Archive, by nature, is based on a series of selections and deletions, the motivation being to preserve material deemed most representative of the production in question. I look at these questions through the processual journeys of the artists, spaces and productions to see if or how the notion of the archive extends beyond its traditional role as static repositories of information.
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My filter for books is purely an integrity of purpose and the creation and articulation of new bodies of knowledge. Books featured across this issue include those on paintings, botanical drawings, photography, cinema, textiles, design, architecture, ecology, children’s publication, material culture, exhibition catalogues and more; all made public within this new era of the Anthropocene.
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While the pandemic may have killed the viability of running several physical bookstores, the endless lockdowns nevertheless brought us closer to the printed matter and the written word than ever before.
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Chagani is emotional as he narrates how the city of Lahore with its historic red brick architecture has given him everything from the fulfilment of his goals to inspiration for art making. His site of discourse may appear to be a homage to the city of Lahore but the choice of material and meticulous making and production of his works call for a much more nuanced understanding of Chagani’s work.
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The city is all set to launch its tenth edition of the gallery weekend with a gamut of artists: from the modernists, Akbar Padamsee and Vijay Shinde, to the contemporary, Saju Kunhan, Desmond Lazaro, to name a few. Twenty-four art institutions are part of this four-day preview.
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Taslima Akhter’s ongoing project is on the garment workers’ life and struggle. In a unique collaboration, the volunteer quilters donate their memories and time to produce the commemorations for their relatives who fell victim to the 2013 Rana Plaza collapse. The quilts are intended to activate a conversation between the relatives of the victims and the public.
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Though there is much work needed to be done in India in terms of curating for the internet and a system of fair payment to the artists, ‘VAICA 2’ provides an exemplary template for art institutions to consider while embarking on curatorial ventures in digital spaces.
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On view at 1Shanthiroad Studio/Gallery in Bangalore, ‘at the kitchen table’ is an exhibition of documents that stand in for the absent artworks.
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Harshit Agarwal’s artificial-intelligence show ‘EXO-stential: AI Musings on the Posthuman’ is India’s first solo AI art show. Harshit’s art begins by destabilizing the binaristic perception of humans vs technology and instead urges us to think of the human-machine as a continuum.
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Beneath the veneer of a triumphant and joyful comeback, undertones of physical trauma could be discerned. Here was clearly a vivacious spirit, trapped in a failing body. Then barely a year after that moving exhibition, she had succumbed to her illness.
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