Rooee a book and exhibition by Guncotton

Rooee a book and exhibition by Guncotton....................................2 Knock Knock curated by Ashima Tshering...................................4 inhibitions.inhabitations curated by Ayushma Regmi......................6 Furnishing Papers curated by Diwas Raja Kc...........................8 Timequake curated by Maryam Bagheri........................................10 Real Time Tactics curated by Mila Samdub.............................12 Pata curated by Poulomi Paul....................................................16 Dis-place curated by Pranamita Borgohain...................................18 1927 - The Mahad Satyagraha: ‘Erasure’ as a form of assertion curated by Rumi Samadhan.......................20 GHAR curated by Sadia Marium...............................................22 Memoryscapes curated by Kirubalini Stephan..................................24 This too shall pass curated by Sarker Protick...............................26 Some-Bodies: Narratives Around the Body curated by Zohreh Deldadeh..................................................28

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

6pm: Saacha: The Loom, a documentary film screening1 7.30pm: Screening of 1978 the 231st day and A composition in blue, red & other colors by artist and filmmaker Sara Rajaei `17 December, 6.30pm, Art Gallery Terrace: Human in Una, a performance by Prabhakar Kamble

1927 - The Mahad Satyagraha

Network Politics / Network Aesthetics, with Amber Sinha, Nayantara Ranganathan and Manuel Beltrán and a short film by Clemens von Wedemeyer

Art Gallery Terrace: SKUM and Reactions to SKUM by Urvi Vora

Real Time Tactics

Knock Knock A single earth and yet in it spin multiple worlds.

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

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

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

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

Rooee addresses the remnants of the “empire of cotton” in two of its most prominent sites: the South Carolina Lowcountry and the textile mills of Bombay. Making images in each of these locales, we speculate that the circumstances of the surviving millworkers are commensurate with the conditions of American descendants of slaves. Tied in through the global history of Bombay’s agricommerce, we look to the fields, factories and abandoned homesteads in which they labored. Our photographs are combined with poetry and text that is designed to contextualize how African American enslavement and Indian indenturetude were bound together by British greed for cotton. Guncotton holistically explores how the industrial revolution and the concurrent reign of capitalism transformed the “demise” of the global cotton trade into a futurity of black and brown ambivalence.

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