It is futile to look for absolute accuracy since history can be interpreted through multiple perspectives, each as veracious as the next. Each individual and each story weave together lingering moments of tangible and intangible aspects of culture, thereby creating indistinguishable fabrics of history and memory.
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An amateur’s desire of pursuing documentary photography has brought in display a rich archive of what lay beyond the reels in the pioneering filmmaker Satyajit Ray’s films.
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With the prominence given to ideas, thoughts and examinations, the human body, has always been understood on the basis of its anatomy. There has been a limited effort made to understand and reflect upon the body, based on a socio-cultural history.
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Vivan Sundaram’s retrospective at the Kiran Nadar Museum of Art was a testament to the unique variety of his oeuvre. Curated by Roobina Karode the exhibition contained a dozen stylistic departures and arrivals.
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A gateway, a parcourse, and an end yet again: a recurring trope. The aspirations are clear: the dazzle of the city lights blind even the far-flung dwellers. Tunnel after tunnel is traversed in search of the romantic source that allures, that promises, that builds, more, and more, and, snap!
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Martand Singh was a visionary; the perspective which he developed with his mentor Pupul Jayakar to revive the history of Indian textiles and find ways to initiate a positive and sustainable working environment among the weavers and artisans through reemployment, was truly admirable.
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‘Hangar for the Passerby’ is an ambitious curatorial venture by Akansha Rastogi, compiling artistic and non-artistic material from over 45 institutions, groups, and individuals, spanning over eight decades from 1930 to the present.
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One does not need a dictionary to understand that a spectre is something which haunts. Karl Marx has made popular the function of a spectre, through his famous opening sentence, “A spectre is haunting Europe – the spectre of Communism.”
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‘74 million million million tons’ is an exhibition about the types of evidence that artworks can produce opens Ruba Katrib and Lawrence Abu Hamdan’s curatorial text for their new show at Sculpture Center. It is worth situating this ambitious premise within the ongoing global rise of evidence and a concomitant shift in its meaning.
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‘A beast, a god, and a line’ walk into a room. The trifecta proposes for a universal history, a call in which a response is required. To wit, are we complicit witnesses to perpetual violence or accomplices in effecting a global decolonisation project that has yet to realise its mission?
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