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It dates from sometime between 150 and 250 CE and is a somewhat gruesome illustration of the Buddhist notion of the true nature of the self.",{"_40":108},"hard_break",{"_40":108},{"_95":111,"_40":95},"A man on a long journey to a distant land finds a deserted house and decides to rest for the night. At midnight, an ogre turns up carrying a corpse. He sets the corpse down next to the man. Soon, another ogre in pursuit of the first arrives at the deserted house. The two ogres begin bickering over the corpse. Each claims to have brought the dead man to the house and wants ownership of it. Unable to resolve their dispute, they turn to the man who saw them come in, and ask him to adjudicate. They want an answer. Who brought the corpse to the house?",{"_40":108},{"_40":108},{"_95":115,"_40":95},"The man, realizing the futility of lying to the ogres—for if one won’t kill him, the other one will—tells the truth: the first ogre came with the corpse, he says. The angry second ogre retaliates by ripping off the man’s arm. What ensues gives the allegory its macabre twist. The first ogre immediately detaches an arm from the corpse and attaches it to the man. And so it goes: the second ogre rips a body part off the man; the first ogre replaces it by taking the same body part from the corpse and attaching it to the man. They end up swapping everything—arms, legs, the torso, and even the head. Finally, the two ogres make a meal of the corpse, wipe their mouths clean, and leave.",{"_40":108},{"_40":108},{"_95":119,"_40":95},"The man, whom the ogres have left behind, is extremely disturbed. He is left pondering what he has witnessed. The body that he was born in has been eaten by the ogres. His body now is made up of body parts of someone else entirely. Does he now have a body or doesn’t he? If the answer is yes, is it his body or someone else’s? If the answer is no, then what is he to make of the body that he can see?",{"_40":108},{"_40":108},{"_95":123,"_40":95},"The next morning, the man sets off on the road, in a state of utter confusion. He finally meets a group of Buddhist monks. He has a burning question for them: does he exist or does he not? The monks throw the question back at him: who are you? The man is not sure how to answer the question. He’s not sure he’s even a person, he says—and tells the monks of his harrowing encounter with the ogres.",{"_40":108},{"_40":108},{"_95":127,"_40":95},"From Anil Ananthaswamy “The Man Who Wasn’t There”, Chapter 1.",{"_40":108},{"_40":108},{"_95":131,"_40":95},"Macabre as this story is, it is a useful anchor for understanding Avinash Veeraraghavan’s art-as-process. For decades, he has earnestly and unsparingly examined the radically incomplete and impermanent sense of self. From his earliest work to his latest, though, there has been a repeated refrain. Each time in his art, he has relentlessly and literally torn apart and reconstituted fragments of myriad meaning that may have been obsessions; asking, again and again in different ways, the same questions: what is left of the self and of consciousness when those meanings that sustain it are torn at their roots? How is there a sense of unitary wholeness that remains, even as a psychic shadow? If the meanings that constitute the everyday of our life are obsessively multiplied or divided from their original supports, does their emotional and psychological hold over us diminish?",{"_40":108},{"_40":108},{"_95":135,"_40":95},"“1024 Names” is the latest leg of this long-standing journey. But, as with his immediately previous body of work (“We do not see things the way they are, we see things the way we are”), this show finds him in a mature, quiet contemplative mood. In a host of ways it speaks to his recognition that life and personal history can bear multiple overlapping meanings that we impose on them, without any promise of coherence. “1024 Names” most directly engages with Avinash’s twin constant fascinations-the nature of the religious and the extraordinary fecund and dynamic digital world that forms the core of his visual practice. In his rendering, these fascinations meet and converse; images replete with religious, personal or universal significance are repeated, torn apart, multiplied, layered, erased and melded using different materials. His gaze is omnivorous, but also disciplined and guided by the logic and girding of the digital world and the religious world that he seeks to combine. In particular, the work seeks to destabilize the familiar patterns of consciousness of the self and to describe the push towards a more expansive and multidimensional interpretation of selfhood, its constitution and its utter loneliness.",{"_40":108},{"_40":108},{"_95":139,"_40":95},"The exhibition begins with Leela, a celebratory installation that provides an entry into the vast multiplicative interiority the artist wishes to explore. The eclectic and utterly joyful lights often used during pujas and festivals are reproduced as if roots of a Banyan tree, are enlarged and refracted back to the viewer along with her own image through a series of densely placed mirrors. A theme that will repeat through the show.",{"_40":108},{"_40":108},{"_95":143,"_40":95},"In the next piece, Spectrum, we are face to face with a series of crushed cloth that fit into a frame in a seemingly haphazard but taut manner. Yet the palette of colors on display are anything but random, reflecting a carefully chosen set of colors from the Web that provide a range of ‘mood’ colors that are commonly used in multiple contexts, found though keyword searches in a cloud sourced public library. The tight juxtaposition of colors in the confined frame suggests a forced unity that is composed of many overlapping meanings, each valid, each coherent, and in their totality, slightly different, but fundamentally the same. In Labyrinth the same method and materials are used but in a very different manner with striking printed images of different interiors, again drawn from the internet, densely and closely held together by a frame in which they give the sense of being forced into. Here again the seeming haphazard collocation is anything but, with each fragment of cloth acting as an echo of a once coherent vision of a psychic state, now forced to ‘live’ with others in an alien formation. Finally, the third in the series, Monolith collocates patterns from disparate cultures and times each in an organic but implacable mash-up. Thus we have Japanese kimono prints forcibly interwoven with Art Deco wallpaper, Indian floral and Islamic abstractions, each evoking a sense of a complete history and logic but that lose their singularity when confronted with the others.",{"_40":108},{"_40":108},{"_95":147,"_40":95},"In Homeland, we find Avinash in a more familiar space. A tent, reminiscent of his early obsessions with ‘weak architecture’ is densely rendered and overlaid with a series of intimate images and personal obsessions. Esoteric Buddhist images, Poster Art, intricate floral paintings and por nography collide and overlap in an achingly vulnerable image of fragility that almost cannot bear the richness that is heaped on it. A palette that is buzzing, but that cannot at the end make up for the impermanence of the structure on which it is placed.",{"_40":108},{"_40":108},{"_95":151,"_40":95},"By contrast in Daybreak we are confronted with another interior image of a dressing room, again dizzyingly over-rendered with images and prints, but this time leached of color. As a laser cut, the image is also directly digging into a receding interior, naturally layered but thin and fragile. The affect is overwhelmingly one of loneliness and the insurmountable fact that the interior life is full of meaning and yet inaccessible. It is recognizable, but the multicolored grip which it has on the self is impossible to portray externally— all that is left is a bleached shadow. Surrounding the laser cut, further are a series of images, each drawn from years of collecting that have deep personal value and consequence. In keeping with the spiritual overlay, they act as a set of quasi-religious images, certainly to the artist, surrounding the interior garbagriha into which no one but he can really enter.",{"_40":108},{"_40":108},{"_95":155,"_40":95},"In Stardust we are faced with perhaps the most direct representation of the breaking and remaking of meaning. An image of a mature tree with roots and branches that have grown through the seasons is presented as a shattered mirror. The branch fragments do not completely align any more, they are torn apart and held together only by the recognition that this was previously once a whole living thing that existed through time. The compelling metaphor is one of a fragile unity that is in reality a memory that can never be reconstituted. And yet, the brain and the mind cannot but try. The reflexive recreation of unity does not reflect the reality, but it is too strongly ingrained in us to not try. This work is laid on top of a separate one, Infinite Disposition, that is a wallpaper composed entirely out of unique scans of graph paper. Each image, once the epitome of reason and rationality, gridded and perfect are crumpled into a soft form and embedded next to each other; a multiplicity of fading reason and logical expression.",{"_40":108},{"_40":108},{"_95":159,"_40":95},"Taken as a whole “1024 Names,” is the most mature expression yet of Avinash’s engagement with a set of truly ancient concerns. For two decades now, he has documented his explorations of self and meaning in his own life. His artwork has allowed him to be earnest and unsparing, but has also been the via media for some of his mad experiments. At this juncture, we find the exploration at a stage of fluidity and openness. Gone is the desolation and hopelessness of earlier works. Instead, we are faced with the steadfast gaze at the process of the creation of meaning. And perhaps a little more too. Perhaps there is also a sense that our personal lives are simply a cosmic absurdity. That they can take multiple meanings which seem overwhelmingly important but are ultimately fleeting and impermanent from their very first instantiation. Yet they control our interior lives. And in this discovery, perhaps there less despair and the developing of a gentle humour that comes unbidden.",{"_40":108},{"_40":108},{"_95":163,"_40":95},"In his art therefore, Avinash is both the ogre and the man, both of whom are needed to really understand the sublime ridiculousness at the heart of life.",{"_40":108},{"_40":108},{"_95":167,"_40":95},"Arjun 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does one revisit an archaeological site? When does speculation begin and nostalgia end? Can meaning exhaust and history die? These questions linger at the edges of Glyphs. The exhibition turns to the figure of the glyph as an inscribed sign that once carried authority within stone, surface, or speech. What becomes of such marks when the structures that sustained their meaning begin to withdraw? What happens when the language that held them together survives only in fragments? From personal archives to sites of historical ruins, the impulse to return to these conditions often emerges when the present begins to feel uncertain, even eerie.",{"_40":108},{"_40":108},{"_95":549,"_40":95},"The eerie here recalls the condition described by Mark Fisher: a sensation produced by the strange interplay of absence and presence, when something appears where nothing should be, or when something that ought to be there is missing. Ruins, abandoned buildings, and forgotten archives carry precisely this quality. They hold traces of lives and meanings, yet the agents who produced them are no longer present to account for them. Revisiting such places and stories becomes less an act of nostalgia than a way of negotiating this gap; an attempt at recognition.",{"_40":108},{"_40":108},{"_95":553,"_40":95},"Stories, monuments, and images are not passive records. They are often designed to stabilise: to fix identity, anchor memory, and hold a narrative in place. Over time, these forms accumulate symbolic authority, shaping how collective narratives are perceived and remembered. Yet the same surfaces that appear fixed can reveal marks of erasure, and reinterpretation.",{"_40":108},{"_40":108},{"_95":557,"_40":95},"It is within this tension that Ali Akbar P N works. Through sustained documentation, archival research, and imaginative reconstruction, he brings the Gujarat Coast into dialogue with the Malabar Coast, two parallel geographies bound by centuries of trade, migration, and cultural exchange. These coastal worlds once formed part of an extended cultural network across the Arabian Sea; Gujarati merchants and Mappila sailors moved along these routes carrying textiles, spices, and stories between ports such as Cambay and Kozhikode. Today, however, they exist within markedly different social climates and, in some instances, a studied neglect.",{"_40":108},{"_40":108},{"_95":561,"_40":95},"If monuments and images attempt to stabilise memory, fixing it into stone, bronze, or the still frame of the archive, oral histories often move in the opposite direction. They circulate through voices, gestures, pauses, passing from one body to another. In this movement, memory refuses closure. It drifts, alters, and gathers sediment, allowing details to shift depending on who speaks and who listens. This is the condition Tarika Sabherwal’s work inhabits.",{"_40":108},{"_40":108},{"_95":565,"_40":95},"Her surreal imagery is drawn from communal anecdotes and mythological tales. 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Egg",[5131],{"_40":655},{"_40":108},{"_95":2858,"_40":95},{"_40":108},{"_95":5117,"_40":95},{"_15":5137,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":5138,"_260":86,"_261":262,"_263":5139,"_265":195},79743568706206,"https://a.storyblok.com/f/329985/1971x1275/9843311456/mariamsuhail-8-pichi.webp",{},{"_83":5141,"_85":5142,"_184":5154,"_38":86,"_168":287,"_3677":3678},"13afed18-f785-4ee7-bb1b-e592fd330108",{"_40":97,"_81":5143},[5144],{"_40":100,"_81":5145},[5146,5150,5151,5152,5153],{"_95":5147,"_40":95,"_652":5148},"Kettle Black",[5149],{"_40":655},{"_40":108},{"_95":2858,"_40":95},{"_40":108},{"_95":5117,"_40":95},{"_15":5155,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":5156,"_260":86,"_261":262,"_263":5157,"_265":195},79743568665240,"https://a.storyblok.com/f/329985/1971x1279/a11e4ad5ef/mariamsuhail-9-pichi.webp",{},{"_83":5159,"_85":5160,"_184":5172,"_38":86,"_168":287,"_3677":3678},"fd365106-c19c-4b49-9dcb-90134a954a09",{"_40":97,"_81":5161},[5162],{"_40":100,"_81":5163},[5164,5168,5169,5170,5171],{"_95":5165,"_40":95,"_652":5166},"Waqt se paray agar, mil gaye kaheen - 1 (Away from time, if we happen to meet somewhere - 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cut",[5185],{"_40":655},{"_40":108},{"_95":2858,"_40":95},{"_40":108},{"_95":5117,"_40":95},{"_15":5191,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":5192,"_260":86,"_261":262,"_263":5193,"_265":195},79743568693916,"https://a.storyblok.com/f/329985/1971x1287/c6aadf8161/mariamsuhail-11-pichi.webp",{},{"_83":5195,"_85":5196,"_184":5208,"_38":86,"_168":287,"_3677":3678},"9ee3567b-f52c-4f76-8b36-7f7a6ce321f8",{"_40":97,"_81":5197},[5198],{"_40":100,"_81":5199},[5200,5204,5205,5206,5207],{"_95":5201,"_40":95,"_652":5202},"Waqt se paray agar, mil gaye kaheen - 3 (Away from time, if we happen to meet somewhere - 3)",[5203],{"_40":655},{"_40":108},{"_95":2858,"_40":95},{"_40":108},{"_95":5117,"_40":95},{"_15":5209,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":5210,"_260":86,"_261":262,"_263":5211,"_265":195},79743568689819,"https://a.storyblok.com/f/329985/1978x1278/ecf4470fe3/mariamsuhail-12-pichi.webp",{},{"_15":4988,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":4989,"_260":86,"_261":262,"_263":5213,"_265":195},{},[],[],"larger-than-life-size-raven-on-a-roof","exhibitions/larger-than-life-size-raven-on-a-roof",-140,[],"840d017c-0d4e-4754-986e-e0d50c2e3802","2025-07-03T08:32:26.649Z",[],{"_17":5224,"_72":5225,"_74":5226,"_76":5227,"_15":5228,"_79":5229,"_81":5230,"_499":5817,"_501":5818,"_503":-5,"_504":5819,"_506":5820,"_508":195,"_509":5821,"_263":-5,"_511":5822,"_513":5823,"_515":-5,"_516":517,"_518":-5,"_519":5824,"_521":-5,"_522":-5},"Dreaming of Food, Air, and Water: In Conversation with Rajyashri Goody","2026-07-03T08:10:02.567Z","2026-08-27T11:50:30.854Z","2026-08-27T11:50:30.872Z",194054564148891,"8610ca50-b951-4049-9d97-b1a3dea2a98f",{"_83":5231,"_88":5232,"_5234":86,"_91":5235,"_235":86,"_5797":5224,"_5798":5799,"_168":5800,"_242":5801,"_5802":86,"_74":5803,"_5804":5805,"_489":5809,"_492":1375,"_5811":5812},"d116c396-7546-4434-bfc1-68608935b7a3",[5233],"75dacc19-8f6f-4ea2-900b-90c0681ab912","author",[5236],{"_83":5237,"_95":5238,"_168":19},"7b4535c4-4551-4ce6-b2a0-a13a46eddd5b",{"_40":97,"_101":5239,"_81":5241},{"_5240":-5},"backgroundColor",[5242],{"_40":100,"_101":5243,"_81":5244},{"_103":-5},[5245,5247,5248,5249,5251,5252,5253,5259,5260,5261,5265,5267,5268,5270,5271,5272,5274,5275,5276,5281,5282,5283,5287,5292,5293,5294,5296,5297,5298,5300,5301,5302,5307,5308,5313,5314,5319,5320,5325,5326,5331,5332,5337,5338,5343,5344,5349,5350,5355,5356,5357,5359,5360,5362,5363,5365,5366,5368,5369,5371,5372,5374,5375,5377,5378,5380,5381,5383,5384,5385,5387,5388,5390,5391,5392,5394,5395,5397,5398,5400,5401,5403,5404,5405,5410,5414,5419,5424,5429,5430,5431,5436,5440,5445,5448,5453,5454,5455,5460,5464,5469,5473,5478,5479,5480,5485,5489,5494,5495,5496,5501,5505,5510,5513,5514,5515,5520,5524,5529,5530,5531,5536,5540,5545,5546,5547,5552,5556,5561,5562,5563,5568,5572,5577,5581,5586,5587,5588,5592,5597,5598,5599,5603,5608,5609,5610,5614,5619,5623,5628,5629,5630,5634,5639,5640,5641,5644,5649,5650,5651,5655,5660,5661,5662,5666,5671,5672,5673,5677,5682,5683,5684,5687,5692,5693,5694,5698,5703,5704,5705,5708,5713,5714,5715,5719,5724,5725,5726,5729,5734,5735,5736,5741,5742,5743,5746,5751,5752,5753,5756,5761,5762,5763,5767,5781,5786,5787,5788,5790],{"_95":5246,"_40":95},"Rajyashri Goody, Lucy Gallun, Ksenia Nouril, Ananya Sikand and Lanka Tattersall",{"_40":108},{"_40":108},{"_95":5250,"_40":95},"June 10, 2026",{"_40":108},{"_40":108},{"_95":5254,"_40":95,"_652":5255},"Rajyashri Goody (b. 1990) queries food and water politics, Ambedkarite Buddhist practices, literacy and Dalit literature, and mobility and place-making in the context of caste-based violence and Dalit resistance in India. She works primarily with paper pulp, clay, text, photography, and printmaking. What follows is an abbreviated account of Goody’s session with the C-MAP Bombay/Mumbai Group.",[5256],{"_40":1320,"_101":5257},{"_1322":5258},"#000000",{"_40":108},{"_40":108},{"_95":5262,"_40":95,"_652":5263},"Ananya Sikand:",[5264],{"_40":3261},{"_95":5266,"_40":95}," ",{"_40":108},{"_95":5269,"_40":95},"Today we’re joined by Rajyashri Goody, who will present her artistic practice and long-term research on the interweaving of Dalit food culture and Dalit literature adapting recipes from autobiographies. These recipes serve as the backbone of her work across ceramics, installation, photography, printmaking, and performance.",{"_40":108},{"_40":108},{"_95":5273,"_40":95},"Food is an important site of memory, resistance, resilience as well as a form of embodied politics, because among the many reasons that the Hindu caste system has such deep roots is that rules related to adhering to caste have been applied to basic activities necessary for survival such as eating and drinking, which are bound up in casteist notions of purity and pollution. Dalit people have been treated as untouchable and impure for thousands of years, and many are still denied basic rights to food, water, land, and literacy. Rajyashri’s work highlights how Dalit identity is being reclaimed and reinvented through acts of everyday resistance, especially relevant in the present moment given the rise of Hindu nationalism, which promotes the upholding of casteist values, vigilantism, and violence against minority communities in the name of religion.",{"_40":108},{"_40":108},{"_95":5277,"_40":95,"_652":5278},"Rajyashri’s work is presently part of the Post-National Digital Pavilion, a program developed by the Institute of International Visual Arts (iniva) in collaboration with the British Council at the 61st Venice Biennale.",[5279],{"_40":1320,"_101":5280},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5284,"_40":95,"_652":5285},"Rajyashri Goody: ",[5286],{"_40":3261},{"_95":5288,"_40":95,"_652":5289},"I want to begin with the recipes (fig. 1) that I work on, an ongoing practice since 2017. I started my research in 2016, when many parts of India were seeing a lot of lynchings based on the suspicion of eating or transporting beef. At the time, Muslim and Dalit people were targeted, accused of eating beef, and then publicly attacked. Simultaneously, there were many protests. One, in particular, led by lower-caste people in a village called Una in Gujarat centered on their refusal to pick up dead animals, a job forced on this community because of their lower-caste and “untouchable” status. Across India, Dalit people are forced to take on the role of sanitation workers, which includes disposing of carcasses of dead animals. Dead cows have been a major source of food for the community because, historically, Dalit people haven’t been allowed to own land, much less grow their own crops, etc. Today, many Dalit people are resisting these jobs, but it’s very difficult because no other caste wants to undertake them. Dalit people, even if they’re going to school, etc., are forced by the system to take on such labor. I read, about 10 years ago, that all the sanitation workers in India are Dalit and that no other communities are involved in this work. As all of this was happening in 2016, I started thinking about my own food practices—given my mother belongs to this community—and asked myself: What do we eat as Dalit people?",[5290],{"_40":1320,"_101":5291},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5295,"_40":95},"My family doesn’t eat beef because we became Buddhist in the 1950s, like a lot of Dalit people. In embracing Buddhism, we gave up eating meat in general—and especially beef because of its connection with sanitation work. But I asked myself, What if I’m eating vegetarian food? Does that then become Dalit? What about if I share food with an upper-caste person? What about the food makes it upper-caste or makes it polluted—as is thought to happen if a Dalit person shares food with an upper-caste person. ",{"_40":108},{"_40":108},{"_95":5299,"_40":95},"I’ll read a recipe from my writing called “Well Water”",{"_40":108},{"_40":108},{"_95":5303,"_40":95,"_652":5304},"Although the well",[5305],{"_40":1320,"_101":5306},{"_1322":5258},{"_40":108},{"_95":5309,"_40":95,"_652":5310},"belongs to the Patils,",[5311],{"_40":1320,"_101":5312},{"_1322":5258},{"_40":108},{"_95":5315,"_40":95,"_652":5316},"the spades and the shovels, ",[5317],{"_40":1320,"_101":5318},{"_1322":5258},{"_40":108},{"_95":5321,"_40":95,"_652":5322},"the sweat,",[5323],{"_40":1320,"_101":5324},{"_1322":5258},{"_40":108},{"_95":5327,"_40":95,"_652":5328},"the explosives ",[5329],{"_40":1320,"_101":5330},{"_1322":5258},{"_40":108},{"_95":5333,"_40":95,"_652":5334},"of the Mahars ",[5335],{"_40":1320,"_101":5336},{"_1322":5258},{"_40":108},{"_95":5339,"_40":95,"_652":5340},"were used to dig and build it.",[5341],{"_40":1320,"_101":5342},{"_1322":5258},{"_40":108},{"_95":5345,"_40":95,"_652":5346},"You are the reason ",[5347],{"_40":1320,"_101":5348},{"_1322":5258},{"_40":108},{"_95":5351,"_40":95,"_652":5352},"for water in the well.",[5353],{"_40":1320,"_101":5354},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5358,"_40":95},"But now you are not allowed ",{"_40":108},{"_95":5361,"_40":95},"to draw water from it.",{"_40":108},{"_95":5364,"_40":95},"If you are walking by",{"_40":108},{"_95":5367,"_40":95},"feeling tired and thirsty",{"_40":108},{"_95":5370,"_40":95},"go down the well ",{"_40":108},{"_95":5373,"_40":95},"to drink water",{"_40":108},{"_95":5376,"_40":95},"while your friends keep watch.",{"_40":108},{"_95":5379,"_40":95},"Make sure no one sees you.",{"_40":108},{"_95":5382,"_40":95},"Otherwise you might be badly beaten.",{"_40":108},{"_40":108},{"_95":5386,"_40":95},"Quench your thirst ",{"_40":108},{"_95":5389,"_40":95},"furtively.",{"_40":108},{"_40":108},{"_95":5393,"_40":95},"Touch the water.",{"_40":108},{"_95":5396,"_40":95},"Gather it in your cupped palms.",{"_40":108},{"_95":5399,"_40":95},"Ripples might form on the surface.",{"_40":108},{"_95":5402,"_40":95},"The water inside the earth might shake.",{"_40":108},{"_40":108},{"_95":5406,"_40":95,"_652":5407},"This writing is adapted from Dalit literature—“Well Water” from Sharankumar Limbale’s writing and “Chaanya” (fig. 2) from Daya Pawar’s. Whenever I read a Dalit autobiography, I mark where the writer mentions food or water. Then I switch it from the first person to the second to make it read like a recipe—but often one that’s impossible to actually follow. I started this exercise for a number of reasons, including the fact that I couldn’t find any Dalit cookbooks—other than Shahu Patole’s ",[5408],{"_40":1320,"_101":5409},{"_1322":5258},{"_95":5411,"_40":95,"_652":5412},"Anna He Apoorna Brahme",[5413],{"_40":655},{"_95":5415,"_40":95,"_652":5416},", which had just come out in Marathi.",[5417],{"_40":1320,"_101":5418},{"_1322":5258},{"_95":5420,"_40":95,"_652":5421},"1",[5422],{"_40":5423},"superscript",{"_95":5425,"_40":95,"_652":5426}," And there haven’t been any other Dalit cookbooks since people from the community haven’t been allowed to read and write. So how does one write a cookbook in the first place? A cookbook assumes many things, including access to a functioning kitchen, utensils, and ingredients, all of which is related to socioeconomic status. But there’s also an assumption of pride in one’s food, which with Dalit people is difficult because many of our food practices stem from being forced to eat leftovers, to beg, to make do with nothing—but not as a form of resistance. It’s not something that parents want to pass on to their kids. So how does one remember and gather these recipes, and should one even bother? That’s when I realized that it’s not necessary to have a Dalit cookbook in a conventional sense. But Dalit literature, a massive genre given it’s only 50–60 years old, is filled with writing about food and water. Dalit oppression is deeply connected to the stomach, so this exercise has allowed me to understand the similarities in Dalit food across India, but also the differences—and how time works in strange ways. For example, I’d be reading something written 40 years ago and something else written five years ago, and it could be the exact same story. This continues, and I’ve made 23 cookbooks so far.",[5427],{"_40":1320,"_101":5428},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5432,"_40":95,"_652":5433},"These recipes allowed me to build on other works, such as those shown in the exhibition ",[5434],{"_40":1320,"_101":5435},{"_1322":5258},{"_95":5437,"_40":95,"_652":5438},"Eat with Great Delight",[5439],{"_40":655},{"_95":5441,"_40":95,"_652":5442}," (2018) at the Clark House Initiative (fig. 3).",[5443],{"_40":1320,"_101":5444},{"_1322":5258},{"_95":192,"_40":95,"_652":5446},[5447],{"_40":5423},{"_95":5449,"_40":95,"_652":5450}," This series came from my family photos, specifically from examining them as records of where traces of food existed. My family has had access to a camera since the late 1980s, when my mother married my father, a white man who came to India to do social work, and he had a camera. Not only did he take photographs, but also other family members began to use the camera. It was interesting to see the differences between the photos that he took for work and our own family photographs of celebrations. I showed 18 family photos as they were, alongside eight recipe books. Photography, just like writing, is a tool for access. What do you do with a camera? What do you photograph? What do you do with a pen? What do you write about?",[5451],{"_40":1320,"_101":5452},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5456,"_40":95,"_652":5457},"I also started working with ceramics in 2017, which came about because I didn’t want to actually cook the food—because it’s not about that. I’m not interested in making a Dalit dish, and people were approaching me and saying, “Can you cook something?” They didn’t get it. But I did want to make something with my hands. Because the reading and writing were getting to be too much, I felt like I needed to process it in a different medium. I started with ",[5458],{"_40":1320,"_101":5459},{"_1322":5258},{"_95":5461,"_40":95,"_652":5462},"bhakris ",[5463],{"_40":655},{"_95":5465,"_40":95,"_652":5466},"(fig. 4a), rotis made out of millet, because some Dalit writers write beautifully about it, comparing it to the sun and moon, to the mother and father, to heaven and hell. I wanted to create the ",[5467],{"_40":1320,"_101":5468},{"_1322":5258},{"_95":5470,"_40":95,"_652":5471},"bhakri",[5472],{"_40":655},{"_95":5474,"_40":95,"_652":5475}," in a material that would last. Then I went on to make larger installations that reimagine many of the recipes (fig. 4b)—especially if they center foraging or hunting or stealing food—and processed these stories while making the ceramics. Some pieces look like food items, but there are many that don’t. Some look rotten; some look like fungus. Unlike food, or perhaps like Dalit food, they are inedible.",[5476],{"_40":1320,"_101":5477},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5481,"_40":95,"_652":5482},"Then I made ",[5483],{"_40":1320,"_101":5484},{"_1322":5258},{"_95":5486,"_40":95,"_652":5487},"Is the water chavdar? ",[5488],{"_40":655},{"_95":5490,"_40":95,"_652":5491},"between 2020 and 2022. It’s an installation of 10,000 stupas, which look like inverted bowls, about the Chavdar water tank in Mahad, Maharashtra. In 1927, our leader Dr. B. R. Ambedkar walked to this tank with 10,000 people to drink water from it. They were in Mahad for a conference on Dalit rights, and even though the government had made it legal for Dalit people to access public water bodies, they were still carrying their own water. So they drank from this tank to make a point. It’s one of the most important Dalit events in history, and yet, it’s forgotten by mainstream upper-caste India. It’s not really mentioned in history textbooks, but Dalit people grow up learning about it and going to Mahad. I wanted to make a memorial or homage to the people who went there. Also, this event was not photographed. Even though cameras were accessible in 1927, it was not considered important enough to record.",[5492],{"_40":1320,"_101":5493},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5497,"_40":95,"_652":5498},"I made 10,000 stupas and arranged them to look like a square water tank (fig. 5). I surrounded them with prints of images I sourced from Google Maps. Even though images of the 1927 event don’t exist in any formal archives, Google Maps has thousands of images of Dalit people visiting the location since then. I chose 27 and printed them on transparent sheets and then pressed them into printmaking paper, which gives them a wet-looking quality (figs. 6a–c). This process allowed me to protect the identity of the people in the pictures, but at the same time, they stand in for people from the past or the future. I wanted their faces in the prints because I think people taking photographs of themselves at the water tank is special. It also allowed me to speak about the water without displaying any actual water. These images surround the installation, and then in the middle of it, a beam in the center of the space is covered with paper pulp I made from the ",[5499],{"_40":1320,"_101":5500},{"_1322":5258},{"_95":5502,"_40":95,"_652":5503},"Manusmriti",[5504],{"_40":655},{"_95":5506,"_40":95,"_652":5507},", which Ambedkar burned in Mahad about six months after the original event. He burned the book, saying that it must be destroyed, but at the same time, he knew that it was more important for the ghost of Manu, which still lives on in people’s minds, to be burned and defeated.",[5508],{"_40":1320,"_101":5509},{"_1322":5258},{"_95":1430,"_40":95,"_652":5511},[5512],{"_40":5423},{"_40":108},{"_40":108},{"_95":5516,"_40":95,"_652":5517},"In ",[5518],{"_40":1320,"_101":5519},{"_1322":5258},{"_95":5521,"_40":95,"_652":5522},"Deeksha ",[5523],{"_40":655},{"_95":5525,"_40":95,"_652":5526},"(figs. 7a–b), I printed photographs that I had taken of my family celebrating the anniversary of our conversion to Buddhism. In 1956, about six months before Ambedkar died, he converted to Buddhism. He said, “I may have been born a Hindu, but I won’t die one,” and along with him, many Dalit people converted. Our form of Buddhism is quite different as there’s no god, no worshipping of any Hindu deities, no superstition. Gods have controlled Dalit people for thousands of years. It is said that you’re born in this community because you were bad in your past life, so there’s no mobility outside of it unless your god decides differently. With Buddhism, you’re taught to learn to build dignity from within yourself. Now there’s a big resurgence of Buddhism, but if I tell people I’m Buddhist, they’ll know I’m Dalit. I don’t know how much of a difference it makes to others, but at least for us, for our own dignity, it does matter.",[5527],{"_40":1320,"_101":5528},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5532,"_40":95,"_652":5533},"For ",[5534],{"_40":1320,"_101":5535},{"_1322":5258},{"_95":5537,"_40":95,"_652":5538},"Did you open the door, or did you find it open for you? ",[5539],{"_40":655},{"_95":5541,"_40":95,"_652":5542},"(2023), I built a stupa with paper pulp from newsprint (figs. 8a–b). Ambedkar started many newspapers in his lifetime, so I was thinking about literacy, access to it, and the possibilities of it. The stupa has become quite an important architectural form. Whereas within Hinduism, we wouldn’t be allowed inside a temple, this conversion has allowed us to access and embrace ancient Buddhist sites that have been in the vicinity for thousands of years as a way of reconnecting—or connecting in the first place—with our new religion. We’re also building new stupas that are hollow inside to serve as meeting places. In Bombay and Pune, you often see white domed structures that are Dalit Buddhists spaces, and they’re occupying more and more parts of India. I built this stupa thinking about the past and the future. ",[5543],{"_40":1320,"_101":5544},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5548,"_40":95,"_652":5549},"I started ",[5550],{"_40":1320,"_101":5551},{"_1322":5258},{"_95":5553,"_40":95,"_652":5554},"Give up your old habits ",[5555],{"_40":655},{"_95":5557,"_40":95,"_652":5558},"in 2023 based on the image of Ambedkar (figs. 9a–b), and now I’m building a larger body of work around it. Ambedkar’s image is everywhere, across India—a man in a suit, tie, and glasses, often holding a book—and it’s an interesting relationship that we’ve built with it, because it’s one of pride. Yet it’s also a marker of where Dalit people live, which allows others to make judgments and assessments. In this body of work, I’m printing the same image of Ambedkar on porcelain, but as a silkscreen print, so when it’s on the wet clay, it becomes something else. Each one looks quite different but they all have hints of Ambedkar in them. I’m repeating them in the hundreds and thousands, so let’s see what happens with that.",[5559],{"_40":1320,"_101":5560},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5564,"_40":95,"_652":5565},"I’ve also been doing quite a few performances over the past years. ",[5566],{"_40":1320,"_101":5567},{"_1322":5258},{"_95":5569,"_40":95,"_652":5570},"Turn Your Bowl into a Stupa ",[5571],{"_40":655},{"_95":5573,"_40":95,"_652":5574},"(figs. 10a–d) was in Bukhara. Essentially, it was 1,000 bowls that we turned upside down. I feel like this is a strong metaphor for Dalit Buddhism. There is a Tibetan story about when the Buddha was dying . . . His disciples asked him, “What do we do with your body when you die?” And he took his begging bowl and turned it upside down. Though nobody knows if it’s historically true and given Dalit people’s association with begging, with this embrace of a new religion—we’ve also taken the begging bowl and turned it upside down and said no to the past and rejected many things. The performance began with me reading out the recipes followed by turning the bowls upside down with three collaborators. I was very excited to perform this work in Bukhara because the name “Bukhara” stems from the word ",[5575],{"_40":1320,"_101":5576},{"_1322":5258},{"_95":5578,"_40":95,"_652":5579},"vihara",[5580],{"_40":655},{"_95":5582,"_40":95,"_652":5583},", which means “Buddhist monastery” or “temple.”",[5584],{"_40":1320,"_101":5585},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5589,"_40":95,"_652":5590},"Everything is quiet now",[5591],{"_40":655},{"_95":5593,"_40":95,"_652":5594}," was a small performance that I did in Canada (fig. 11). It included four people and four bowls, which we slowly turned upside down. It started with a poem I had written about the Khairlanji massacre, a caste-based atrocity that took place 19 years ago, in which a whole family was brutally killed—and they still haven’t gotten justice. I was using the turning of the bowl as a way to slow down time and to think about this family. I’ve also been working with press photographs that were taken at the sites of this atrocity—at the hut that the Bhotmange family lived in, at the canal where their bodies were dumped. As horrible as it sounds, these photographs and even more violent ones have played a huge role in rallying the Dalit community to push for justice. It was also—as a 16-year-old—my first real encounter with what a Dalit atrocity looks like and with seeing the whole community come together in response to these photos. Though this is a strange way of spending time with them—they’re ink-jet prints, so I use a paintbrush and water to erase them, but they’re still there though certain bits are washed out.",[5595],{"_40":1320,"_101":5596},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5600,"_40":95,"_652":5601},"AS:",[5602],{"_40":3261},{"_95":5604,"_40":95,"_652":5605}," As a way of beginning our conversation within the context of this group, which is focused on the city and the theme of infrastructures, I was thinking about Pune and Maharashtra as larger infrastructures in your practice—from the neighborhoods where you’ve fabricated different elements of your practice to your involvement with the secular art movement started by Prabhakar Kamble, Clark House, histories of Dalit activism in the region, etc. Could you speak about this? ",[5606],{"_40":1320,"_101":5607},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5611,"_40":95,"_652":5612},"RG: ",[5613],{"_40":3261},{"_95":5615,"_40":95,"_652":5616},"It’s all connected. Because my parents are involved in social work, it’s not really been a choice to involve myself in these things. I think even if I wasn’t making art, they would still be an important part of my life. It has been quite special to be involved with the secular art movement, which is the art wing of a political movement in Maharashtra. And it was in spaces like Clark House, the Ajanta caves, and The Middle Way Retreat Centre in Kondanpur where these conversations were had and still continue. The last time we did a secular art movement workshop, we just wanted to get together and see each other’s practices—because we don’t often have opportunities or time or spaces for that—and to look at each other’s work, to listen to each other. Though there’s room for so much more. For example, it’s still very difficult to critique each other because if we’re seen critiquing each other even slightly publicly, then upper-caste artists or people in the art world will use that against us. They try to involve themselves in it and pit us one against the other. It’s quite exhausting. Unfortunately, we’re still seen as just Dalit artists by ",[5617],{"_40":1320,"_101":5618},{"_1322":5258},{"_95":5620,"_40":95,"_652":5621},"savarna",[5622],{"_40":655},{"_95":5624,"_40":95,"_652":5625}," people. I don’t think I’ll ever make work that’s not about caste, but there has to be space beyond that category. Also, if somebody doesn’t want to recognize the persistence of caste, they simply won’t. Labeling us this way makes it convenient for them to stereotype our practices, tick a box, and look away as fast as possible. ",[5626],{"_40":1320,"_101":5627},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5631,"_40":95,"_652":5632},"Lucy Gallun:",[5633],{"_40":3261},{"_95":5635,"_40":95,"_652":5636}," Thinking about this idea of space-making and how it has come through in your practice across different approaches, media, techniques, etc. . . . You talked about writing being a place, and of literacy and disseminating writing being a history that you’re taking up in your work, but also, about the building of a stupa—of creating something that’s visible in communities—especially in Maharashtra. Could you speak about this idea of a practice of space-making and what it means to you?",[5637],{"_40":1320,"_101":5638},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5611,"_40":95,"_652":5642},[5643],{"_40":3261},{"_95":5645,"_40":95,"_652":5646},"Many upper-caste dialogues center on the fact that there’s not enough information, or that people don’t see caste, or that they didn’t grow up practicing caste, etc. Even when I was looking for Dalit cookbooks, I couldn’t find them. But then I realized that it’s just a matter of shifting my perspective; perhaps they don’t exist in a conventional form, but they do exist nonetheless, and then I discovered there’s so much in Dalit literature. I think this is the case with space-making as well, and that my large-scale installations are a way for me to spend time in the spaces themselves, but also, to really think about the significance of these spaces. Whether it’s an ancient site or the Chavdar water tank, which in photographs looks like any other water tank, is important to me. They are both big and small omnipresent sites, and Dalit people recognize and remember them. Even though the white stupas are everywhere, it’s easy for upper-caste people not to pay attention to them in their day-to-day landscapes. For instance, I’m in Goa now, and while Goa is the neighboring state to Maharashtra, and Maharashtra has always had a visible Dalit presence—there are blue Buddhist flags and white stupas everywhere—Goa has considerably less of one. But I tell myself that I have to find out what and how this looks in Goa. I’m trying to train myself to look differently. ",[5647],{"_40":1320,"_101":5648},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5652,"_40":95,"_652":5653},"Ksenia Nouril: ",[5654],{"_40":3261},{"_95":5656,"_40":95,"_652":5657},"I’m struck by the materiality of your work—the breaking down, disintegrating, and bringing back together of paper pulp, your painting of photographs to dissolve them, etc. Could you talk about materiality in your practice?",[5658],{"_40":1320,"_101":5659},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5663,"_40":95,"_652":5664},"RG:",[5665],{"_40":3261},{"_95":5667,"_40":95,"_652":5668}," The materiality of my work is very important, if not the most important. Materiality, such as the texture of the paper, for example, allows me to move away from words, from writing, from that sort of language, and allows for a certain kind of infrastructure of invisible presence. The paper disintegrates, and while you can no longer read what is on it, it’s still there. I’m trying to figure out what that means and what to do with it. There’s a lot of hope with Dalit narratives, but there’s also one step forward, three steps back. A lot of the work that people are doing gets invisibilized. With materiality, it allows for that hesitation. While I can be more hopeful when I’m speaking, the materiality of the work allows for a sadness, a haziness, a blankness that paper or ceramic or the blurred photograph can communicate to the viewer better than I can.",[5669],{"_40":1320,"_101":5670},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5674,"_40":95,"_652":5675},"Lanka Tattersall: ",[5676],{"_40":3261},{"_95":5678,"_40":95,"_652":5679},"Since Ananya mentioned you’re exhibiting in Venice, could you speak about what you’ll be up to there?",[5680],{"_40":1320,"_101":5681},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5663,"_40":95,"_652":5685},[5686],{"_40":3261},{"_95":5688,"_40":95,"_652":5689}," Essentially, it was a grant to produce work that could be shared digitally and that would involve what my community means to me. There’s a Dalit girls’ hostel in Pune—close to where I live—and my parents have been involved with it for decades. I’ve also been visiting it since I was little. Most of the girls there come from villages around Maharashtra, and they’re there because their schools are extremely far from their homes—sometimes 20 kilometers away. Having to walk these distances to get to school would be incredibly difficult. I held workshops—on writing about food, about school, and on drawing their journeys to school, drawing what their schools looks like—and produced a booklet of 15 recipes and stories about finding food, stealing food, etc. The girls who participated were 13–14-year-olds, so their stories are more joyful than the ones I typically read, and I merged them with recipes that I created from female Dalit Maharashtrian writing—so they read as narratives from young girls, and time is again warped. Alongside it, the stories are also presented on video, where the girls read them out in Marathi and English.",[5690],{"_40":1320,"_101":5691},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5695,"_40":95,"_652":5696},"LG:",[5697],{"_40":3261},{"_95":5699,"_40":95,"_652":5700}," I was thinking about how you read us some of your recipes in English, and about the girls reading in Marathi and English, and to a previous session on the little magazine movement in Maharashtra that thought through the different ways that information is shared and what communities share through language, and I’m curious about how that has come up in your practice. ",[5701],{"_40":1320,"_101":5702},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5663,"_40":95,"_652":5706},[5707],{"_40":3261},{"_95":5709,"_40":95,"_652":5710}," Until last year I was quite adamant that everything I write had to be in English, even though I can read Marathi and Hindi and I’ve accessed many autobiographies via English translations from Tamil and Telugu. I don’t see English as a non-Indian language, and historically, we weren’t allowed to study pure Marathi or Sanskrit, so an English-language education was the way out and necessary for upward social mobility. English has been an important language of access. There’s no real nostalgia for Marathi, but at the same time, there is something to be said about things that are untranslatable. When I’m reading a Dalit autobiography in Marathi, it’s different from what it is in English. I don’t want to romanticize it, so I keep it in English, because if my audience can read English, then I don’t want to create a barrier to the work. But what I realized from the girls reading in Marathi and English is that even if the audience can’t understand Marathi, there is a generative pause in listening to another language. Again, the girls are studying English; they’re not fluent, but they wanted to read in English as much as they wanted to read in Marathi. If I had robbed them of reading in English, I would have made them feel like they weren’t good enough or that they shouldn’t have been studying English in the first place, so to have their voices in both languages was important.",[5711],{"_40":1320,"_101":5712},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5716,"_40":95,"_652":5717},"AS: ",[5718],{"_40":3261},{"_95":5720,"_40":95,"_652":5721},"I have a question about reading as a practice in your looking at memoirs, autobiographies, and memory texts. These writers would have been among the first generation in their families to be educated. Could you speak about these primary sources and about the format of the recipe—what drew you to it, how you adapted some of the larger concerns of the texts into recipes, etc.",[5722],{"_40":1320,"_101":5723},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5663,"_40":95,"_652":5727},[5728],{"_40":3261},{"_95":5730,"_40":95,"_652":5731}," I started with Maharashtrian Dalit writers because they were in my house. The Maharashtrian Dalit community also has an advantage, because Ambedkar was from this community, and it has been the force of his direct influence that has and continues to encourage the community to leave behind caste-based manual work, move to cities, and send their kids to school. A lot of the writers in this genre are male—though there are many female writers as well. But, if one was going to send their children to school for the very first time, it was often the sons who were sent. The realization that one could also send their daughters came later.",[5732],{"_40":1320,"_101":5733},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5737,"_40":95,"_652":5738},"But with the recipes . . . they’re a ploy to get the audience to read the original book. I keep things simple and, in each booklet, I’ll only include six recipes—some short, some slightly longer—and then at the back of the booklet, it says that this has been adapted from “x” autobiography to invite the audience to read this literature. I wish it was not about that, but coming from this space of people not knowing where to start, I provide them with options. Also, as much as my family is involved in this work, it’s still difficult to have one-on-one conversations because there is a lot of shame involved. There are things that people just don’t want to talk about, and I respect that. Dalit writers have written down everything that they needed to, so I decided to see what they’ve written about and to bring it out in whatever way I can. It’s almost like preliminary research for having actual conversations with my own family and others in the future.",[5739],{"_40":1320,"_101":5740},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5600,"_40":95,"_652":5744},[5745],{"_40":3261},{"_95":5747,"_40":95,"_652":5748}," It’s also a ploy for people who claim caste doesn’t exist . . .",[5749],{"_40":1320,"_101":5750},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5663,"_40":95,"_652":5754},[5755],{"_40":3261},{"_95":5757,"_40":95,"_652":5758}," Yes. The act of opening a book and reading for oneself has allowed me to have more interesting conversations around caste, especially compared to my earlier works which were a little more on the nose, and elicited anger and questions such as why I’m showing work on caste if caste doesn’t exist. So sometimes opening a book, reading it, and trying to figure it out for oneself allows the audience to take it in differently.",[5759],{"_40":1320,"_101":5760},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5764,"_40":95,"_652":5765},"This essay stems from the Contemporary and Modern Art Perspectives (C-MAP) Bombay/Mumbai initiative at MoMA. The 2024–2026 Bombay/Mumbai research program was conceived and organized by Ananya Sikand (C-MAP Bombay/Mumbai Fellow) and Lucy Gallun (Curator, The Robert B. Menschel Department of Photography). ",[5766],{"_40":655},{"_95":5768,"_40":95,"_652":5769},"Read more about C-MAP here",[5770,5778,5779],{"_40":5771,"_101":5772},"link",{"_5773":5774,"_79":-5,"_5775":-5,"_5776":-5,"_5777":23},"href","https://www.moma.org/research/international-program/global-research","anchor","target","linktype",{"_40":655},{"_40":5780},"underline",{"_95":5782,"_40":95,"_652":5783},".",[5784],{"_40":1320,"_101":5785},{"_1322":5258},{"_40":108},{"_40":108},{"_95":5789,"_40":95},"Published by: ",{"_95":5791,"_40":95,"_652":5792},"Post Notes, MoMA",[5793],{"_40":5771,"_101":5794},{"_5773":5795,"_79":-5,"_5775":-5,"_5776":5796,"_5777":23},"https://post.moma.org/dreaming-of-food-air-and-water-in-conversation-with-rajyashri-goody/","_self","heading","category",[],"footnote",[],"subheading","2026-07-03 00:00","listing_image",{"_15":5806,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":5807,"_260":86,"_261":262,"_263":5808,"_265":195},194055011187154,"https://a.storyblok.com/f/329985/1600x1200/f3a732e1e0/whatsapp-image-2026-07-02-at-1-29-05-pm.webp",{},{"_15":5806,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":5807,"_260":86,"_261":262,"_263":5810,"_265":195},{},"featured_image_description",{"_40":97,"_101":5813,"_81":5814},{"_5240":-5},[5815],{"_40":100,"_101":5816},{"_103":-5},"dreaming-of-food-air-and-water-in-conversation-with-rajyashri-goody","footnotes/dreaming-of-food-air-and-water-in-conversation-with-rajyashri-goody",-130,[],645515625,"a02b9b8a-8de0-4cb0-ac39-61cbb1e6d958","2026-07-03T08:19:15.746Z",[],{"_17":5826,"_72":5827,"_74":5828,"_76":5829,"_15":5830,"_79":5831,"_81":5832,"_499":5953,"_501":5954,"_503":-5,"_504":5955,"_506":5956,"_508":195,"_509":5821,"_263":-5,"_511":5957,"_513":5958,"_515":-5,"_516":517,"_518":-5,"_519":5959,"_521":-5,"_522":-5},"Present Composite / Out of Place: The Oddness of Looking Back","2026-07-02T07:37:37.226Z","2026-08-27T11:41:42.730Z","2026-08-27T11:41:42.743Z",193692701628935,"b4d8f949-15a9-46c7-aab3-2492fb1d8656",{"_83":5833,"_88":5834,"_5234":86,"_91":5835,"_235":86,"_5797":5826,"_5798":5939,"_168":5800,"_242":5940,"_5802":86,"_74":5941,"_5804":5942,"_489":5946,"_492":1375,"_5811":5948},"a2bff130-59c4-4b72-99cd-5d41ac926bf7",[1711],[5836],{"_83":5837,"_95":5838,"_168":19},"5d877ff5-d5de-47a6-8645-20e7302db0e6",{"_40":97,"_101":5839,"_81":5840},{"_5240":-5},[5841],{"_40":100,"_101":5842,"_81":5843},{"_103":-5},[5844,5851,5852,5853,5855,5856,5857,5859,5860,5861,5863,5864,5865,5867,5868,5869,5871,5872,5873,5875,5876,5877,5879,5880,5881,5883,5884,5885,5887,5888,5889,5891,5892,5893,5895,5896,5897,5899,5900,5901,5903,5904,5905,5907,5908,5909,5911,5912,5913,5915,5916,5917,5919,5920,5921,5923,5924,5925,5927,5928,5929,5931,5932,5933,5935,5936,5937],{"_95":5845,"_40":95,"_652":5846},"Published in Purèe Magazine",[5847,5850],{"_40":5771,"_101":5848},{"_5773":5849,"_79":-5,"_5775":-5,"_5776":5796,"_5777":23},"https://pureemag.substack.com/p/present-composite-out-of-place-the",{"_40":5780},{"_40":108},{"_40":108},{"_95":5854,"_40":95},"The past is always slightly out of place. It appears where it should not, survives in the wrong forms, arrives carrying contexts that no longer fit the world of now. Objects and images from the past do not arrive intact or contained. They come to us carrying more than they show and declare less than we might hope to know. What we encounter in them often sits at odds with what they were meant to be, or what we expect to find. The past already contains its own counter-memory, dormant pressures and misaligned forces that persist inside whatever trace version of the past that survives. The past is a leaking entity. It behaves more like a tensile surface, stretching, recoiling, refusing equilibrium, pulling these objects into unexpected relations. Perhaps this is how the present breathes, by constantly being stretched. Like a pressure wound, the constant proximity of an object or image from the past can become a field of heightened sensitivity, where attention gathers and does not easily disperse. To look is already to imagine. The act of seeing the past can show us how close, actually, another reality is to our own. And sometimes closer than we want it to be. What does not fit our current frameworks is not therefore lost to us; it may be the part still available for us to gather.",{"_40":108},{"_40":108},{"_95":5858,"_40":95},"Consider the earthwork figure known as the Baraboo Man Mound. From an aerial perspective, it appears to be a humanoid outline inscribed onto the land. A road cuts through the figure, bisecting it. The intervention is infrastructural, banal, modern. But what we notice is that, despite this, a solution also already exists: the figure’s white calves have been painted over the road, and its feet are similarly filled in on the yellow grass beyond. The figure persists not as an intact object but as a composite: earth, absence, repair. Defeat and victory of form, both. It occupies a temporal density that resists reduction. What we encounter is not an artifact but a convergence of a long chain of arbitrary events just simply lining up. Beyond anything art-like. It exceeds intention because it is constituted through successive, discontinuous acts. It remains only because a larger history happened to arrange itself in this particular way. And yet someone painted the calves. The figure was given its legs back, even where the road insisted it shouldn’t have them. The past, here, is something stubborn and slightly funny — a thing we keep deciding to let walk.",{"_40":108},{"_40":108},{"_95":5862,"_40":95},"People, too, reach us as composites: pieced together from the parts of them that the present found legible. Kathiyawadi poet Jhaverchand Meghani is widely remembered in Gujarat for preserving the valorous bardic traditions of the Charans, Gadhavis, and other communities of the Saurashtra region. Writing in Gujarati from 1921 until his death in 1947, Meghani made his most enduring contribution by capturing and sustaining the folk (talpadi/તળપદી) sensibility of Saurashtra. One such song, Mor Bani Thangat Kare, was used — oddly — by the Bollywood director Sanjay Leela Bhansali in the soundtrack of his film Ram-Leela.. He was also active in the Gandhian freedom struggle and faced prison time due to his involvement. Through his work in periodicals like Saurashtra and later Phulchhab, as well as in his Saurashtra ni Rasdhar series, he vividly chronicles rural life, oral storytelling, and everyday speech, all marked by a rhythmic, deeply local texture. One side of his persona leans toward a pastoral longing. In Chorano Pokar ચોરાનો પોકાર, he calls for the rebuilding of the broken Choro (ચોરો), the village square that once formed the center of collective life. Of Meghani, we remember much, but not all. To our contemporary eye, his body of work has unexpected offshoots.",{"_40":108},{"_40":108},{"_95":5866,"_40":95},"As early as 1922, Meghani was translating and compiling texts on anti-imperialist struggles across Korea, Ireland, Hungary, Egypt, Indonesia, and China, producing works like Asia nu Kalank on Korea, Salagtu Ireland on the Irish struggle against Britain, Hungary No Taranhar on the freedom struggle in Hungary, Misr no Muktisangram on Egypt between 1922–1930. In 1946 Jay Indonesia, based on the Indonesian freedom struggle which his son Mahendra Meghani helped complete. Why did a poet so closely tied to rural memory and bardic tradition engage so deeply with distant political movements beyond India? Meghani seems to have understood, ahead of many, that empire and capital clutch their hands around populations in eerily similar ways despite geographical distances. To look only inward is never enough. To look at the foregone nostalgia of a functional village square, while new people-led coalitions are sprouting up across our neighboring lands. One had to keep one eye on the village, another on the world — and in that doubled vision, discover the possibility of solidarity between distant allies. This pull between the village square and the decolonial anti-imperialist world stage stretches the horizon of our contemporary understanding of the intellectual project.",{"_40":108},{"_40":108},{"_95":5870,"_40":95},"In 1943, Meghani published a short book on the recent political history of China called Dhwaj-milap (ધ્વજ-મિલાપ), literally “Union of the Flags.” It was the sequel to another text, the more difficult-to-find Mahavir Padoshi (મહાવીર પાડોશી). Dhwaj-milap has a striking red and white striped cover which carries on it symbols of both the Communist Party and the Kuomintang. It narrates the history of China from 1936 onward, tracing what we now recognize as a temporary and improbable alignment between “the red-colored communists” (સામ્યવાદી/Samyavadi) and the “the white-colored nationalists” (રાષ્ટ્રવાદી /Rashtravadi). To assemble this account, he worked through translation, drawing from Red Star Over China by Edgar Snow and Mowrer in China. On its cover, a Mandarin slogan is supposed to read “ચીનના શાંતિમય એકીકરણ માટે મથો”. According to Meghani, this was a call for peaceful unification. In the introduction, Meghani centers the narrative on what he saw as a compelling historical moment: the temporary alliance between the Red Communist Army and the White Nationalist forces against Japanese invasion, now known as the Xi’an Incident. In 1936, amid rising anger toward Japan, Nationalist General Zhang Xueliang, working with Communist leader Zhou Enlai, detained Chiang Kai-shek and forced him to reconsider his strategy of prioritizing the defeat of communists over resisting Japan. This led to the formation of the Second United Front, bringing together opposing factions against a common enemy. Meghani is drawn to this unlikely convergence, where ideological divisions are set aside under pressure, and he reworks it for a Gujarati readership as part of a wider imagination of anti-imperial struggle worldwide.",{"_40":108},{"_40":108},{"_95":5874,"_40":95},"Before he can witness the violent dissolution of this historic alignment, Meghani suddenly dies one morning in March 1947, at home in the village of Botad. What appears in his writing as a compelling union then hardens into one of the defining ideological rifts of the twentieth century. The same two flags that once appeared together on his cover are later set against each other across continents, drawn into the larger choreography of Cold War politics. The oddity of their earlier alignment becomes even more pronounced in hindsight. It was never stable, never meant to last. What Meghani captures is a moment when history briefly folded itself in on itself before snapping back into sharper lines of difference. What remains is not a coherent narrative but a trace, a contingent hope, a record of possibility.",{"_40":108},{"_40":108},{"_95":5878,"_40":95},"To commemorate Meghani’s death, one of his contemporaries the bardic poet Dula Bhaya Kag says:",{"_40":108},{"_40":108},{"_95":5882,"_40":95},"“મેઘાણીએ કબર ખોદી કાઢી, મૈયતોને ઉઠાવ્યા અને જીવાડ્યા. ધૂળમાં ખોવાઈ ગયેલા અને જુના માણસોને પોતાની કલમથી અમૃતજળ છાંટી બેઠા કર્યા. ખરેખર મેઘાણીએ ધૂળ ધોવાનું કામ કર્યું. જાતે ધૂળ ફાકીને આપણને સાચું સોનુ આપતા ગયા.”",{"_40":108},{"_40":108},{"_95":5886,"_40":95},"“Meghani dug into the tomb and made the buried speak again, live again.” Here, Kag refers to folk literature, but Dhwaj-milap shows that what is excavated from the past never returns to us whole or uncomplicated. The poles themselves move, meanings invert, alignments dissolve. And a Gujarati audience remembers only one part: the folklorist Meghani but not the internationalist political actor. Meghani’s gift was to hold both registers at once: chronicling localized intensities while imagining geopolitical alliances. In this dis-remembering is also lost the inherent connection between the creation of art and the political imagination of the artist. Meghani is an example of someone who wanted to think across differences in the third world. For Meghani, awareness of difference or historical siloing need not be what divides us.",{"_40":108},{"_40":108},{"_95":5890,"_40":95},"Memory, in this sense, is less a function of preservation than of selecting what fits the story we already believe. We only have room to remember what will neatly fit into our current version of reality. What endures does so because it intersects with structures of power that only allow certain versions of someone to be visible. Our canon formation may have domesticated some of Meghani’s literary sharpness by preserving the culturally “safe” parts while erasing the globally political ones. Does our memory somewhere depoliticize Meghani’s revolutionary potential by seeing him only as a chronicler of Gujarati heritage? The archive is not neutral; it is selective, contingent, uneasy. The internationalist Meghani is still there, in the pamphlets on Korea and Egypt and Indonesia, waiting in a register the present has not yet known how to read. The archive of the unfitting is also an archive of the unspent. The figures that travel down to us show a consistent incompleteness that speaks to the cultural and political frameworks of their time. But, through examining what persists in their efforts, we witness for ourselves the exact complexity of their real whole interests held open.",{"_40":108},{"_40":108},{"_95":5894,"_40":95},"To be edited out of memory is one fate. To be shaped, from the beginning, by the hand of the thing you are trying to depict is another. Sometime in the 16th century in the Mughal court, the Hindu painter Bichitr (बिचित्र/بیچتر) constructs a tightly ordered visual record of the world around him. In the miniature Jahangir Preferring a Sufi Shaikh to Kings, Bichitr constructs a world where a radiantly haloed Emperor Jahangir sits on upon an hourglass throne, offering a book to a Sufi saint while James I of England and an unidentified Ottoman sultan wait below, all arranged in a precise hierarchy of attention and devotion. Quietly present in the lowest corner, we glimpse the painter himself, holding a miniature painting depicting himself bowing down next to two horses and an elephant.",{"_40":108},{"_40":108},{"_95":5898,"_40":95},"Bichitr here works as a human image compositor, a fabulist who gathers anatopic figures of historical power into a single, carefully staged frame. He illustrates a suspended worldtime, a fictional moment that reflects the imagined harmony and authority of Mughal rule, a constructed reality into which he also places himself. His presence seems to say that those who build images are also folded into the strange orders that make those images possible. This insertion is not an assertion of autonomy so much as an index of constraint.",{"_40":108},{"_40":108},{"_95":5902,"_40":95},"To read such an image is to confront the entanglement between beauty and power. Formal coherence here is underwritten by a patron determined to deploy every visual language his atelier could master. Bichitr’s personal mastery of European painting’s late Renaissance realism shows how he could selectively incorporate its techniques to reiterate the power of his sponsor.",{"_40":108},{"_40":108},{"_95":5906,"_40":95},"Even the inscription of his name signals his relationship to the image. Amal-e Bīchitr was likely inscribed upon the image by Shah Jahan himself and seems less a credit than an attribution of a task. Bichitr’s name itself may be a corruption of the Sanskrit vīcitra (विचित्र), meaning variegated, many-colored, manifold, uncommon, odd, strange, or curious. Here, It feels less like the artist’s name and more a condition the artist inhabits. Through it, the hand that paints is already aligned with the hand that governs. Bichitr’s hands and eyes become a proxy for the emperor’s own, seeing and rendering the world as power wishes it to appear.",{"_40":108},{"_40":108},{"_95":5910,"_40":95},"What reaches us from the past may be less a record of what was than a residue of what could pass: what moved cleanly through the channels of authority, where will, constraint, and invention briefly aligned. In such conditions, even a figure like Bichitr, working within narrow permissions, occupies a marginal yet persistent space: a painter not fully sovereign, yet not entirely erased. Present only in traces, even within the limited agency Bichitr may have possessed, as a painter, a storyteller, a servant rather than an auteur, he reaches out to us through a fraction of space, the smallest increments of brushstrokes, from the corners where he could still act and make himself remembered. Bichitr lingers at the edge of the official picture — not as resistance exactly, but as residue with a possible future.",{"_40":108},{"_40":108},{"_95":5914,"_40":95},"It prompts the question of how much of what we come to see, value, and remember persists not by virtue of its independence, but because it permits power to circulate without friction—moving quietly through images that appear self-articulating, yet are already conditioned by the forces that sustain them. What presents itself as autonomous expression may in fact be a surface through which authority passes most effectively when it is least visible. Is memory a matter of proximity to power, or something more accidental and fragile?",{"_40":108},{"_40":108},{"_95":5918,"_40":95},"Even at distances where intention can no longer be confirmed, the object itself can still speak. Sometimes more clearly than the ones close to us. These two Paleolithic handaxes were shaped around fossilized marine life, each carved to deliberately frame the organism at the center of the tool. Made during the Lower Paleolithic period — long before Homo sapiens reached the British Isles — made by archaic humans likely Homo heidelbergensis or early Neanderthals. The choice made by the maker feels intentional, even poetic. Yet the interpretation of this gesture ranges from projection to educated conjecture. However, despite what we cannot know, the object itself speaks to us clearly about the proximity between violence and beauty. Here, aesthetics and utility converge: the handaxe is both weapon and expression — sharp, painful, deeply personal. The handaxes embody a dual nature: the will to strike and the will to make meaning, even in stone. The edge holds beauty and pain in the same breath, a bound distinction.",{"_40":108},{"_40":108},{"_95":5922,"_40":95},"Across these examples, images of the past arrive as partial constructs, shaped by the conditions of their survival and the schema of their interpretation. What they offer us is proximity without access, recognition without simplicity. Folded within them are their own shadow selves, displaced pressures and historical traces seeking to become present again. A field of forms that are, in the fullest sense, bichitr— odd, iridescent, irreducible. But this oddness is an instrument. The parts of the past that do not fit — Meghani’s pamphlets on China, the painted calves stitching a Late Woodland figure back across a county road, Bichitr’s self-portrait tucked into the corner of an imperial commission — are precisely the parts our inherited frameworks have not yet learned how to use. They sit awkwardly inside the stories we currently tell, and so they remain unspent. To attend to what is bichitr in the past is to refuse the memory that keeps Meghani a folklorist and forgets the internationalist, that keeps Bichitr a servant and forgets the storyteller in the corner. The archive holds more coalitions than the present has remembered how to want. We look back and see our own path changing — and begin to see, in the odd survivals of what came before, the outlines of solidarities we have yet to rebuild. Always a little out of place. We look back and see our own path changing.",{"_40":108},{"_40":108},{"_95":5926,"_40":95},"About the Author",{"_40":108},{"_40":108},{"_95":5930,"_40":95},"Somnath Bhatt is an artist, designer, and writer drawn to the force of the unseen, the unspoken and the unruly logics of myth. For him, form-making is an antenna—sending and receiving signals from just beyond perception, always reaching, never quite closing the gap. His pixel-driven language stages encounters between what we have already seen and what is still on its way. Somnath believes, “Old and new as conceptual categories belong to a realm that precedes language, residing in the vague yet potent space between what can be articulated and what can only be felt. Language merely grazes the surface of these experiences; the real force of oldness and newness is apprehended first as sensation.”",{"_40":108},{"_40":108},{"_95":5934,"_40":95},"Bhatt’s recent solo exhibition includes Republic of Shadows, GALLERYSKE, New Delhi, his work has been shown at India Art Fair (New Delhi); Art Week Dubai; the ICA (London); Mécènes du Sud Montpellier-Sète; Acud Macht Neu (Berlin); Picture Room (New York City); ISA Gallery (Shanghai), Abrons art center (New York City) the New York Art Book Fair; and the Brooklyn Art Book Fair. His first solo exhibition was held in 2020 at ISA Gallery in Shanghai. Somnath has collaborated across disciplines spanning arts, culture, fashion, music, and editorial design, including Mitski, Nicolás Jaar, Troye Sivan, Pakistani pop-star Ali Sethi, HYEIN SEO, SSENSE, The New York Times, The New Yorker, and The Atlantic. Recently, Somnath finished an 80-foot mural at Wonder Cabinet, an interdisciplinary studio and cultural hub in Bethlehem, Palestine.",{"_40":108},{"_40":108},{"_95":5938,"_40":95},"The artist lives and works between New York City and Ahmedabad.",[],[],"2026-07-02 00:00",{"_15":5943,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":5944,"_260":86,"_261":262,"_263":5945,"_265":195},193697587802429,"https://a.storyblok.com/f/329985/500x727/60874d128d/whatsapp-image-2026-07-02-at-1-25-00-pm.jpeg",{},{"_15":5943,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":5944,"_260":86,"_261":262,"_263":5947,"_265":195},{},{"_40":97,"_101":5949,"_81":5950},{"_5240":-5},[5951],{"_40":100,"_101":5952},{"_103":-5},"present-composite-out-of-place-the-oddness-of-looking-back","footnotes/present-composite-out-of-place-the-oddness-of-looking-back",-120,[],"8089461b-777c-4d07-ae68-0306fa4154fc","2026-07-02T07:42:47.830Z",[],{"_17":5961,"_72":5962,"_74":5963,"_76":5964,"_15":5965,"_79":5966,"_81":5967,"_499":5981,"_501":5982,"_503":-5,"_504":5955,"_506":5983,"_508":195,"_509":5984,"_263":-5,"_511":5985,"_513":5986,"_515":-5,"_516":517,"_518":-5,"_519":5987,"_521":-5,"_522":-5},"Maanav Jalan","2026-05-12T09:44:26.146Z","2026-05-12T09:45:10.184Z","2026-05-12T09:45:10.195Z",175675253367265,"3bde1058-57d1-4a17-b509-a47f57e30c80",{"_83":5968,"_17":5961,"_235":86,"_168":88,"_252":5969,"_19":5971,"_5974":5975,"_5976":5977,"_5978":5979},"fd6b57b8-9046-4db4-8868-199b79035cda",{"_15":-5,"_255":-5,"_17":86,"_256":-5,"_38":-5,"_257":-5,"_258":86,"_260":-5,"_261":262,"_263":5970},{},{"_40":97,"_81":5972},[5973],{"_40":100},"new_gallery",[],"hide_from_list",true,"profile_picture",{"_15":-5,"_255":-5,"_17":86,"_256":-5,"_38":-5,"_257":-5,"_258":86,"_260":-5,"_261":262,"_263":5980},{},"maanav-jalan","artists/maanav-jalan",[],645482969,"5dd26d1d-2686-4d61-82a6-bc7dd6ee100c","2026-05-12T09:44:35.623Z",[],{"_17":5989,"_72":5990,"_74":5991,"_76":5992,"_15":5993,"_79":5994,"_81":5995,"_499":6443,"_501":6444,"_503":-5,"_504":5955,"_506":6445,"_508":195,"_509":510,"_263":-5,"_511":6446,"_513":6447,"_515":-5,"_516":517,"_518":-5,"_519":6448,"_521":-5,"_522":-5},"Summer Show 2025","2025-03-26T09:36:58.682Z","2025-08-28T06:55:55.996Z","2025-08-28T06:55:56.012Z",645494011,"91558a4b-37b5-4338-9bd2-fcf0ffb37495",{"_83":5996,"_5997":5998,"_85":3620,"_38":5989,"_88":5999,"_5234":6001,"_91":6002,"_249":6057,"_6058":6059,"_235":6082,"_236":6083,"_238":6084,"_240":3620,"_168":241,"_242":6085,"_251":6083,"_252":6086,"_266":6090,"_6433":6434,"_489":6435,"_492":1375,"_493":6437,"_495":6438,"_497":498},"eae7fd59-053a-45ea-a282-39c40c58f837","date","2025-03-06 00:00",[6000,5233,1401],"2ffaba72-3b2b-4ee3-b541-5e37e1e66949","Rajyashri Goody",[6003,6015,6036],{"_83":6004,"_95":6005,"_168":19},"e23e1f47-1095-4846-9b7a-9eb951465233",{"_40":97,"_81":6006},[6007,6011],{"_40":100,"_81":6008},[6009],{"_95":6010,"_40":95},"Summer Show 2025 inaugurated the new space of GALLERYSKE and PHOTOINK in Defence Colony, New Delhi. Featuring three artists from each gallery’s program, the exhibition extended the unique collaborative model the two had developed since 2016 — one that emphasises collaboration while preserving distinct identities.",{"_40":100,"_81":6012},[6013],{"_95":6014,"_40":95},"This group show brought together works by Sudarshan Shetty, Rajyashri Goody, and Dia Mehhta Bhupal from GALLERYSKE, alongside Madan Mahatta, Madhuban and Manas, and IOIOI from PHOTOINK.",{"_83":6016,"_171":6017,"_191":192,"_168":193},"49eeab3e-b029-41e6-8da3-0bc6576ac879",[6018,6027],{"_83":6019,"_175":6020,"_177":86,"_178":6024,"_182":183,"_168":184},"8b752eee-b079-41a6-883e-9f2db3c8fb45",{"_15":6021,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":6022,"_260":86,"_261":262,"_263":6023,"_265":195},61705705778301,"https://a.storyblok.com/f/329985/1350x900/58e8976dee/_mgl0621.jpg",{},{"_40":97,"_81":6025},[6026],{"_40":100},{"_83":6028,"_175":6029,"_177":86,"_178":6033,"_182":183,"_168":184},"ac6c49fc-b728-4a55-9fa4-f91376d88d81",{"_15":6030,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":6031,"_260":86,"_261":262,"_263":6032,"_265":195},61705705745529,"https://a.storyblok.com/f/329985/1350x901/b8500118a3/_mgl0617.jpg",{},{"_40":97,"_81":6034},[6035],{"_40":100},{"_83":6037,"_171":6038,"_191":192,"_168":193,"_194":5977},"0942c5b9-5529-464b-9faa-453c866ad380",[6039,6048],{"_83":6040,"_175":6041,"_177":86,"_178":6045,"_182":183,"_168":184},"43dff619-5e95-40c3-8b65-ab3ba4dea20e",{"_15":6042,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":6043,"_260":86,"_261":262,"_263":6044,"_265":195},61705705925758,"https://a.storyblok.com/f/329985/1350x901/b1cced8fb6/_mgl0612-copy.jpg",{},{"_40":97,"_81":6046},[6047],{"_40":100},{"_83":6049,"_175":6050,"_177":86,"_178":6054,"_182":183,"_168":184},"ab094eec-619b-4fdf-886e-727fdd8dbe55",{"_15":6051,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":6052,"_260":86,"_261":262,"_263":6053,"_265":195},61705705770107,"https://a.storyblok.com/f/329985/1350x900/5c28701dea/_mgl0625.jpg",{},{"_40":97,"_81":6055},[6056],{"_40":100},"01","details",{"_40":97,"_81":6060},[6061],{"_40":100,"_81":6062},[6063,6068,6069,6070,6075,6076,6077],{"_95":6064,"_40":95,"_652":6065},"In March 1927, a 35 year old Babasaheb Ambedkar marched with over 10,000 people down the steps of Chavdar (‘tasty’ in Marathi) tank in the town of Mahad, Maharashtra, bent down, dipped his hands into the water, and took a drink. Many public spaces such as water bodies like the Chavdar tank and roads were out of bounds for Dalit people for generations – our touch, even our shadow, considered impure. This act, then, of quenching one’s thirst from the water of Chavdar, was not only a fight for the basic human right to drink water, but more importantly, it laid the foundations for a casteless society.",[6066],{"_40":1320,"_101":6067},{"_1322":5258},{"_40":108},{"_40":108},{"_95":6071,"_40":95,"_652":6072},"The Mahad Satyagraha is perhaps the most significant event in Dalit history. At the time, it was never photographed by regional or national media, but ripples were felt across the country. Almost a century later, this site, embedded in social and political struggle, is an important place of pilgrimage, and with growing access to phones and cameras, we now choose how we wish to celebrate and memorialise the Satyagraha with our own images.",[6073],{"_40":1320,"_101":6074},{"_1322":5258},{"_40":108},{"_40":108},{"_95":6078,"_40":95,"_652":6079},"‘Is the water chavdar?’ is a personal homage to the undocumented 10,000 who journeyed for days through hostile towns and villages to reach Chavdar, and the visitors who make records of the site today. This body of work brings together ceramics, printmaking, paper pulp, and adapted recipes developed over the last three years as evidence of this powerful moment of transformation – for those who joined Babahaheb in the march, and for the millions of us who have come after.",[6080],{"_40":1320,"_101":6081},{"_1322":5258},"Summer Show 2025 inaugurated the new space of GALLERYSKE and PHOTOINK in Defence Colony, New Delhi. Featuring three artists from each gallery’s program, the exhibition extended the unique collaborative model the two had developed since 2016 — one that emphasises collaboration while preserving distinct identities.\n\nThis group show brought together works by Sudarshan Shetty, Rajyashri Goody, and Dia Mehhta Bhupal from GALLERYSKE, alongside Madan Mahatta, Madhuban and Manas, and IOIOI from PHOTOINK.","2025-06-06 00:00","2025-08-12 00:00",[],{"_15":6087,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":6088,"_260":86,"_261":262,"_263":6089,"_265":195},84682584018191,"https://a.storyblok.com/f/329985/5959x1624/f5063bb168/_dsc1476-edita-1-pichi.jpg",{},[6091,6110,6127,6149,6168,6185,6214,6240,6263,6280,6299,6312,6326,6346,6363,6378,6399,6414],{"_83":6092,"_85":6093,"_184":6106,"_38":3366,"_168":287,"_3677":3678},"52d05de8-3526-430b-a199-3b9b7368a791",{"_40":97,"_81":6094},[6095],{"_40":100,"_81":6096},[6097,6101,6102,6104,6105],{"_95":6098,"_40":95,"_652":6099},"(Installation 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By kindling a sensorium of flea-markets in the gallery context, Padwal blurs the lines between ",[10838],{"_40":1320,"_101":10839},{"_1322":5258},{"_95":10841,"_40":95,"_652":10842},"what is actual, what is made and what is found.",[10843,10845],{"_40":1320,"_101":10844},{"_1322":5258},{"_40":655},{"_40":100,"_101":10847,"_81":10848},{"_103":-5},[10849,10851,10852,10853],{"_95":10850,"_40":95},"Sunil Padwal’s recent exhibitions include Dtale Archist, Bangalore (2024); Bihar Museum Biennale (2023); A point & line to plane, Reachout Gallery, Mumbai (2023); Come Away, GALLERYSKE, Delhi (2021); The Black Flamingo and other stories, Art Intouch, Online Exhibition (2021); Every Soiled Page, Ishara Art Foundation, Dubai (2020); He presented “Lining an archive” at GALLERYSKE, New Delhi, 2019; “Confluxes” at The Arts House, The Old Parliament in Singapore, 2014; “Soliloquies, notes from the drawing book” at Space 1857, Chicago 2012; Soliloquies, notes from the drawing book Gallery BMB, Mumbai ; Numb, at Vadehra Art Gallery, New Delhi 2007; “Untitled” at the Hong Kong Visual Arts Centre, 2006.",{"_40":108},{"_40":108},{"_95":10854,"_40":95},"Notable group exhibitions include the Kochi-Muziris Biennale 2016-17; \"As Far As The Forest Is,\" Three Artists Show - Kewenig, Palma, Spain, 2019; “Fifty Years of Freedom of Expression” by the National Gallery of Modern Art in Mumbai, Public Enemy Number 1 at Exhibit 320, curated by Shaheen Merali, New Delhi 2010 \"Every Soiled Page,\" Ishara Art Foundation, UAE, 2020, Bihar Museum Biennale 2023; to name a few.",{"_40":100,"_101":10856,"_81":10857},{"_103":-5},[10858,10863,10869],{"_95":10859,"_40":95,"_652":10860},"His work featured in ",[10861],{"_40":1320,"_101":10862},{"_1322":5258},{"_95":10864,"_40":95,"_652":10865},"\"In the pupil of an eye",[10866,10868],{"_40":1320,"_101":10867},{"_1322":5258},{"_40":655},{"_95":10870,"_40":95,"_652":10871},", Kochi Muziris Biennale, curated by Sudarshan Shetty (2016-17). ",[10872],{"_40":1320,"_101":10873},{"_1322":5258},{"_40":100,"_101":10875,"_81":10876},{"_103":-5},[10877],{"_95":10878,"_40":95,"_652":10879},"Padwal received his BFA from the J.J. Institute of Applied Art, Mumbai.",[10880],{"_40":1320,"_101":10881},{"_1322":5258},{"_40":100,"_101":10883,"_81":10884},{"_103":-5},[10885],{"_95":10886,"_40":95,"_652":10887},"The artist lives and works in Mumbai.",[10888],{"_40":1320,"_101":10889},{"_1322":5258},[10891,10910,10925,10940,10955,10970,10985,11022,11042,11057,11077],{"_83":10892,"_175":10893,"_178":10897,"_182":86,"_168":184},"7d3fac07-d615-47dc-b508-eb907bb129ed",{"_15":10894,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":10895,"_260":86,"_261":262,"_263":10896,"_265":195},79164579193239,"https://a.storyblok.com/f/329985/1500x938/0f5c45a73e/sunilp-01-pichi.jpg",{},{"_40":97,"_81":10898},[10899],{"_40":100,"_81":10900},[10901,10905,10906,10908,10909],{"_95":10902,"_40":95,"_652":10903},"Room for lies",[10904],{"_40":655},{"_40":108},{"_95":10907,"_40":95},"Mixed media: collage, isograph pen, ink on paper in recycled frame, lamp, found 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pages of eloquent silence",[10999,11001],{"_40":1320,"_101":11000},{"_1322":5258},{"_40":655},{"_40":100,"_101":11003,"_81":11004},{"_103":-5},[11005],{"_95":11006,"_40":95,"_652":11007},"Micron pen, isograph pen and collage on paper",[11008],{"_40":1320,"_101":11009},{"_1322":5258},{"_40":100,"_101":11011,"_81":11012},{"_103":-5},[11013],{"_95":11014,"_40":95,"_652":11015},"61.5 x 79.5 inches",[11016],{"_40":1320,"_101":11017},{"_1322":5258},{"_40":100,"_101":11019,"_81":11020},{"_103":-5},[11021],{"_40":108},{"_83":11023,"_175":11024,"_178":11028,"_182":86,"_168":184},"c2da3c84-55b4-43a1-b7d3-7c48ad25e23b",{"_15":11025,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":11026,"_260":86,"_261":262,"_263":11027,"_265":195},79164579193240,"https://a.storyblok.com/f/329985/1500x949/d39f5d9c45/sunilp-11-pichi.jpg",{},{"_40":97,"_81":11029},[11030],{"_40":100,"_81":11031},[11032,11036,11037,11039,11040],{"_95":11033,"_40":95,"_652":11034},"The Indian Ambassador",[11035],{"_40":655},{"_40":108},{"_95":11038,"_40":95},"Drawings on photograph on archival paper found frames and found object",{"_40":108},{"_95":11041,"_40":95},"90 x 38 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on archival paper, found frames, metal shelf, found objects",{"_40":108},{"_95":11076,"_40":95},"70 x 40 inches",{"_83":11078,"_175":11079,"_178":11083,"_182":86,"_168":184},"400b9d42-ebb3-4953-b776-c58d2ba8b8c8",{"_15":11080,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":11081,"_260":86,"_261":262,"_263":11082,"_265":195},79164579242400,"https://a.storyblok.com/f/329985/1500x1099/c945d9819d/sunilp-14-pichi.jpg",{},{"_40":97,"_81":11084},[11085],{"_40":100,"_81":11086},[11087,11091,11092,11094,11095],{"_95":11088,"_40":95,"_652":11089},"80 pages of eloquent silence (Pre-independence found accounts book and found postcards, Royals- birds and animals on wheels, flora, concrete and present-day quotidian stories)",[11090],{"_40":655},{"_40":108},{"_95":11093,"_40":95},"Isograph pen, pencil, charcoal, water colour on found note book, found objects",{"_40":108},{"_95":11096,"_40":95},"125.5 x 58 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Suhail’s work stems from the incidental, undocumented minutiae of conversations, media, culture, and the everyday. She employs language from these sources to dissect and re-present what may exist in the spaces between exchanges, ideas, historical events, and daily occurrences, resulting in works in sculpture, video, digital images, text, drawing, and books.",[11123],{"_40":1320,"_101":11124},{"_1322":5258},{"_40":100,"_81":11126},[11127],{"_95":11128,"_40":95},"Suhail’s recent exhibitions include Larger than Life-size Raven on a Roof, GALLERYSKE, New Delhi (2024); Inhabitate at Grey Noise, Dubai (2020); Sweet Subjunctive at GALLERYSKE, Delhi (2015); Accidental Excavations at Grey Noise, Dubai (2014); Breakdown of Shorter Concerns (2011); and fig.1. (2009) at GALLERYSKE, Bengaluru; apart from which her work was part of Three Tired Tigers, Jameel Arts Centre, Dubai (2025); Sheher, Prakriti, Devi, Ishara Art Foundation, Dubai (2024); Parallel Cities, Istituto Italiano di Cultura, New Delhi (2024); and How To Reappear: Through the quivering leaves of Independent publishing, Invitations programme, Kochi-Muziris Biennale (2022-23); The Missing One at Dhaka Art Summit (2016) & Office of Contemporary Art, Oslo (2016/17); All the World’s Futures, Venice Biennale (2015); and Berlin Biennale-8 (2014).",{"_40":100,"_81":11130},[11131,11136,11142,11147,11153,11158,11164,11169,11175],{"_95":11132,"_40":95,"_652":11133},"Mariam has also contributed to publications like ",[11134],{"_40":1320,"_101":11135},{"_1322":5258},{"_95":11137,"_40":95,"_652":11138},"Paessagio (Coral Issue)",[11139,11140],{"_40":655},{"_40":1320,"_101":11141},{"_1322":5258},{"_95":11143,"_40":95,"_652":11144}," by Blauer Hase (2016); ",[11145],{"_40":1320,"_101":11146},{"_1322":5258},{"_95":11148,"_40":95,"_652":11149},"Shifter21 - Other Spaces",[11150,11151],{"_40":655},{"_40":1320,"_101":11152},{"_1322":5258},{"_95":11154,"_40":95,"_652":11155}," (2013); ",[11156],{"_40":1320,"_101":11157},{"_1322":5258},{"_95":11159,"_40":95,"_652":11160},"Protocollum - Global Perspectives on Visual Vocabulary",[11161,11162],{"_40":655},{"_40":1320,"_101":11163},{"_1322":5258},{"_95":11165,"_40":95,"_652":11166}," (2016/17); and ",[11167],{"_40":1320,"_101":11168},{"_1322":5258},{"_95":11170,"_40":95,"_652":11171},"Silicon Plateau - Volume 2",[11172,11173],{"_40":655},{"_40":1320,"_101":11174},{"_1322":5258},{"_95":11176,"_40":95,"_652":11177}," (2019).",[11178],{"_40":1320,"_101":11179},{"_1322":5258},{"_40":100,"_81":11181},[11182],{"_95":11183,"_40":95,"_652":11184},"Suhail completed her BFA from the Indus Valley School of Art and Architecture, Karachi (2001).",[11185],{"_40":1320,"_101":11186},{"_1322":5258},{"_40":100,"_81":11188},[11189],{"_95":11190,"_40":95,"_652":11191},"The artist lives and works in Berlin.",[11192],{"_40":1320,"_101":11193},{"_1322":5258},[11195,11215,11234,11256,11276,11296,11316,11333,11349],{"_83":11196,"_175":11197,"_178":11201,"_182":86,"_168":184},"e0e0b93e-abef-4197-ab77-7780b115e209",{"_15":11198,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":11199,"_260":86,"_261":262,"_263":11200,"_265":195},79165256028602,"https://a.storyblok.com/f/329985/1800x1033/8f1d0808a9/mariamsuhail-1-pichi.jpg",{},{"_40":97,"_81":11202},[11203],{"_40":100,"_81":11204},[11205,11209,11211,11212,11213,11214],{"_95":11206,"_40":95,"_652":11207},"fig.1",[11208],{"_40":655},{"_95":11210,"_40":95}," (text in the image reads: fig.1. Young girl not liking whats on her plate)",{"_40":108},{"_95":3489,"_40":95},{"_40":108},{"_95":3493,"_40":95},{"_83":11216,"_175":11217,"_178":11221,"_182":86,"_168":184},"c6a5e6fe-b424-483a-800a-4cfd25bc0f45",{"_15":11218,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":11219,"_260":86,"_261":262,"_263":11220,"_265":195},79165255999926,"https://a.storyblok.com/f/329985/1800x1033/f7482cc546/mariamsuhail-3-pichi.jpg",{},{"_40":97,"_81":11222},[11223],{"_40":100,"_81":11224},[11225,11228,11230,11231,11232,11233],{"_95":11206,"_40":95,"_652":11226},[11227],{"_40":655},{"_95":11229,"_40":95}," (text in the image reads: fig.1. 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Group exhibitions include ",[11722],{"_40":1320,"_101":11723},{"_1322":5258},{"_95":3235,"_40":95,"_652":11725},[11726,11728],{"_40":1320,"_101":11727},{"_1322":5258},{"_40":655},{"_95":11730,"_40":95,"_652":11731},", GALLERYSKE, New Delhi (2025); Artists’ Cinema / Artist’s Cinema, Jaipur Centre for Art, Jaipur, Curated by Shwetal Patel (2025); Dtale Archist IV, Dtale Archist, Bangalore, Curated by Bose Krishnamachari (2025); ",[11732],{"_40":1320,"_101":11733},{"_1322":5258},{"_95":11735,"_40":95,"_652":11736},"Prague Biennale",[11737,11739],{"_40":1320,"_101":11738},{"_1322":5258},{"_40":655},{"_95":11741,"_40":95,"_652":11742}," (2011); ",[11743],{"_40":1320,"_101":11744},{"_1322":5258},{"_95":11746,"_40":95,"_652":11747},"Urban Manners 1 and 2",[11748,11750],{"_40":1320,"_101":11749},{"_1322":5258},{"_40":655},{"_95":11752,"_40":95,"_652":11753},", curated by Adelina von Fürstenberg, SESC Pompeia, São Paulo (2010); and ",[11754],{"_40":1320,"_101":11755},{"_1322":5258},{"_95":11757,"_40":95,"_652":11758},"Still Moving Image",[11759,11761],{"_40":1320,"_101":11760},{"_1322":5258},{"_40":655},{"_95":11763,"_40":95,"_652":11764},", curated by Deeksha Nath, Devi Art Foundation, New Delhi (2008).",[11765],{"_40":1320,"_101":11766},{"_1322":5258},{"_40":100,"_101":11768,"_81":11769},{"_103":-5},[11770],{"_95":11771,"_40":95,"_652":11772},"In 2009, Veeraraghavan was awarded the Illy Sustain Art Prize in Madrid. 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Since its formation, it has engaged numerous artists in workshops and exhibitions across Maharashtra, on themes of ‘restlessness in contemporary India, ‘revolution and counter-revolution’, and more recently, conceptualising an Ambedkarite discourse of visual art.",[12086],{"_40":1320,"_101":12087},{"_1322":5258},{"_40":108},{"_40":108},{"_95":12091,"_40":95,"_652":12092},"I first participated in Secular Art Movement’s activities in 2019 for their workshop by the Ajanta Caves, a monumental 2nd century BC site that remains at the heart of discourse on Buddhist art and aesthetics. I formed some very special friendships, and had the opportunity to see the caves themselves in a new ‘revolutionary’ light. This time round, we hosted the workshop at the Middle Way Retreat Centre, a space primarily used for Ambedkarite Buddhist activities, under the historic Sinhagad fort. The group was full of new faces and old, and unlike the last time where many artists produced new works during the course of the workshop, this time the focus was on learning about one another’s practices. In the retreat’s stupa-shaped meditation hall, 35 artists and academics presented their work to one another. These extended into questions discussed at meal times, on walks, and while lying down in the afternoons – What is an Ambedkarite discourse on arts and aesthetics? Is there a particular kind of symbolism present in all our practices? Is there a need for it? How are our practices affected in the face of atrocities towards members of our communities? How should we protest and mobilise ourselves in these times? Is there space in our art for doubt, hesitation, anxiety, and expressions of joy and happiness too? Do we create, learn and unlearn for ourselves, for our communities, for those on the outside? ",[12093],{"_40":1320,"_101":12094},{"_1322":5258},{"_83":12096,"_171":12097,"_191":192,"_168":193},"7432ecd5-b73c-4ae8-9fb0-c72ce9d5482b",[12098,12110,12122,12134],{"_83":12099,"_175":12100,"_178":12104,"_182":86,"_168":184},"e1c12171-929a-4557-a3c5-1008edc213dc",{"_15":12101,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12102,"_260":86,"_261":262,"_263":12103,"_265":195},79782884369981,"https://a.storyblok.com/f/329985/1201x901/8e3ecf4a19/from-left-to-right_-prajakta-kedare-reema-k-rujuta-sonawane-rajyashri-goody-priyadarshini-ohol-mayuri-chari.webp",{},{"_40":97,"_81":12105},[12106],{"_40":100,"_81":12107},[12108],{"_95":12109,"_40":95},"From left to right: Prajakta Kedare, Reema K, Rujuta Sonawane, Rajyashri Goody, Priyadarshini Ohol, Mayuri Chari",{"_83":12111,"_175":12112,"_178":12116,"_182":86,"_168":184},"a7bb19c0-8578-4e6b-9590-a4b7826af8c1",{"_15":12113,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12114,"_260":86,"_261":262,"_263":12115,"_265":195},79783038531140,"https://a.storyblok.com/f/329985/1201x901/2f8dfef236/gautamiputra-kamble-president-of-secular-movement-giving-a-talk-to-workshop-participants.webp",{},{"_40":97,"_81":12117},[12118],{"_40":100,"_81":12119},[12120],{"_95":12121,"_40":95},"Gautamiputra Kamble, President of Secular Movement, giving a talk to workshop participants",{"_83":12123,"_175":12124,"_178":12128,"_182":86,"_168":184},"bbf61bf9-5ec4-441a-a217-32feab728891",{"_15":12125,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12126,"_260":86,"_261":262,"_263":12127,"_265":195},79783203108433,"https://a.storyblok.com/f/329985/675x901/caf9bb13c5/reema-k-researcher-and-artist-and-prabhakar-kamble-artist-and-curator-paying-their-respects-to-the-buddha-and-dr-ambedkar.webp",{},{"_40":97,"_81":12129},[12130],{"_40":100,"_81":12131},[12132],{"_95":12133,"_40":95},"Reema K, researcher and artist, and Prabhakar Kamble, artist and curator, paying their respects to the Buddha and Dr. Ambedkar",{"_83":12135,"_175":12136,"_178":12140,"_182":183,"_168":184},"3114a56c-c51b-4c38-9dda-cd294aa7d384",{"_15":12137,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12138,"_260":86,"_261":262,"_263":12139,"_265":195},79783361066589,"https://a.storyblok.com/f/329985/1201x901/244482f360/sunset-on-the-hill-facing-the-retreat-centre.webp",{},{"_40":97,"_81":12141},[12142],{"_40":100,"_81":12143},[12144],{"_95":12145,"_40":95},"Sunset on the hill facing the retreat centre",[12147],"Notes from a Workshop",[],"Conceptualising Ambedkarite Discourse of Visual Art ","2025-06-10 00:00",{"_15":12152,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12153,"_260":86,"_261":262,"_263":12154,"_265":195},76948057739022,"https://a.storyblok.com/f/329985/1441x2161/bd2d31ebc5/secular-cover.webp",{},{"_15":12156,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12157,"_260":86,"_261":262,"_263":12158,"_265":195},23236161,"https://a.storyblok.com/f/329985/4000x3008/c09b3aad47/sunrise-on-the-way-to-sinhagad-fort.jpg",{},{"_40":97,"_81":12160},[12161],{"_40":100,"_81":12162},[12163],{"_95":12164,"_40":95},"Sunrise on the way to Sinhagad Fort","secular-art-movement","footnotes/secular-art-movement",[],"45c750cb-dabf-45cf-b945-135a4976b7f7","2025-03-28T05:49:20.202Z",[],{"_17":12172,"_72":12173,"_74":12174,"_76":12175,"_15":12176,"_79":1711,"_81":12177,"_499":12357,"_501":12358,"_503":-5,"_504":12359,"_506":12360,"_508":195,"_509":5984,"_263":-5,"_511":12361,"_513":12362,"_515":-5,"_516":517,"_518":-5,"_519":12363,"_521":-5,"_522":-5},"Somnath Bhatt","2025-03-28T06:13:38.158Z","2026-02-12T11:13:57.565Z","2026-02-12T11:13:57.577Z",646784984,{"_83":9602,"_17":12172,"_235":9603,"_7808":12178,"_168":88,"_252":12179,"_19":12183,"_5974":12196,"_5976":195,"_5978":12355},[],{"_15":12180,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12181,"_260":86,"_261":262,"_263":12182,"_265":195},22755795,"https://a.storyblok.com/f/329985/1080x1080/8f98157042/somnath-portraitbw.jpg",{},{"_40":97,"_81":12184},[12185],{"_40":100,"_101":12186,"_81":12187},{"_103":-5},[12188,12189,12190,12191,12193,12194,12195],{"_95":5930,"_40":95},{"_40":108},{"_40":108},{"_95":12192,"_40":95},"Bhatt’s recent solo exhibition includes Republic of Shadows, GALLERYSKE, New Delhi, his work has been shown at India Art Fair (New Delhi); Art Week Dubai; the ICA (London); Mécènes du Sud Montpellier-Sète; Acud Macht Neu (Berlin); Picture Room (New York City); ISA Gallery (Shanghai), Abrons art center (New York City) the New York Art Book Fair; and the Brooklyn Art Book Fair. His first solo exhibition was held in 2020 at ISA Gallery in Shanghai. Somnath has collaborated across disciplines spanning arts, culture, fashion, music, and editorial design, including Mitski, Nicolás Jaar, Troye Sivan, Pakistani pop-star Ali Sethi, HYEIN SEO, SSENSE, The New York Times, The New Yorker, and The Atlantic. Recently, Somnath finished an 80-foot mural at Wonder Cabinet, an interdisciplinary studio and cultural hub in Bethlehem, Palestine.",{"_40":108},{"_40":108},{"_95":5938,"_40":95},[12197,12217,12232,12247,12258,12281,12300,12320,12335],{"_83":12198,"_175":12199,"_178":12203,"_182":86,"_168":184},"3a757ad7-6c8a-4532-a826-5f5df21888ce",{"_15":12200,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12201,"_260":86,"_261":262,"_263":12202,"_265":195},79167130063346,"https://a.storyblok.com/f/329985/5488x3658/8a530c3d5a/somnathbhatt-1-pichi.jpg",{},{"_40":97,"_81":12204},[12205],{"_40":100,"_81":12206},[12207,12211,12212,12214,12215],{"_95":12208,"_40":95,"_652":12209},"HARUSPEX SERIES",[12210],{"_40":655},{"_40":108},{"_95":12213,"_40":95},"Screen print on integrated circuit GPU wafer",{"_40":108},{"_95":12216,"_40":95},"12 x 12 inches each",{"_83":12218,"_175":12219,"_178":12223,"_182":86,"_168":184},"8b1ff932-6342-4089-bdbf-441767d46c10",{"_15":12220,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12221,"_260":86,"_261":262,"_263":12222,"_265":195},79167130083829,"https://a.storyblok.com/f/329985/886x886/98ab4e12e9/somnathbhatt-2-pichi.jpg",{},{"_40":97,"_81":12224},[12225],{"_40":100,"_81":12226},[12227,12230,12231],{"_95":12208,"_40":95,"_652":12228},[12229],{"_40":655},{"_40":108},{"_95":382,"_40":95},{"_83":12233,"_175":12234,"_178":12238,"_182":86,"_168":184},"bd0e56ea-00c6-4801-b454-c74be497aed3",{"_15":12235,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12236,"_260":86,"_261":262,"_263":12237,"_265":195},79167130124795,"https://a.storyblok.com/f/329985/2110x2037/1ecd3aecc4/somnathbhatt-3-pichi-pichi.jpg",{},{"_40":97,"_81":12239},[12240],{"_40":100,"_81":12241},[12242,12245,12246],{"_95":12208,"_40":95,"_652":12243},[12244],{"_40":655},{"_40":108},{"_95":382,"_40":95},{"_83":12248,"_175":12249,"_178":12253,"_182":86,"_168":184},"dbe2792b-8e0b-4c24-8a19-dcdf15c94ac7",{"_15":12250,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12251,"_260":86,"_261":262,"_263":12252,"_265":195},79167130112506,"https://a.storyblok.com/f/329985/1000x1000/a15f9437aa/somnathbhatt-pichi.jpg",{},{"_40":97,"_81":12254},[12255],{"_40":100,"_81":12256},[12257],{"_95":3361,"_40":95},{"_83":12259,"_175":12260,"_178":12264,"_182":86,"_168":184},"8f667a8d-a0cb-4666-a7c8-5fc3b8366bc3",{"_15":12261,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12262,"_260":86,"_261":262,"_263":12263,"_265":195},79167130083827,"https://a.storyblok.com/f/329985/1476x1758/1a57900c41/somnathbhatt-2-pichi-pichi.jpg",{},{"_40":97,"_81":12265},[12266],{"_40":100,"_81":12267},[12268,12272,12278,12279],{"_95":12269,"_40":95,"_652":12270},"the plural, ",[12271],{"_40":655},{"_95":12273,"_40":95,"_652":12274},"બહુવચન",[12275,12276],{"_40":655},{"_40":1320,"_101":12277},{"_1322":86},{"_40":108},{"_95":12280,"_40":95},"Gouache, pigment ink, ink transfer on handmade japanese kozo paper made by the artist",{"_83":12282,"_175":12283,"_178":12287,"_182":86,"_168":184},"e06fb3bc-9d06-4bf4-8ebb-91d3cb28e213",{"_15":12284,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12285,"_260":86,"_261":262,"_263":12286,"_265":195},79167130087926,"https://a.storyblok.com/f/329985/1530x1788/4bbacbe6e7/somnathbhatt-1-pichi-pichi.jpg",{},{"_40":97,"_81":12288},[12289],{"_40":100,"_81":12290},[12291,12295,12297,12298,12299],{"_95":12292,"_40":95,"_652":12293},"the verb",[12294],{"_40":655},{"_95":12296,"_40":95},", ક્રિયાપદ",{"_40":108},{"_95":12280,"_40":95},{"_40":108},{"_83":12301,"_175":12302,"_178":12306,"_182":86,"_168":184},"6a67a326-eb43-4100-9233-49a833bf8b58",{"_15":12303,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12304,"_260":86,"_261":262,"_263":12305,"_265":195},79167130087927,"https://a.storyblok.com/f/329985/1080x1080/193ff73fb2/somnathbhatt-3-pichi.jpg",{},{"_40":97,"_81":12307},[12308],{"_40":100,"_81":12309},[12310,12314,12315,12317,12318],{"_95":12311,"_40":95,"_652":12312},"A Skin Where Many Worlds Fit",[12313],{"_40":655},{"_40":108},{"_95":12316,"_40":95},"Ser etching on goatskin vellum, japanese beads, metallic brass beads, thread",{"_40":108},{"_95":12319,"_40":95},"36 x 48 inches approx",{"_83":12321,"_175":12322,"_178":12326,"_182":86,"_168":184},"bd445839-beff-4a54-9ded-5b6fd4be799b",{"_15":12323,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12324,"_260":86,"_261":262,"_263":12325,"_265":195},79167130083828,"https://a.storyblok.com/f/329985/1080x1080/61111b112b/somnathbhatt-5-pichi.jpg",{},{"_40":97,"_81":12327},[12328],{"_40":100,"_81":12329},[12330,12333,12334],{"_95":12311,"_40":95,"_652":12331},[12332],{"_40":655},{"_40":108},{"_95":382,"_40":95},{"_83":12336,"_175":12337,"_178":12341,"_182":86,"_168":184},"0b987982-7f55-432e-8a0c-817205020427",{"_15":12338,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12339,"_260":86,"_261":262,"_263":12340,"_265":195},22962618,"https://a.storyblok.com/f/329985/1500x1068/a3fc3c5756/somnath-10.jpg",{},{"_40":97,"_81":12342},[12343],{"_40":100,"_81":12344},[12345,12349,12350,12352,12353],{"_95":12346,"_40":95,"_652":12347},"The Enchanted Ones / દાુંતરડ ું II (Dantardu Biju), The Protectors / દાુંતરડ ું III (Dantardu Triju), The Shattered ones / દાુંતરડ ું I (Dantardu Pahelu)",[12348],{"_40":655},{"_40":108},{"_95":12351,"_40":95},"Laser etching on acrylic, glass japanese beads and metal brass beads, thread, clay, neon pigment, steel chain",{"_40":108},{"_95":12354,"_40":95},"15.25 x 8.5 inches each approx",{"_15":12180,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12181,"_260":86,"_261":262,"_263":12356,"_265":195},{},"somnath-bhatt","artists/somnath-bhatt",30,[],"f4230a6d-e1e4-4c13-8e45-2a144fc994f0","2025-03-28T06:13:44.243Z",[],{"_17":3510,"_72":12365,"_74":12366,"_76":12367,"_15":12368,"_79":3246,"_81":12369,"_499":7701,"_501":12648,"_503":-5,"_504":12649,"_506":12650,"_508":195,"_509":5984,"_263":-5,"_511":12651,"_513":12652,"_515":-5,"_516":517,"_518":-5,"_519":12653,"_521":-5,"_522":-5},"2025-03-28T06:14:21.205Z","2025-08-18T08:17:19.657Z","2025-08-18T08:17:19.671Z",646785047,{"_83":9602,"_17":3510,"_235":9603,"_7808":12370,"_168":88,"_252":12371,"_19":12375,"_5974":12409,"_5976":195,"_5978":12646},[],{"_15":12372,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12373,"_260":86,"_261":262,"_263":12374,"_265":195},22755800,"https://a.storyblok.com/f/329985/1080x1080/c28424e433/maya-portraitbw.jpg",{},{"_40":97,"_81":12376},[12377,12384,12391,12398],{"_40":100,"_81":12378},[12379],{"_95":12380,"_40":95,"_652":12381},"Maya Mima works with textiles to explore ideas of belonging, memory, and cultural inheritance. Raised in Pondicherry, India, and currently based in Kyoto, their practice reflects the nuances of a mixed Japanese and Indian heritage. Drawing on local craft traditions and personal history, Mima works with natural dyes, foraged plant material, old fabrics, and hand embroidery to create layered, tactile installations.",[12382],{"_40":1320,"_101":12383},{"_1322":5258},{"_40":100,"_81":12385},[12386],{"_95":12387,"_40":95,"_652":12388},"Their work brings together research, oral histories, and community engagement, using the material language of textile to create spaces of gathering and dialogue. With a particular interest in how objects carry and transmit meaning across generations, Mima constructs environments where inherited practices intersect with contemporary questions of identity and place. They also facilitate workshops as part of a community-based approach to art-making.",[12389],{"_40":1320,"_101":12390},{"_1322":5258},{"_40":100,"_81":12392},[12393],{"_95":12394,"_40":95,"_652":12395},"Mima’s work has been shown in the Kochi Students’ Biennale (2022–23); the Inter-University Dyeing and Weaving Exchange Exhibition (2023); and the Kyoto Prefecture Emerging Artists Selection Exhibition (2024), among others.",[12396],{"_40":1320,"_101":12397},{"_1322":5258},{"_40":100,"_81":12399},[12400,12405,12406,12407],{"_95":12401,"_40":95,"_652":12402},"They completed a BA in History of Art at Kala Bhavana, Visva-Bharati University, Santiniketan (2022) and an MFA in Textile Arts from Kyoto City University of Arts (2025).",[12403],{"_40":1320,"_101":12404},{"_1322":5258},{"_40":108},{"_40":108},{"_95":12408,"_40":95},"The artist lives and works in Kyoto.",[12410,12430,12448,12466,12484,12495,12515,12534,12553,12571,12589,12609,12627],{"_83":12411,"_175":12412,"_178":12416,"_182":86,"_168":184},"0177e7d3-2542-4a43-b3f5-30762a59ebb9",{"_15":12413,"_255":86,"_17":86,"_256":86,"_38":86,"_257":86,"_258":12414,"_260":86,"_261":262,"_263":12415,"_265":195},79167720382996,"https://a.storyblok.com/f/329985/1500x1182/bb8e9fe047/mayamima-13-pichi.jpg",{},{"_40":97,"_81":12417},[12418],{"_40":100,"_81":12419},[12420,12424,12425,12427,12428],{"_95":12421,"_40":95,"_652":12422},"Flowing and Growing",[12423],{"_40":655},{"_40":108},{"_95":12426,"_40":95},"Batik with Natural Dye and Embroidery on Silk",{"_40":108},{"_95":12429,"_40":95},"18 x 14 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Constructing life-size sets of transitional public spaces — cinemas, waiting rooms, supermarkets, bathrooms — she uses hand-rolled magazine paper to build each setting, often taking months to complete a single work. She is interested in presenting to us what we already know to be real, albeit with a particular tension: spaces that we know to be brimming with bodies, here, are left entirely empty.",[13440],{"_40":1320,"_101":13441},{"_1322":5258},{"_40":100,"_81":13443},[13444],{"_95":13445,"_40":95,"_652":13446},"What does it mean, thus, to be presented with a topography of absence? Mehhta Bhupal extends the narrative further with the delivery of hyper-real images as large, and almost iridescent, diasec prints. It is a layering up of personal experiences into a single frame, she says, but it also the layering up of several different creative mechanisms that dialogue and converse throughout the stages of the practice. 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",[13515],{"_40":1320,"_101":13516},{"_1322":5258},{"_95":13518,"_40":95,"_652":13519},"The Inaugural Show",[13520,13521],{"_40":655},{"_40":1320,"_101":13522},{"_1322":5258},{"_95":13524,"_40":95,"_652":13525},", Gallery DTALE ARCHIST, Bangalore (2024); ",[13526],{"_40":1320,"_101":13527},{"_1322":5258},{"_95":13529,"_40":95,"_652":13530},"Imagined Documents",[13531,13532],{"_40":655},{"_40":1320,"_101":13533},{"_1322":5258},{"_95":13535,"_40":95,"_652":13536},", curated by Ravi Agarwal, Serendipity Arts Festival, Goa (2019); ",[13537],{"_40":1320,"_101":13538},{"_1322":5258},{"_95":13540,"_40":95,"_652":13541},"Reclaiming the House",[13542,13543],{"_40":655},{"_40":1320,"_101":13544},{"_1322":5258},{"_95":13546,"_40":95,"_652":13547},", GALLERYSKE, Bangalore (2019); ",[13548],{"_40":1320,"_101":13549},{"_1322":5258},{"_95":13551,"_40":95,"_652":13552},"The World is One Family",[13553,13554],{"_40":655},{"_40":1320,"_101":13555},{"_1322":5258},{"_95":13557,"_40":95,"_652":13558},", 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