nagaland, where access to art networks and opportunities was limited, the first hurdle was simply finding the right platforms to share my work.”
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• As an emerging artist, financial constraints were another obstacle because securing funding for projects, exhibitions, and even materials can be difficult. While it seemed like an “uphill battle” to make ends meet while pursuing his passion, “persistence, a willingness to learn, and a deep passion for my craft,” and various odd jobs, enabled him to overcome these obstacles.
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• “The guidance of mentors, the camaraderie of fellow artists, and the interest in my work through exhibitions have all played a vital role in my journey,” he added.

  Sculptures by Temsüyanger Longkumer

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• The present and future
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• At present, the London Art Fair has given him a broader platform and sparked meaningful conversations and potential collaborations, he said, with a note of appreciation to the London-based Oliver Projects gallery for exhibiting his work.
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• Longkumer hopes his work will continue to prompt reflection on the complexities of human existence and their relationship with the world. “Through my sculptures, I aim to inspire introspection and highlight the importance of unity, empathy, and shared responsibility,” he said.
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• For the future, Longkumer is preparing for upcoming exhibitions, including one in Nagaland exploring themes of farming and community.
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• Noting that the momentum is shifting toward inclusivity in the art world, he expressed hope that emerging artists, “especially those from under-represented regions like Nagaland, would be to remain true to your voice and experiences while remaining open to experimentation and growth.”
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• While building a career in art takes time and perseverance, he encouraged them to “stay curious, stay committed, and remember that every experience—whether successful or challenging—helps shape your artistic journey.”

Sculptures by Temsüyanger Longkumer