Filament 6 Years Of Peers Residency

Celebrating 10 years of

6 years of the Peers Residency @

Curated by Latika Gupta [ http://khojworkshop.org ]

Celebrating 10 years of

6 years of the Peers Residency at CREDITS Text: Latika Gupta, Pooja Sood Design: TheIdeaWorks [ www.theideaworks.in] Photography: Artists, KHOJ and Latika Gupta Printing: Lustra Print Process Pvt. Ltd. Central image on exhibition publicity material: Digitally manipulated image of work by Rohini Devasher, 2008 ©2008 Khoj International Artists’ Association This exhibition was supported by the IFA (India Foundation for the Arts) & Vadehra Art Gallery

August 21—September 5 | Vadehra Art Gallery

Curated by Latika Gupta

IN CONVErSATION POOJA SOOD WITH

IN CONVERSATION WITH POOJA SOOD [ ] Director/ Curator at KHOJ

Latika Gupta: Other than engaging with the larger student community, what was the impulse in initiating the Peers Residency?

Also, why was an art school education a necessary condition for applicants?

2003

Pooja Sood: The first PEERS residency was initiated in 2003 just after KHOJ became building based in Nov 2002. The KHOJ working group felt that we could not justify being building based

with just 3 international residency programmes annually and needed to do more for local artists.

Artist Shukla Sawant member of the KHOJ Working group was teaching at Jamia Milia Islamia and pointed out the crucial need for a preparatory space for college graduates between college and the gallery. With minimal very little funds to spare, the Peers programme was born. PEERS was thus programmed as a space for experimentation outside

2005

2004 an academic programme to facilitate emerging practitioners to consolidate their practice and also to interact with professional practitioners.

On the flip side, the Peers programme allows KHOJ to keep in touch with a younger generation of artists and practitioners; their needs, aspirations and thinking providing a nuanced understanding of the changing needs and thought processes of a new generation.

At first , we invited students recommended by artist friends

teaching in various colleges across the county. However very soon we realised that it was more valuable to have an open application process and we made an effort to visit art colleges across the country to provide the students with an insight into the program and its details. Over the past few years PEERS has an open application process and we receive over a 100 applications a year.

We also received very strong applications from artists who have not had any formal training. IT was a tough call but in the end we have decided to keep one seat for self taught artists - if the application merited it for at the end of the day its the work that matters! Since the first International Workshop in 1997, KHOJ has recognized the significance and importance of opportunities for trans-disciplinary interaction and exchange. Bringing together 5 individual with distinct artistic practices and backgrounds provides opportunities for the PEERS to connect seemingly disparate ideas within a larger theme, learn from each other and

take away new insights into their own practice.

LG: Each of the artists may have come to the residency with the legacy or even baggage of their particular art school education. Art schools all have a distinct ethos and how was this circumvented in the time frame of one month of the residency. Also, do you think that the huge interest that the ‘open day’ generates places pressure on the artists to produce a ‘finished’ work?

PS: A lot depends on the choice

of artists. The artists at PEERS are invited as much for their willingness to share and experiment as for the quality and/or originality of work. As regards the ‘open day’, a residency is not about producing works that are completely resolved conceptually or otherwise, it is about new ideas and work in progress. Often the residency is the starting point; the germination of an idea, that only later becomes a fantastic work.

It is important to keep in mind that a residency is about process.

KHOJ provides an opportunity for a diverse group of artists to test their work within a setting that is part public, part private with each artist responding in different ways to each other and to the site/building. This experimental approach to the production of art results in a distinct educational experience which, foregrounds improvisation, reworking, trying out alternatives, and allowing

room for mistakes. It is a form of learning by exchange and we should not lose sight of that.

Also as the artists work together in pretty much an “ open studio “ approach ,t they help each other with ideas and critique which in effect pushes the level of experimentation. Having said that an ‘open studio day’ for public viewing provides the necessary pressure for producing a work at the end of he month long residency.

Each residency begins with an orientation where we ask them to try and push their practice whatever that may mean for each of them. We also try to provide the Peers with opportunities to meet and interact with as many artists as possible.They are advised to attend gallery openings and we organise studio visits to a few senior artists for them. Through the four weeks we usually invite one or two artists to be informal mentors to the peers. The mentors visit the studios interact with the artists and help them conceptualise and think through

2008

2007

2006

represents is ‘pushing boundaries and questioning artistic practice’ , surely that’s a step in the right direction! What we’re telling them is to think out of the box as often, when straight out of college, you run the risk of staying within the comfort zone of what you already know. Of course, this differs from one individual to another - wit some artist pushing themselves more than others.

But in general we’ve found there’s been great energy and great learning!

their projects.

LG: Do you feel that sometimes there is pressure to subscribe to what Khoj represents- pushing boundaries of what artistic practice is? Does this result in them eschew traditional modes of art making for practices that may be deemed ‘avant guarde’?

PS: If the kind of art KHOj

LG: I remember you mentioned that in the selection process you are careful to not be metro-centred, but to get artists from a variety of institutions, smaller places… what are the factors that go into selecting artists for Peers?

PS: We look for an interesting mix of artists. They come from diverse trajectories and backgrounds to form a group that is sometimes cohesive and sometime deliberately not. Perhaps what is more important is that sense of eagerness to engage, a certain openness if you like. And as you say it is very important that we not be metro-centric. Sometimes an artist’s exposure may be very limited so their potential and what they would gain from the residency is also looked at. In any group some will have more to give while others more to learn. Learning by exchange is invaluable.

In 2006, we decided to open up the applications to include one participant from a non fine

art background i.e. students of Design, Architecture, Music etc. who displayed a sense of engagement and spirit of interdisciplinary practice. As a result PEERS 2007 and 2008 included a young musician and a student of architecture.

Such a mix ten leads to a questioning of the notion of ‘collaboration’. This is important as artists often naively believe that collaborative work is easy .

However as they begin to work together, basic questions such as what does collaboration entail?

Can we work together and whose ideas come first? do we trust each other enough to be generous with our ideas? I believe these are important questions for young artists to deal with in a group situtation and possibly later when they work as professional artists.

The role of the Critic-inResidence is also very significant.

The KHOJ workshops have tried to stimulate critical dialogue by inviting a critic in residence for the international workshops/ residency programmes. Given the lacunae in the fields of writing and curating in India, the space for a Critic-in-Residence in PEERS becomes increasingly vital as a training ground in critical writing/curating within the ambit of practice based art process. Over the past 3 years it has become increasingly important that the role of art writing should move beyond being an observation/ critique of the art work and may in fact generate ideas for art production.

LG: In retrospect, what are the ways in which Peers has evolved, both positively and otherwise, over the last six years? What new directions do you think Peers could take in the following years?

PS: The most positive aspect that continues at PEERs (and all our residencies actually) is the level of energy and excitement. The

artists push themselves and that is heartening to see.

A very successful experiment of Peers 2008 was a programmed critique through the residency.

An artist/teacher was invited to talk one on one to the artists about their work. They were given material to read that was relevant to the directions that their individual practices were taking and shown work of allied international artists.

Perhaps we need to introduce writing workshops where artists

are taught how to articulate their practice, write grant making proposals and /or artistic proposals as well as something as basic as their cv.! These are skills that colleges do not train them in and are essential tools in the art world today. It is also imperative, I believe, to discuss issues of ethical practice in the increasingly market driven art world. This I believe is an important and necessary next step.

6 years of

the peers Residency At

Filament 6 years of the Peers Residency at KHOJ LATIKA GUPTA [ Curator ]

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ounded in 1997 by a group of art practitioners, Khoj International Artists’ Association is an alternative space for experimentation and international exchange in the visual arts. Based in India, Khoj has completed ten years of international and national workshops and residencies that have explored multiple facets of the arts- ranging from live art, community art, site specific art, performance art, photography and video to cutting edge programmes that investigate new relationships between technology, science, sound and art.

As part of its ten-year celebrations, Khoj is showcasing one of its annual programmesPeers, a student residency that began in 2003. An exhibition was held in collaboration with the Vadehra Art Gallery, New Delhi for two weeks in New Delhi with artists who participated in the Peers Residency. Supported by the IFA (India Foundation for the Arts), Peers brings together five individuals- recent graduates

from art institutions all over India, in a residency programme at the Delhi studios of the Khoj International Artists Association.

For four weeks, these young artists shed the expectations and rigidity of a structured curriculum, working together in a discursive space that stresses the role of free experimentation and risk-taking in art practice.

Khoj provides the infrastructurestudios, digital laboratories, extensive research archives and the opportunity to engage with a larger artists’ community, some of whom participate in a mentor’s role during the residency.

Working in Khoj in Khirki village in south Delhi, the Peers artists are encouraged to move out of the physical environs of the studios and explore the area and its community.

Poised between student-hood and the professional art market, the Peers artists each bring to the residency their individual histories and experiences which contribute to the extremely vibrant atmosphere of residency. In

bringing together artists working in a variety of media, drawing from multiple traditions, Peers inculcates the value of learning and growth through a critical dialogue, interaction and exchange. Indeed, the spirit of Peers is one that celebrates differences, in a firm belief that many voices each with its different tenor and tone results in a rich symphony.

Fil.a.ment A coiled thread of metal that converts an electric current into incandescent light The image of an electricity charge, crackling with energy, transforming a wire, a bulb, a space into light, parallels the role of the Peers Residency in the art practice and careers of many young artists.

Selected from the Peers residencies over the last six years, the nine artists in ‘Filament’ symbolize the ethos of Peers and Khoj. Filament showcases the varied strategies and divergent artistic practices of young artists, many of whom have (since their participation in the Peers residency) gone on to great successes in the professional art world. Aastha Chauhan, Aditi Kulkarni, Ng. Bidyut Singha, Pradeep Mishra, Prathap Modi, Rakhi Peswani, Rohini Devasher, Sandip Pisalkar and Surabhi Saraf represent diverse ideologies and practices. Seamlessly melding ‘traditional’ forms of art making

such as painting, printmaking and sculpture with new media practices and technology, they extend the boundaries and definition of ‘visual art’.

Filament also marks the dialogue between two types of art engagement; one, a not-forprofit, artists led initiative and the other, a gallery space. It marks a movement, as it were, of young artists from the Peers Residency into a professional space- albeit through an exhibition where the chosen art practitioners could again return to a site of exploration and experimentation.

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Many works in this exhibition address imperative questions in contemporary art practice.

Khirki ki Kahani showcased the many projects which Aastha Chauhan conducted since 2004 in collaboration with the people of the village, through books and pamphlets. Displayed on a table, the work was activated by the audience who were invited to read the literature and listen to the personal histories of the people involved in the projects through recorded interviews. Khirki ki Kahani (literally, the story of Khirki) brings to the fore the issue of collaboration and the many questions inherent in the concept.

What is collaboration? What is the role of a professional artist in

such a project? Aastha has been working with the Khirki village for a few years; it is important to stress the temporal aspect of her engagement, as ‘trust’ is imperative for the success of any collaboration. She functions as a facilitator, working with adults and children in a balance between pedagogy and mutual learning.

Another whimsically titled project is Khirki Kholo, literally ‘open the window’. A museumlike display cabinet contains neat

rows of ‘artefacts’. A closer look reveals that these small objects made of clay, paint, matchsticks and a variety of ‘found’ material (tin foil, matchboxes, gutka packets etc) are actually toys made by children. This project with the children of Khirki was facilitated

by Aastha and Tulsi Ram. Tulsi is a Delhi based sculptor who works extensively in scrap metal and terracotta. Khirki Kholo plays with the idea of the museum, overturning the traditional model

of the museum as an institution which archives, preserves and collects. Here, all the objects have been borrowed from the children who made them; an embedded video screen plays snippets from the workshop: the museum space is thus transformed into a living one.

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g. Bidyut Singha (Bobby) and Pradeep Mishra adopt different strategies to address the mutation of the working class (manual labourers,

farmers) into faceless resources.

Mishra’s installation ‘Fields of Labour’ utilizes manure, seeds, rose stems and petals evolves through the two week duration of the exhibition- revealing the cyclical nature of life and the inevitability of decay. Long stemmed roses shorn of their petals stand aloft in biometric glass jars; the rose petals strewn over the ‘field’ symbolise their spent labour. The decaying petals aid in the germination process of

the seeds that are embedded in the manure field. Over two weeks new shoots emerge and thus for Mishra, ‘Fields of Labour’ signifies the “effort of an individual to cultivate the germination process and share the fragrance of happiness.” The image of the donkey painted on canvas and placed above the field is a comment on the mute status accorded to beasts of burdenwhether animal or human.

The temporal ‘life’ of an art work and the ephemerality of the much prized art object is highlighted by Bobby’s time and space specific

paper installation that is destroyed at the conclusion of the exhibition.

Constructing a section of his work out of newspapers (a material that is relegated to the category of waste the moment it is read) and glue, Bobby mulls over the abstract nature of the human mind and ideals. He addresses the disintegration of belief systemsperhaps a destruction of optimism itself, through his personal history.

Bobby belongs to a farming family from rural Assam, a state assigned to the fringes of the Indian nation.

He speaks in the voice of an

‘insider’, critically questioning the conditions of farming communities all over the country- in Assam, Andhra Pradesh, Nandigram… the list is endless. In the contradictions inherent in this country’s constitutional claim to socialism, Bobby mulls over the extremes represented by the hyperurban metropolitan cities on the one hand, and the barely surviving rural farming communities on the other. In the realisation that many ideals are but abstract with no existence in the immediate temporal world, Bobby assumes a

critical position, albeit one that is expressed through quietude.

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odern technology and its immense scope in communication are explored by Surabhi Saraf, currently studying in Chicago.

Trained in Hindustani classical music and in Kathak, sound and movement have been an integral part of Surabhi’s arts praxis. Her ‘work’ ‘Coppertube’ explores the relationship between art and technology, in a live networked performance on the day the

show opened (recordings of the performance were played for the remaining duration of the exhibition). Utilising Skype, a popular computer programme for long distance communication, she ‘entered’ the gallery space through a performance in real time, over a broadband internet connection.

The songs and ragas she sang in Hindi in a private space in Chicago were simultaneously interpreted by a computer programme, converting her voice into bandwidth stream of numbers and then to digital data which resounded as piano notes playing along with her voice. The role of long distance communication and its region specific lacuna are highlighted through gaps that emerged in the live performance. Surabhi writes, “The goal of this performance is to maximize the remote presence, while operating in a potentially resource constrained environment and embracing the everyday issues with long distance communication”. The use of a particular language adds a further subtext to ‘Coppertube’, where meanings reveal themselves in disparate proportions in different regions. At the end of her performance, Surabhi is able to view the audience and interact with them through a web camera, thus overturning the notion of a work of art as a mute entity in a gallery space. Simultaneously, the viewer

becomes the viewed as the artist/ art work looks back at them.

A four-channel video with sound, ‘add season to taste’ continues Surabhi’s engagement with sound. Rich visual, aural and sensual textures are available in daily experiences; Surabhi highlights those inherent in the act of cooking. The repetitious sound of chopping and slicing, the hiss of a pressure cooker releasing steam, the popping of seeds in hot oil and vegetables frying were mixed and juxtaposed to create a symphonic mosaic. Close-ups of the cooking process form an immediate visual textural layer. In another ongoing project, Surabhi has recorded sounds from mundane locations and situations such as market places in very different locations such as Baroda and Chicago which are then juxtaposed in live mixing sessions.

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Three digital prints on canvas

by Aditi Kulkarni continue an engagement with texture.

Aditi’s work in film informs her prints which appear as still frames from a linear narrative. Part of an ongoing installation project, the black and white prints explore the visual and physical dimensions of the word ‘Gravity’. Dense black spaces form intense energy zones which mimic the pull of gravity.

‘Parallel Dimension’ juxtaposes disparate visuals that are set into

visual motion through the use of directional arrows. Images of feet set firmly upon the floor and a ceiling fan in motion explore different aspect of physical space and their inter-relationship through the notion of orientation (above, below etc).

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cience, technology and art come together in Rohini Devasher’s work which is communicated through drawing, digital prints and video. A selection of three videos from a larger body of work entitled ‘Ghosts in the Machine’ is constructed of 165 individual layers of images that emerge from video feedback that is created by pointing a DV camera at its own output relayed on a television screen. The visuals thus formed are fantastical, mimicking plant and bacterial forms, tree structures and fractal snowflakes- all swirling in an eerie eternity like ghosts in a machine.

In three videos the viewer sees (as Rohini writes), “a slowly evolving composite form that increases in morphological complexity, offering insights into the intricacy lurking within nature’s processes”.

Devasher’s fascination with the processes of the natural world and the possibilities contained therein continue in three digital prints of composite fantastical plant/ animal forms.

She explains that her intention

is to “draw upon the potential of contemporary botanical science to create images that lie somewhere between science and symbolism.”

Microscopic images of bacteria, plants and animals, mechanical objects such as tubes, close-ups of flesh etc are manipulated to create fantastical creatures that seem to pulsate with primordial life. Eye/ mouth like apertures look out at the viewer who undergoes a paradigm shift from a tangible reality to a psychological futuristic space. “In the scientific realm, as the rate of genetic modification accelerates, and plants are modified with plant, animal and human genes, the boundary of form and function blurs and these strange hybrid organics become more of a possibility of what could be.” (Devasher) A mammoth drawing created over six days on a wall in the gallery space continues this thematic. The immediacy of the medium communicates the ‘touch’ of the artist and the aura of the art work; this is enhanced by the debris of the art material on the floor below the drawing.

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andip Pisalker participated in the most recent Peers Residency in the summer of 2008. While in Delhi, Sandip made a cloth broom with strips of coloured cloth stitched by a tailor near the Jama Masjid. He took this broom to the places of

worship of various faiths- a church, a gurudwara, a temple, a mosque and swept these spaces. Through this ritual act of cleansing inherent in all belief systems, he was also collecting the dust, as it were, of these different places and faiths together. He invited worshippers to do the same, recording his own performance as well as the act of the other ‘performers’ on video. Playing with the ideas of community (the participants were not artists or actors and in fact were undertaking this act as one of worship) and communal- a word which in the unique context of the subcontinent refers to sectarian divisions, the video work titled ‘Fill in the blanks…’ raises many questions through a simple action.

As part of this ongoing project, Sandip also performed and filmed at three locations in Mumbai adding to the corpus he hopes will include religious spaces all across India. Of the seven videos shown in ‘Filament’, the first was of the broom being made, which was displayed as an iconic object at the head of the display. The narrative was slowed down or speeded up through editing resulting in the creation of different rhythms.

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abric forms the matrix and material of Rakhi Peswani’s ‘word-pictures’. The triptych ‘3 Studies on Retention (on memory)’ is created using ‘traditional’ ‘craft’

techniques such as appliqué and hand-embroidery. The erstwhile division between ‘art’ and ‘craft’ is blurred in the rejuvenation of “depleting languages of craft practices (needle work particularly)” (Peswani). Suresh Jayaram writes that the “matter of material has become a political stance. And these are attempts to reclaim craft traditions and to move beyond gender and patriarchy.” (KHOJ book- 20022003, page 20) ‘Keep’ ‘Hold’ and ‘Grip’ form the three steps of acquisition- in memory, where artistic practices under threat are

invoked, while simultaneously the words themselves are translated into visuals through the associations that they generate.

For Peswani, the “current works are an attempt to see the grey areas that (de)stabilize such languages and their practitioners in the urban metropolis.”

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rathap Modi also juxtaposes text and images in his work.

Trained as a printmaker, his primary interest is in ‘making’; while privileging the physical process of creation he strives to reinvent traditional material and

techniques, utilizing them in a fresh and dynamic way. ‘Man, Machine, Material and Money’ examines the relationship between these four entities in a series of four mixed media panels and four books. Materiality is brought to the fore in his use of cloth, leather, wood and metal. Brass plates are individually etched and mounted on fabric; the images and text are culled from a variety of cultural sources, both Indic and Western across a chronological range of historical time. Societies are looked at through media imagery that express and define them. Handmade leather bound metal books complete the work.

Filament endeavoured to encapsulate and communicate the spirit of Peers through these nine artists: Explorations in modes of representation chart multifarious directions such as performance (live and recorded) video and sitespecific work, engagement with communities, forging relationships between science, technology and art; experimenting with a variety of media and materialthe permanence of metal to the ephemerality of the rose petal.

As the tenth year celebrations of Khoj draw to a close, preparations are underway for programmes and residencies that explore hitherto unchartered territories. And, of course, the next Peers Residencyó

aastha chauhan

AASTHA CHAUHAN specialized in sculpture both for her B.F.A, completed at the Government College of Art in Chandrigarh, and her M.F.A. at New Delhi’s College of Art. She has had shows in New Delhi and Bombay, in addition to working with Khoj to develop their community arts initiative. As leader of this initiative, she has facilitated nine independent art projects aimed at involving the Khirki community that surrounds the Khoj studio in New Delhi. Projects have included artist-commissioned temple installations, local shop makeovers and clay toy-making with neighborhood children- all completed with community input at every stage.

Aastha was a part of the Peers Residency at Khoj in 2004.

Khirki Ki Kahani mixed media sizes variable 2004-2008 Khirki-kholo mixed media sizes variable 2008

Khirki Ki Kahani mixed media sizes variable 2004-2008 Khirki-kholo mixed media sizes variable 2008

Khirki-kholo (details) 2008

ADITI KULKARNI completed a diploma in fine arts from Abhinav Kala Mahavidyalaya in Pune. She has participated in several workshops including ilm appreciation at the National Film Archive and Film and Television Institute, ‘Insaka’ an international artists workshop in Zambia and ‘Amala’ a media and light art workshop in Alexandria. Her work has been exhibited in Cyprus, China, Egypt and Africa and a short film made in 2007 was selected for the Asian Film Festival in Mumbai.

Aditi participated in the Peers Residency at Khoj in 2007.

Parallel Dimension digital photographic print 4’ x 3’ 2008

Untitled digital photographic print 4’ x 3’ 2008

Untitled digital photographic print 4’ x 3’ 2008

ng. bidyut singha

NG. BIDYUT SINGHA (BOBBY) majored in Mural design for his BFA degree at the Sir JJ School of Art, Mumbai. His work ranges from two-dimensional paintings to murals, animation and site specific installations. Recent solo and group exhibitions include those in Mumbai in 2007 and 2008, public art projects for the Kalaghoda Festival in Mumbai in 2005 and 2006, as well as shows in Pakistan. He is currently involved in a project on sound installation.

Bobby was a part of the 2003 Peers Residency at Khoj.

Silence. A time & site specific installation in Delhi charcoal and polycolours on paper, newspaper and glue 4’6” x 9’ 2008

Silence. A time & site specific installation in Delhi (details)

prathap modi

Prathap Modi graduated from the Department of Fine Arts Andhra University and followed this with a Masters in Visual Art in Printmaking from the Faculty of Fine Art, Vadodara. He has received numerous fellowships and scholarships and his work has been exhibited in Mumbai, Baroda, Delhi, Andhra Pradesh and Kerala.

Prathap participated in the Peers Residency at Khoj in 2007.

Man, Machine, Material and Money etching on brass plates, cloth, etched metal books, leather Panels: 4’ x 4’ Books: 11.8” x 9” 2008

Man, Machine, Material and Money etching on brass plates, cloth, etched metal books, leather Panels: 4’ x 4’ Books: 11.8” x 9” 2008

Man, Machine, Material and Money etching on brass plates, cloth, etched metal books, leather Panels: 4’ x 4’ Books: 11.8” x 9” 2008

Rakhi Peswani completed a Bachelors degree in painting and a Masters degree in sculpture from the M.S University, Baroda. She participated in a residency at Cittadellarte, Fondazione Pistoletto in Biella, Italy under the aegis of an Inlaks scholarship.

In 2007, Rakhi was chosen as the Emerging Artists of the year by FICA, Vadehra Art Gallery. Exhibitions of her work include the Hong Kong Art Fair (2008) and shows in New York, Mumbai, Baroda, Hyderabad and Ahmedabad. She teaches as guest faculty at the SN School of Fine Arts, Performing Arts and Communicaion, Hyderabad Central University.

Rakhi was a part of the Peers Residency at Khoj in 2003.

3 studies on Retention (on Memory) hand embroidery and applique on fabric, stuffed velvet, iron armature 43” x 36” each 2008

3 studies on Retention (on Memory) (Details)

rohini devasher

Rohini Devasher completed her BFA (painting) from the College of Art, Delhi and an MFA degree (printmaking) from the Winchester School of Art in the UK. She has worked as an artist in residence at the Glasgow Print Studio, Townley Grammar School (London) and Curwen Chilford Print Studio (Cambridge). Other residencies include Khoj International Arts and Science Residency (Delhi) and the Wasanji International Artists Workshop (Kenya).

Rohini has also worked with master printmaker Devraj Dakoji at Atelier 2221 in Delhi. She was granted the INLAKS fine art award in 2007 and 2008. Her work has been exhibited in solo and group shows in Delhi, Mumbai, Basel, New York, London, Lamu, Amsterdam and many cities in the UK. Rohini was critic-in-residence at the 2005 Peers Residency at Khoj.

Wall drawing mixed media 8’ x 16’ (approx.)

2008

Wall drawing (details)

Ghosts-in-the-machine Video installation size variable 2006

3 digital prints with drawing on archival paper 44” x 100” 2008

pradeep mishra

Pradeep L Mishra completed his Bachelors and Masters degrees in painting from the Sir J.J School of Art in Mumbai. Solo exhibition of his work have been held in Delhi, Mumbai and New York.

Group exhibitions include those in Delhi, Mumbai, Hyderabad, Kolkatta, Bangalore and Cochin.

Pradeep participated in the 2004 Peers Residency at Khoj.

Fields of Labour Oil and charcoal on canvas, Installation (manure, soil, mat, roses, volumetric glass, water etc) canvas: 6’ x 9’ floor installation: 10’ x 10’ 2008

Fields of Labour (details)

sandip pilsakar

Sandip Pilsakar has an MFA degree in sculpture from the MS University, Baroda and a BFA (sculpture) from M.M.K. College, Gulbarga. He has recently been granted the International Danfoss Art Award in Gold & Bronze (Denmark) and the second prize at the Bodhi Art awards 2008. Exhibitions of Sandip’s work have been held in Denmark, Baroda, Mumbai, Gulbarga and Delhi. He participated in Sandharb, an artist’s residency in Partapur, Bhaswara (Rajasthan) in 2007.

Sandip was a part of the Peers Residency at Khoj in 2008.

Fill in the blank... video installation , cloth, metal Sizes variable 2008

Fill in the blank... video installation , cloth, metal Sizes variable 2008

surabhi saraf

Surabhi Saraf completed a BFA degree in painting from the MS University, Baroda. She is currently enrolled in a Masters programme (Art and Technology Studies) at the School of the Art Institute of Chicago.

She worked at the Kanoria Centre for Arts on a 6month residency programme and in an artists camp in Pachmarhi (Madhya Pradesh). Surabhi has trained in Hindustani classical music (vocal) and in Kathak.

Her interest in sound and movement extends into her artistic practice; in 2008 she participated in a performance residency at Goat Island (Chicago).

Recent showings of her work include ‘Aging Fan’ and ‘Lullaby Daze’ (waveforms) in Chicago. She has also participated in exhibitions in Delhi, Baroda and Ahmedabad.

Surabhi was a part of the Peers Residency in 2006.

Coppertube (Live Performance), Skype and Max/msp size variable 2008

Coppertube (Live Performance), Skype and Max/msp size variable 2008

Add season to taste Video installation size variable 2008

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Malviya Nagar 110017 Tel: 91-11-55655874/873 Email: khoj1@hotmail.com Web: http://khojworkshop.org