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in collaboration with India International Centre 1.

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Exhibitions

...the earth is still going around the sun...

Rooee a book and exhibition by Guncotton....................................2

A single earth and yet in it spin multiple worlds.

Knock Knock curated by Ashima Tshering...................................4

This too shall pass curated by Sarker Protick...............................26

Worlds that bang and collide, clash and clang, worlds that cohabitate, and worlds that lay dormant. In these thirteen exhibitions by curators across South Asia and Iran, you will encounter worlds made of memories, identities, pasts, erasures, and even humor. Effervescent worlds that emanate from technological caverns. Bristly worlds with the scent of the earth. Worlds carved out of personal memories and public histories, worlds tarnished by violence. In these worlds are attempts at finding home and creating home: the body is home, the earth is home, and sometimes, home is defined by its own absence, shrouded by loss and catastrophe. In the midst of all of this, people make the tragic and dignified attempt to live, to survive, to encounter defeat, to be remembered, and to laugh.

Some-Bodies: Narratives Around the Body curated by Zohreh Deldadeh..................................................28

Meanwhile, tying together disparate and fraught realities across space and time, the earth carries on.

inhibitions.inhabitations curated by Ayushma Regmi......................6 Furnishing Papers curated by Diwas Raja Kc...........................8 Timequake curated by Maryam Bagheri........................................10 Real Time Tactics curated by Mila Samdub.............................12 Pata curated by Poulomi Paul....................................................16 Dis-place curated by Pranamita Borgohain...................................18 1927 - The Mahad Satyagraha: ‘Erasure’ as a form of assertion curated by Rumi Samadhan.......................20 GHAR curated by Sadia Marium...............................................22 Memoryscapes curated by Kirubalini Stephan..................................24

Rooee

6pm: Saacha: The Loom, a documentary film screening1

Some-Bodies

16 December, Auditorium

7.30pm: Screening of 1978 the 231st day and A composition in blue, red & other colors by artist and filmmaker Sara Rajaei

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18 December, 6pm, Seminar Hall 1: Network Politics / Network Aesthetics, with Amber Sinha, Nayantara Ranganathan and Manuel Beltrán and a short film

by Clemens von Wedemeyer 20 December, 7pm, Art Gallery Terrace: SKUM and Reactions to SKUM by Urvi Vora All programmes held at the India International Centre

1927 The Mahad Satyagraha

`17 December, 6.30pm, Art Gallery Terrace: Human in Una, a performance

by Prabhakar Kamble

Real Time Tactics

15 December, 5pm, Art Gallery Terrace: After a while, shadows begin to rouse, a performance by Anupam Saikia

Knock Knock

Dis-Place

Public Programmes the earth is still going around the sun is a culmination of the third edition of Curatorial Intensive South Asia (CISA), a flagship programme by Khoj International Artists’ Association in partnership with Goethe-Institut / Max Mueller Bhavan, which brings together curators from Iran, India, Bangladesh, Nepal and Sri Lanka. CISA aims to develop a diversity of perspectives on the medium of the exhibition in South Asia and Iran and to provide both a structured and an experimental inquiry into the possibilities of curatorial practice today.

The exhibitions have been independently developed after a two-week intensive programme that took place in New Delhi in July 2019, led by mentors Dr Leonhard Emmerling and Latika Gupta.

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Rooee were bound together by British greed for cotton. Guncotton holistically explores how the industrial revolution and the concurrent reign of capitalism transformed the “demise” of the global cotton trade into a futurity of black and brown ambivalence.

The historically personal references from which our work is drawn, and the poetry and images itself, will also be made available to the public in a chapbook that is specifically designed for the show. Collectively, Guncotton consists of Radiclani Clytus, Terrance Hayes, Arun Kale, Alisha Sett, Rajesh Vora and Fletcher Williams III.

top: Guncotton, India United Mill no.1, 2002 bottom: Guncotton, Cotton Flower, 2018 facing page: Guncotton, The Last of the Gates, Lower Parel, 2019

Rooee addresses the remnants of the “empire of cotton” in two of its most prominent sites: the South Carolina Lowcountry and the textile mills of Bombay.

Making images in each of these locales, we speculate that the circumstances of the surviving millworkers are commensurate with the conditions of American descendants of slaves. Tied in through the global history of Bombay’s agricommerce, we look to the fields, factories and abandoned homesteads in which they labored. Our photographs are combined with poetry and text that is designed to contextualize how African American enslavement and Indian indenturetude

a book and exhibition by Guncotton

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Knock Knock

curated by Ashima Tshering

I often find myself using humour to comment on something that could be challenging to address otherwise. After strategies and reasons having been theorized, lets see humour play out in contemporary creation.

Collaborators for this project reflect on their personal encounters through this lens and share their experiences. The curatorial theme blends with the spatial design and thus plays an important role in communication. The composition and environment of the space enables an informal interaction between the artworks and the viewer.

Allow yourself to momentarily escape from the gallery space and interact with works. Knock Know lets one break away from the performance of the viewer, to sit back and have a laugh.

Artworks Jishnav Iyer, The Worst Conversationalist; Sijya Gupta, Barbie Portraits; Urvi Vora, SKUM, Reactions to SKUM; Vineet Vohra, Hashtag

top: Jishnav Iyer, The Worst Conversationalist bottom: Sijya Gupta, Barbie Portraits facing page: Urvi Vora, SKUM

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inhibitions.inhabitations

curated by Ayushma Regmi

Bodies click. Bodies swivel. Creep out. Or spill.

Wounds flicker, alight paleness. Register painless.

Did I breathe in another’s memories, mistaking them for my own?

Shored against silent stones. Amidst cobwebbed corners.

In between the warbled call of a nameless river.

The mind is a glove that holds. Protects. Conceals.

Yesterday, I reached out and touched the soil inside my skin and I blazed and I burned.

I. A whimsical caricature of myself. A some body.

Maybe I returned.

Home is a cryptic poem that no one comprehends.

Do bodies belong? Or does embodiment splinter a whole into irreparable fractures? Were we born dismembered? Are we destined to be incomprehensibly disfigured? Who - and what

- deserves the dignity of being a body? Some body?

No body? Every body? This exhibition attempts to read into bodies – human bodies, natural bodies, man-made bodies – to decrypt that fundamental question about what it means to be human and whether this sense of being is rooted in the material world. The earth emerges as a prot/antagonist in this story of self, a playground where we make play, chart meaning.

Artists Manantuna Jyapoo, Anjila Manandhar, Shreeti Pradhan, Bunu Dhungana

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this page: Manantuna Jyapoo

facing page: Anjila Manandhar

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Furnishing Papers Displaying the original identification documents of the people of Nyeshang, a place nested in the mountains between Tibet and Nepal, the exhibition explores how a group of people who lived extra-territorially—not only in the trans-Himalayan region but also as traders to as far away as Southeast Asia—interacted with the bureaucratic needs of the modern state of Nepal.

From an earlier time, the Nyeshange community had secured a special prerogative and tax exemption from the feudal government of Nepal to trade freely even beyond the borders of Nepal.

After the passage of Nepal’s Passport Act in 1967 (and following the escalation of the Tibetan uprising in the region), Nyeshanges sought to preserve their historical traveling privileges and became one of the earliest groups to apply for Nepali state IDs in order to acquire passports.

curated by Diwas Raja Kc ders of alchemy. They belie the spectral way in which personhoods transform and states becomes real. In striving for mobility, earlier Neshyanges expertly forged identities and identity papers—legally, quasilegally, illegally—navigating bureaucratic regimes transregionally. The new identification regime was also susceptible to mimicry, but even its manipulations created new effects on identity, mobility, and territoriality.

In the process, the materiality of paper stands out as the most consequential enabler. Not only the attributes of graphical iterability and portability, but it is also the medium of the single sheet that visually merges the indexes of the state with personal inscriptions and creates a spatially unified experience of documentary life.

The documents we see, preserved by Nyeshang elderly Karma Tara Gurung, are notably commonplace like most state artifacts.

But they are, in fact, won-

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Timequake Earthquake has always been a significant issue in Tehran, the capital of Iran. According to estimations based on historical evidence, the first Tehran earthquake occurred in the city of Rey in the fourth millennium BC. One thousand years ago and about seven and eight hundred years ago, a number of major earthquakes devas-

tated Tehran, and the city was consequently rebuilt.

According to the calculations of Ali Darvishzadeh, the father of Iranian geology, the cycle of earthquakes in Tehran is 150 years.

The last major earthquake occurred 180 years ago.

Studies show that a great earthquake will definitely occur in the near future and will happen at night, which

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curated by Maryam Bagheri will increase casualties up to five million. Sixty-five percent of the buildings will be destroyed. The urban worn-out textures, which includes most of the southern parts of Tehran, will be razed immediately.

During the first couple of days after the earthquake, the inability to extract dead bodies due to the vastness of Tehran, will inevitably lead to outbreaks of various diseases, including cholera and plague. Tehran’s exit routes will be blocked, and survivors will have to stay with no tap water. Survivors will die of cholera, plague, thirst, hunger, and the stench of corpses. They say blessed are those who die in the early moments of the earthquake. But why?

In this exhibition, through some photos, videos and graphical map, I try to show how a natural phenomenon like earthquake can turn into such a human catastrophe.

Artists Kiarash Eghbali Seresht, Rouzbeh Fouladi, Amir Hossein Sanaei, Nastaran Majd

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Real Time Tactics The Planning Commission, which promulgated five-year plans to develop the nation, has been replaced by the NITI Aayog, a body that’s always-on, continually producing data, proactive and responsive. The India Stack links the Aadhaar database, containing the retina scans and fingerprints of almost every person in the country, with various governance and private initiatives via infrastructure provided by large corporations. On social media we are continually haunted by the traces we leave of our lives in all their microinteractive detail.

This is real time, a continual present coproduced by corporations and the state. Our actions are tracked and our dispositions calculated faster than the blink of an eye. Traditional forms of dissent and spaces of difference are coming up everywhere against a heady combination of Search Engine Optimisation, algorithmic manipulation and old-fashioned coercion.

In response, Real Time Tactics proposes interventions in the active but invisible forms that undergird this temporality: the ubiquitous smartphones and mobile internet that enable both networked sociality and digital governance; the corporations and

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curated by Mila Samdub government programmes that promote these technologies; the surveillance systems they contain that generate the data for digital profiles; the presumed congruence of these profiles with the self.

Commissioned art projects, activist interventions and primary materials come together here in a range of engagements with real time. Some use the social media that form the basis for our social lives. Others are carefully planned strategies requiring technical expertise and collaboration.

Yet others are representations of the networks of power and capital that create real time itself.

This exhibition is an attempt at a conversation between artistic and activist practices of infrastructure towards liberatory ends.

Projects Aadhaar Ecosystem Map by Vidyut; ad.watch by Nayantara Ranganathan and Manuel Beltrán; Ghost Portal

by Karthik KG; —Out-of-Line—

by Sonam and Suvani with Agat, Kaushal, Sibdas, Jaidev and Shiv; Real Time Governance Society with tweets by Srinivas Kodali

Nayantara Ranganathan and Manuel Beltrán, ad.watch

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Pata

curated by Poulomi Paul The complexities of urban spaces let nobody experience them – their structures and their people – in the same way.

Yet these places always have certain images and connotations attached to them, held by inhabitants, outsiders or anyone in between. How then do we decide upon the “truest” representation of a city? How do we condense the histories and lived realities of each street and every neighbourhood into singular names and images? What sort of personal and collective identities do such representations anchor? These are questions “Pata” wishes to explore.

The works in the exhibition focus on urban neighbourhoods and the diverse ways in which they are depicted.

Ashish Dobhal’s photographs taken in and around the “urban village” of Khirki – located right opposite some of the biggest malls in Delhi – capture the complex social and physical landscape of the area. Paromita Vohra’s documentary, ‘Where’s Sandra?’, is a playful take on Bandra, its history of Catholics, and the Artists stereotyping of women belonging to the place.

Ashish Dobhal, Akhil Katyal turns Delhi neighbourhoods into Paromita Vohra, Akhil adjectives describing his relationship with both Katyal, Parikshit Rao an unnamed beloved and the capital city, when he writes, “He was as arrogant as a Chattarpur farmhouse”. Parikshit Rao’s photographs ponder upon the ‘grey’ space of Navi Mumbai neighbourhoods, their state of being somewhere between Mumbai and not-Mumbai, between urban and suburban. Lastly, Amrita Pritam’s “Mera Pata” wonders if it is possible to not let any objective markers define us and instead build an address and an identity out of one’s (dis)location.

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top: Parikshit Rao, Navi Mumbai Monochrome bottom: Paromita Vohra, Where’s Sandra?

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Knock Knock

Some-Bodies

Timequake

Ashima Tshering

Zohreh Deldadeh

Maryam Bagheri

inhibitions. inhabitations Ayushma Regmi

Rooee Alisha Sett

Furnishing Papers

This Too Shall Pass

Diwas Raja Kc

Sarker Protick

Pata Poulomi Paul

Real Time Tactics Mila Samdub

Memoryscapes Kirubalini Stephan

GHAR Sadia Marium

1927 - The Mahad Satyagraha: ‘Erasure’ as a form of assertion Rumi Samadhan

Dis-place Pranamita Borgohain

Art gallery, Kamladevi Complex, India International Centre, 40 Max Mueller Marg, New Delhi

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Dis-place

The exhibition attempts to bring in some of the experiences of living in a state of intolerance, ambiguity and disparity. The ongoing losses of land, home and hopes of the people of Assam in the name of communal and ethno-religious hatred; the traces and remnants of these wounds which is unfolding today under various political forces and has established new forms of pressure on the lives of people living there.

The exhibition proposes to look at some of the aspects of these sufferings on the grounds of emotional and psychological level.

Dis-Place is structured around various areas of disagreements, discomforts and dislocation, each framing questions connected to the general line of inquiry

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while they also open up specific discussion points. It touches upon topics which are equally urgent to Assam as they are to the world: migration, marginalisation, economic and/or cultural appropriation. The exhibition further deliberates on related issues of borders and places of ownership, challenges, hopes and dreams and of utopian sensibilities vis-à-vis forced displacements. Dealing with the sufferings and losses of people, the project provides a discussion board to foster humanitarian values, social inclusion and much needed empathy in our societies.

Artists Dhrubajit Sarma, Thlana Bazik Performance Anupam Saikia

top: Anupam Saikia, After a While, Shadows Begin to Rouse bottom: Dhrubajit Sarma, The Old Chamber

Citizenship in Assam is a long-contested issue shaped by the forces of migration, partition and communalism, xenophobia and hatred for the “other”. The dehumanized progression of the National Register of Citizen (NRC) is also an outcome of some of these conflicts.

curated by Pranamita Borgohain

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1927- The Mahad Satyagraha: ‘Erasure’ as a form of assertion The exhibition explores the concept of ‘erasure’ as a form of assertion, centring the Mahad Satyagraha as a pivotal moment of rupture within the practice of Untouchability in India.

This symbolic non-violent resistance on the Indian subcontinent became the most important encounter of social equality and liberation struggle for civil rights in India, led by Dr. B.R. Ambedkar, at Mahad.

To assert civil rights of denied access to water, Dr.Ambedkar and his delegates drank from the Chavadar tank, which took place at the 1st conference on 20th March,1927.

The Dalit movement had considered Mahad as its declaration of independence.

Mahad, had preceded quarter of a century before the civil rights movement of African-Americans, as well had preceded Gandhi’s Salt Satyagraha in 1930.

The following five artists works contextualize this historic event, and its refractions. Rajyashri Goody’s ‘Manu’,‘What Is The Caste Of Water’; Amol Patil’s ‘Let’s clean the hand’ artworks and Prabhakar Kamble’s perfor-

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curated by Rumi Samadhan

mance are the first to respond to the Mahad Satyagraha, which forms the contextual core of this exhibition.

Subjecting ‘purity and pollution’, the plight of sanitation workers is addressed by Amol Patil and Sudharak Olwe. Wherein, Prabhakar responds to Dalit lynching, through his resolute performance, ‘Human in Una’, which probes caste codes, understandings of humanism, as well embodies the Mahad subject.

Ranjeeta Kumari’s work on the Constitution binds hope.

The exhibition extends a collaborative project between Prabhakar Kamble, Rajyashri Goody and Rumi Samadhan. The exhibition artists respond to Mahad Satyagraha for the first edition of the ‘Little Blue Zine’.

Artists Amol Patil, Rajyashri Goody, Ranjeeta Kumari, Prabhakar Kamble, Padma Shri Sudharak Olwe

top: Rajyashri Goody, What is the Caste of Water, bottom: Prabhakar Kamble, Human in Una Performance

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GHAR

curated by Sadia Marium

If Ghar has imaginary walls, time, structure, power relations how memories are being constructed? Memories of shelter, hope, peace, sound, smell, belonging, love, humor, imagination, secrets, domestication, sex, immorality, violence, death?

The exhibition aims to address the psychological state or constructed impression of Ghar, how it is embedded in human consciousness as a private space and how does the interpretation of ‘private’ dislocate, when a public space turned into home.

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Abir Shome’s ‘Lunar Landing’ shows how ordinary space and materials transform into extra territorial space. Afrida’s observation about conjugal life questions the institution of marriage and family. Hadi Uddin’s unconventional way of collaborating with people in a Rayer bazar, who are constantly in flux and are migrated in Dhaka for various reasons, illustrate the ephemerality of the concept. Shadman Shahid’s photographs demonstrate the brutal side of domestication, which is normalized and silenced. Sounak Das & Fahmida Mubin’s compilation of audio work from various viral videos offers us an illusory conversation between ‘ghar’ and ‘bahir’, virtual and tangible.

Artists Abir Shome, Afrida Tanzim Mahi, Hadi Uddin, Shadman Shahid, Sounak Das & Fahmida Mubin

top: Shadman Shahid, No Quarter bottom: Abir Shome, Lunar Landing

GHAR (Home) is the collection of Video, photographs, photo-book, and paintings to dissect the meaning of ‘Ghar’ both as an idea and perception. A temporary living room of a middle class family in Dhaka is set up to reflect the parallel existence and the inbuilt tension between ‘home’ and the ‘world’. ‘Ghar’ is immediately confronted by ‘bahir’ in Bengali Literature, which can also be contemplated as the inner and outer world, ‘us’ and ‘them’.

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This too shall pass

this page: Salma Abedin Prithi facing page: Yasmin Jahan Nupur

‘This too shall pass’ explores those boundaries and where the lines are getting blurred. Artist practicing from different mediums including Photography, books, performance, Text, found and archive images, will be presented in this exhibition whose works depicts and interprets the psychological state of our daily battles originated from personal traumas, violence, dictatorial authorities or simply the role of us as observers in despair.

Artists Faysal Zaman, Sadia Marium, Salma Abedin Prithi, Yasmin Jahan Nupur

How does our physical world and the socio/ political states of affairs affect our mind?

How does our state of mental health manifest in our being, in terms of both our private moments or public action and reaction?

Is it one way or the other? Or is it caught in its own paradox?

curated by Sarker Protick

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Memoryscapes Is it ever possible to retrace memory? How do our memories define us? Even if we don’t want to remember, are our minds still permanently imprinted? These are the questions considered by this exhibition. Without memory, humans cannot

exist; we relate our memories not only with objects and people, but also with space and architecture, which can impact individual memories as much as collective memory. Through built form, such as memorials, architecture helps to preserve specific memories.

Memoryscapes is designed to render visible the stories and memories behind built spaces as portrayed by a group of Sri Lankan Tamil visual artists: T. Shanaathanan, Jasmine Nilani, Manoharan Prashath,

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curated by Kirubalini Stephan

Hanusha Somasundharam, M. Nilanthan, Samvarthani Gunaseharam. These artists challenge a clear distinction between memory as something active or received by revealing the intersection between personal memories, layered memories, collective memory, and the witness of memory. Through a set of diverse works including book art, installation, drawing, murals, collage and mixed media, Memoryscapes portrays the way in which notions of architecture and space connect and effect different types of memory. This exhibition charts a narrative of built space transformed by a contemporary politics that erases, (re)shapes and (re) builds: memorises.

Artists Thamotharampillai Shanaathanan, Jasmine Nilani, Manoharan Prashath, Hanusha Somasundharam, Samvarthanai Gunaseharam, Mahathevan Nilanthan

top: Manoharan Prashath, Padalai bottom: T. Shanaathanan, The Incomplete Thombu facing page: Hanusha Somasundharam, Stain

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Some-Bodies: Narratives Around the Body

As Foucault insists on the historical specificity of the body, this has changed the ways of seeing the body as a social and historical product instead of seeing the body as an existential phenomenon.

In this exhibition the main focus is on different perspectives of seeing body in Iranian contemporary art. The exhibition tries to

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showcase some different aspects referring to the body, not only as a physical subject but also as a narrative and conceptual notion.

There are stories around these bodies and by showing different works, the exhibition tries to consider socio political environment that shape those stories and eventually the bodies.

Artists Shirin Fathi, Ebrahim Noroozi, Sara Rajaei, Laurence Rasti, Behnam Sadighi

top: Laurence Rasti, There Are No Homosexuals in Iran, 2014-2016 bottom: Behnam Sadighi, ‘Ghazaleh’ from The Reminder series, 2014 facing page: Shirin Fathi, Ghost Lovers, 2013

Body is one of the most controversial topics in relation to cultural differences, gender issues, social and political conflicts and etc.

curated by Zohreh Deldadeh

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Curator Bios Alisha Sett is a writer, curator and educator. She grew up in Bombay where she teaches art history and is Course Director for Aesthetics, Criticism and Theory at Jnanapravaha Mumbai. She lives in Panjim and spends part of the year in South Carolina working as a producer with RoundO Films. In 2014, Sett co-founded the Kashmir Photo Collective. She received her MA History of Art at the Courtauld Institute of Art as an Inlaks scholar in 2018.

Ashima Tshering is a New Delhi based designer and specializes is museum spaces. She graduated from the National Institute of Design with a degree in Exhibition Design and was a core team member of the first edition of the Kathmandu Triennale.

She has also interned at the Museum of Modern Art in New York, and since then has been working as a museum designer.

Ayushma Regmi is a Kathmandu based writer and educator who works at the intersection of gender, ecology, education and the arts.

Diwas Raja Kc is a writer, researcher and curator based in Kathmandu. He is the Head of Research and Archives at Nepal Picture Library. His curatorial exhibitions include Dalit: A Quest for Dignity (2016), The Public Life of Women: A Feminist Memory Project (2018) and the forthcoming All That Is Liquid: Indigeneity in the Anthropocene. Kc also works as a documentary film editor and has worked with several renowned artists and visual anthropologists.

Maryam Bagheri holds a BA in English Literature and has diverse experience in documentary filmmaking, researching, film archiving and

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journalism. At the moment, she works as art residency manager for Kooshk Residency in Tehran and also as MENASA cluster coordinator for Res Artis, worldwide network of arts residencies.

Mila Samdub is a writer and curator based in New Delhi. Mila studied creative writing at Bard College in upstate New York. He worked as a curator and programmes manager at Khoj International Artists‘ Association in Delhi. He works on modernist architecture and contemporary digitality. The future is his abiding research interest.

Poulomi Paul graduated with a Masters in English Literature in 2018.

Since then, she has spent time as a student of painting in Triveni Kala Sangam, New Delhi, and as a teacher of English in the University of Delhi.

Her primary interests lie in literature, the visual arts, and their points of intersection. This exhibition, as a part of the CISA fellowship, marks her first stint as a curator.

Pranamita Borgohain is an independent art curator and writer based in Delhi. She did her Masters from the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi in 2007. She has served as the Deputy Curator at the National Gallery of Modern Art, New Delhi and as an Art Consultant at the Lalit Kala Akademi, New Delhi. She has also served as an Assistant Professor (Visiting), College of Art, University of Delhi. She was one of the curators for the Students’ Biennale – Kochi Muziris Biennale 2014. She is the founder of Shield Art Initiative that works for alternative art practices Rumi Samadhan is a Mumbai based artist-sculptor- researcher, interrogating the subject of Dalit visual

art practitioners. She extends her research practice into a curatorial form, as a research based exhibition format. She completed her PG in Modern and Contemporary Indian art and curatorial studies from Dr. Bhau Daji Lad Museum, Mumbai.

Her two solo-shows ‘Invisible-Connections’ and ‘Sediment’ reflected queries of anthropocene, relating earth-human-culture accord. Rumi is currently working on a collaborative project, Little Blue Zine, which resonates the Little Magazine movement of the 60’s Maharashtra, in its current form.

Sadia Marium is an independent photographer based in Dhaka. Her practice pollinates with the process of creating photographs, video and alternative printing methods. Ordinary characters, unremarkable memories, space & objects are the protagonists of her works to trace the overlap of reality and fiction, private & public.

Sadia studied Professional Photography at Pathshala South Asian Media Institute, Dhaka, Bangladesh and currently teaching at the same institute. She also works as a Programme Coordinator in Bengal Arts Programme.

Sarker Protick is a visual artist from Bangladesh, lecturer at Pathshala-South Asian Media Institute and curator at Chobi Mela International Festival of Photography.

Protick makes work that explores the materiality of time and disappearance. His portraits, landscapes and photographic series engage philosophically with the specificities of personal and national histories.

Incorporating detail observations and subtle gestures the works enter into personal spaces, often minimal and atmospheric.

Kirubalini Stephan received her BA in Art History from Jaffna University in 2013 and is currently working as a Lecturer in the same department. Previously, she was a visiting instructor in this department and worked in some Projects.

Zohreh Deldadeh is a freelance art researcher and curator based in Tehran. She graduated with a BA in Graphic Design and obtained her MA in Art Research in Tehran. Zohreh has been working as a project manager, art coordinator and curator with galleries, art institutions and foundations in Iran and abroad.

Acknowledgements Thank you to our CISA mentors Dr Leonhard Emmerling and Latika Gupta. And to all the invited tutors who shared with us their knowledge and experience: Tapati Guha Thakurta, Vidya Shivadas, Shuddhabrata Sengupta, Anita Dube, Jyotindra Jain, Naman P. Ahuja, Gayatri Sinha, Pooja Sood, Urvashi Butalia, Sneha Raghavan, Ranjit Hoskote, Shai Heredia, Dayanita Singh, Ravi Agarwal, Radha Mahendru and Abhay Sardesai.

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About Khoj Khoj International Artists’ Association is a not-for-profit contemporary art organisation based in New Delhi, which provides physical, intellectual and financial support for artists and creative practitioners. Through a variety of programmes including workshops, residencies, exhibitions, talks and community art projects, Khoj has built an international reputation as outstanding alternative arts incubation space. Since 1997, Khoj has developed itself as a unique ‘art lab’, and has supported the experimentation of many leading Indian and International artists. It plays a central role in the advance of experimental, interdisciplinary, and critical contemporary art practice in India – constantly challenging the established thinking about art. By bringing together a diverse range of artists and art practices, Khoj aims to facilitate change and awareness of vital global issues and concerns through active and engaged audience participation.

Director Pooja Sood Programmes Team Radha Mahendru Manjiri Dube Saloni Anand Alina Tiphagne Khoj Fellows Manvi Bajaj Indranjan Banerjee Media & Production Suresh Pandey Ashif Khan

Support Staff Arun Chettri Manohar Bhengra Painter Jitender Singh Sharma Carpenter Shakhawat Khan Carpenter’s Assistants Mustaliq Nisar Electrician Kishanveer Singh

Accounts & Administration VP Manoj Laxmi Devi

catalogue design by Mila Samdub

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