this will keep you warm
CONTENTS 1 Late Echo__________________________________Aakriti Chandervanshi 2 Is there a Contemporary in Ladakhi Art? _______________Abeer Gupta 3 Place A Mirror on My Heart _______________________Akramul Momen 4 Resisting, With Power_____________________________Dhrupad Mehta 5 Kitchen to Kacheri____________________________________Ishita Shah 6 Partners in Progress : Ek Kadam Bharat ki Aur________Kanika Makhija 7 An Attempt to Develop the Law of Storms__________Moakshaa Vohra 8 COPY - RIGHT_______________________________________Oorja Garg 9 On a walk ________________________________________Sayali Mundye 10 Disobedient Bodies__________________________________Shirin Fathi 11 Translations of a Hermit__________________________Shivangi Bansal 12 An Ode to the Anonymous___________Tenzing Sedonla Ukyab Lama
this will keep you warm A masala chai, forgotten love poem, pressed flowers in pages. warm bowl of haleem, like sunshine on cold morning, it keeps us going The weather has been getting colder over the last few decades — ecologically, socially and politically. This was the emotion we shared as a collective during our conversations; be it for fellows coming from Ladakh, Delhi, Ahmedabad, Mumbai, Assam and Bangalore in India or from the neighboring countries of Nepal, Bangladesh and Iran. Despite the challenges put forth by the pandemic, we found resonances and built friendships over zoom sessions, chai and banter. On one hand we often raise questions about the role of self/care in curatorial practices, and on the other hand the responsibility of being in a community or a collective space has deepened for us in the articulation of various exercises. We, the CISA 2022 cohort come together with quite diverse positions to extend the experience of Warmth— from what is usually seen as a personal or a domestic emotion, to the idea of warmth being an outcome of public situations or imagined realities. In this pursuit, a range of micro- experiences have been constructed using a sense of discovery, repetition, and embodiment - which aspire to make our landscapes warmer.
this will keep you warm is a culmination of the forth 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 online on Zoom in October 2021, led by mentors Shuddhabrata Sengupta and Latika Gupta.
Late Echo
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curated by Aakriti Chandervanshi “Alone with our madness and favorite flower We see that there really is nothing left to write about. Or rather, it is necessary to write about the same old things In the same way, repeating the same things over and over For love to continue and be gradually different.” [Excerpt from John Ashbery’s poem Late Echo from As We Know. Copyright © 1979 by John Ashbery.]
Late Echo arose from a time, a place, and a shared daily reality of three artists in their surroundings, forced to repeatedly revisit the same space during a disparate time, echoing the transient or temporal changes observed. Reflected as a visceral response to their psychological and emotional wellbeing, the exhibition engages with the documentation of such transitional moments, enquiring how the space provided new perspectives on difficult pasts and how this history can inform the current times. participating artists 01 Anupam Diwan 02 Rohit Saha 03 Vinita Barretto
Aakriti Chandervanshi [b. 1995] is a conservation architect, UI/UX designer, and visual artist from India. Most of her days are spent travelling places and documenting spaces, exploring themes of physical and emotional connect embedded in the landscapes of South Asia. Her work weaves inquiries in the context of her every day, addressing her reservations primarily through the medium of still images and found archives. A fellow of the International Photography Programme at Pathshala South Asian Media Institute, Dhaka, her most recent work explores the relationship of the built juxtaposed with the emotional landscape in socio-cultural spaces of Nepal, for which she was awarded runner-up for the Alpine Fellowship Visual Art Prize 2021. Her dissertation explores relating architecture with psychology (titled ‘Animals in Translation), designing a Centre for Animal Assisted Therapy which she’s currently pursuing to bring to life in the present day. She is devoted to her work and pets, perhaps not as equally as she would like.
Is there a contemporary in Ladakhi art?
Self Portrait, Tundup Churpon, 2022
curated by Abeer Gupta For the current generation of artists in Ladakh, who trained in various institutions across India, the contemporary art movement in Tibet has worked as a primer to discover a secular modernism in their practice. They are exploring local materials and regional forms, within ideas of environment, migration and development, at once re-claiming their cultural identity from primitivism and attempting to articulate their agencies of making. Art from the region has in the past been either co-opted into an assortment of Buddhist Art or presented without suitable context. It has also evolved beyond the illustrative tradition into exploring forms which are far more self-conscious and inter-textual, embracing ideas from the digital and exploring notions more deeply rooted within the region. The proposed curatorial project wishes to explore how a developing contemporary art practice balances the weight of tradition, ekes out a space for critical exchange and a secular art practice. The project will engage with five contemporary artists, from photography, painting, sculpture and mixed media from Leh in order to present a more nuanced and textured representation. This is important first, to give a voice to the various narratives and second, establish a frame of reference to looking at visual and material culture from the region at a time when Ladakh is trying to forge a new identity. participating artists 01 Chemat Dorjey 02 Tashi Namgial 03 Tundup Churpon 04 Tsering Motup 05 Jigmet Angmo
Abeer Gupta is currently the director of the Achi Association India in New Delhi and Leh. He has directed several documentary films and curated art, education and community media projects. His research and practice are based in the western Himalayas, in Ladakh, Jammu and Kashmir around oral histories, material cultures, and visual archives.
Place A Mirror on My Heart
Photograph taken from a zine created and provided by Tanvir
Photograph of a painting created and provided by Liton Sarker
curated by Akramul Momen Hey, look at me! Let’s play a game. Stand in front of this mirror Keep your eye to eye. Say something. Or shout! Are you hearing your voice? Are you sure the voice is yours? Place A Mirror on My Heart is an exhibition celebrating the commonness found everywhere, even in the transformation process. Six Bangladeshi artists, from a dargah to a Hijra Daiyar, are taking part in the exhibition. The narratives of the exhibition question gender norms and values, showcasing both commonness and clashes between the mass and unruly bodies. You all are invited to bring one/more of your personal old/unused belongings for an exchange. participating artists Asha Atanu Roy Chowdhury Abul Hashem Gharami Liton Sarker S Srabonti Tanvir Alim
Akramul Momen (they/them/theirs) is a trans-disciplinary artist, researcher, author and journalist. They graduated in Bangla Literature and have been working on theatre, Indian classical and contemporary dance since 2008. After finishing study, their concentration revolves around literature, film, performance, research, contemporary art, curation and different sections tied to art.Their work focuses primarily on the body and the relationship between identity politics. For the past few years, they are mostly exploring the issue of gender identity and the socio-cultural concerns that relate to the gender practice of identities in a hetero-normative society.
Resisting, With Power participating artists Atish Indrekar Bhrahm Chamar Fuliben Nayak Hetal G Chauhan Inasben Harijan Jayesh Solanki Jinal Varma Kailashben Bariya Ramilaben Rathva Sahil Parmar Umesh Solanki Usha Makwana Vajesinh Parghi Veenaben Bariya participating organisations Budhan Theatre Dalit Shakti Kendra
curated by Dhrupad Mehta “The more you move away from the centre, the more you become irrelevant” In this divided and hierarchical world, there are always conflicts leading to the oppression of the underprivileged. Oppressors have all the resources and privileges by their side but the oppressed have one power with them: their right to protest and resist against the injustice they are subject to. These hierarchies exist everywhere in terms of caste, religion, gender, geographical location, etc. It reflects in how we protest, resist and talk about it. In Indian history, methods like the non-cooperation movement, strikes, dharna, satyagraha, marches, rallies were undertaken. These same methods have been made universal, common to protest. Protest or resistance can happen in a lot of different ways. Do we consider these different ways as acts of resistance or do we focus only on historical and traditional ways of protesting? Do we only consider the resistance of powerful communities as resistance? So, we should ask the question that which movements have a place in history and which doesn’t? We usually talk and study about ‘Dandi March’ but do we know enough about ‘Mahad Satyagrah’? Do we talk about ‘Ulgulan’? Are we only focusing on those protests which happen at the centre or are we also focusing on the protest which happen away from the centre? Are we only looking at those protests which are done by people who were more powerful in terms of hierarchies or are we trying to look beyond them? This exhibition tries to create a dialogue around these questions and tries to deconstruct the traditional idea of resistance. The exhibition focuses on the different ways in which people from different communities are resisting in Gujarat. And they are not merely resisting but resisting with power.
Dhrupad Mehta is an aspiring curator and researcher. He holds a Bachelor of Arts in English Literature from Gujarat University. His areas of interest include art, history, politics, and culture. He believes that art has a powerful ability to foster dialogue about socio-political issues and is enthusiastic about conducting research around them. He enjoys reading poetry in his free time. Growing up in an environment where he witnessed caste-based discrimination and communal conflicts around him, the encounters have left a lasting impression on him which reflects in his work.
Kitchen to Kacheri political responsibility of personal histories
This exhibition has emerged from the Constructing Personal Archives 2020 program which was incubated at Curating for Culture (@curatingforculture) during the pandemic. We would like to thank all the participants and mentors of CPA 2020, as well as the supporters of CPA 2020 publication.
curated by Ishita Shah participating archivisits Aarish Sardar Avantika Seth Chitra Vishwanath Kamal Badhey Mehwish Abid Niyati Hirani Pattani Archives Priyanjoli Basu Radhika Hegde Rukmini Swaminathan Soni Wadhwa Soumya Bhave Suresh Jayaram Upasana Das Vallabhi Jalan Vivek Muthuramalingam Pradeep Sachdeva Design Associates Khushnu Panthaki Hoof & Niharika Joshi
curatorial team Aditi Chauhan Vedika Kaushal
Trained as a designer and historian, I practise as a researcher, educator and curator under the aegis of a personal collective: Curating for Culture. Over the last few years, my efforts have been invested in exploring frameworks for personal and community archiving projects; and thus, been guiding the Pattani Archives (Gujarat) and the Britto Art Trust Archive (Bangladesh) in their pursuits. Very recently, I had also curated the publication Biome Diaries: ecological architecture from India. I am also pursuing independent research on the journeys of early women architectural practitioners of India as a Graham Foundation Grantee 2020. Due to my keen interest in furthering the creative possibilities for cultural preservation in India and the Global South, I have also curated publications, exhibitions and dialogues in collaboration with several cultural institutions and individuals.
Partners in Progress : Ek Kadam Bharat ki Aur
curated by Kanika Makhija “In the cities in which we live, all of us see hundreds of publicity images every day of our lives. No other kind of image confronts us so frequently… In no other form of society in history has there been such a concentration of images, such a density of visual messages... One may remember or forget these messages but briefly one takes them in, and for a moment they stimulate the imagination by way of either memory or expectation… - John Berger, 1972 In the book, “Ways of Seeing”, John Berger opened the discussion on the visual in diverse forms and modes of dissemination, including the field of publicity. Publicity as a form of visual culture played an important role in the shaping of nationalist modernity at the dawn of independence in India. This visual archive relates to an evolving commodity culture in a distinctive way. It constantly borrowed from cultural imagery of older lineage, while shaping and refabricating it. Media technologies of print and cinema were critical to the building of a local idiom of popular visual culture. Drawing on visual archives of Indian advertisements, the exhibition explores the conversations around publicity in India in the 1950s and 1960s. These marketing campaigns spoke of an agenda to build a self-reliant, safe and strong India. An average Indian citizen was addressed as an active consumer of new forms that would lift India out of the threat of poverty and disease. In their cultivation of local consumers, brands like Tata, Godrej, Burmah Shell, Dunlop, Usha, Philips, Hindustan Lever, Voltas, ACC and Dalda would often position their brands in the visual imagery of the traditions and heritage of India, architectural ruins, classical dance traditions, mythology, folk tales and legends, even diverse lineages of state craft and military history. They would also seek to tantalize the consumer with the promise not only of growth, of quality and convenience, but also of glamor and luxury. These layered forms of cultural fabrication and address in the publicity material arguably had a significant presence in shaping the national aesthetic. On display would be a unique archive of advertisements that brings forth the cultural imagination of that era. We start on the day of India’s Independence from a long British Raj, that moment of arrival where India is gearing up to build a strong nation.
contributing archives CSDS Sarai Archives Godrej Archives Film Division Archives
Kanika Makhija wears many hats. As an artist, she indulges in printmaking. The art practice fuels her understanding of visual language and her interest in popular culture. As a researcher, she has handled several projects independently and with a team. She has done research in projects that covers subjects of cultural heritage, material history, consumer history and media practices. Finally, as a professor, she teaches young prospective designers ways of looking. It pushes the students to observe the world of objects and artefacts from new perspectives and explore nuances of their history and materiality.
An Attempt to Develop the Law of Storms
Excerpt from My Father, the Mariner (2022), a set of 12 images and fragments
Behind the scenes of Citizen’s Choir I with Abhaydev Praful and Floating Folks
curated by Moakshaa Vohra In April 2020, the India Meteorological Department published a list of names of future tropical cyclones over the North Indian Ocean. The countries surrounding a particular basin name the cyclone that originates in that basin. As a result, the 13 countries that share the Indian Ocean basin have proposed 169 names, with each country proposing 13 names. The names are proposed following criteria set by World Meteorological Organization (WMO) and are selected sequentially from the list. This public document is presented as a proposition for cultural practitioners to respond through their diverse approaches and possibilities. participating artists Abhaydev Praful Arushi Vats Avani Tanya Vinit Vyas
Moakshaa Vohra is an arts administrator based in New Delhi. Over the last 4 years, she has been involved in the planning, management, and execution of multiple curatorial projects focusing on lens-based media. Moakshaa graduated from Srishti Manipal Institute of Art, Design, and Technology, Bengaluru in 2016. Her interest areas are in cinema studies and intermedia practices.
COPY - RIGHT
A guide to making mountains out of mustard seeds
(Video still) Poonam Jain | Vessels of Memory, (from 'Infinity/ Evidence of Hope' Series)
Nihaal Faizal | Kores Carboplane Super 503, Courtesy of Blueprint 12 & Nihaal Faizal
curated by Oorja Garg The popular proverb राई का पहाड़ stands for a perpetual exaggeration of a teeny-tiny idea or act. Copy-Right questions the idea of ownership and its absurd repetition in the capitalist society much like that of tiny mustard seeds that are stacked one on top of the other to create a mountain as illustrated in the following tutorial. Follow these steps to build your own राई का पहाड़ beside the ones you are surrounded by 24/7Step 1: Buy or order online as many packets of different mustard seed brands as you can Step 2: Empty the seeds on any desired surface very slowly and tactically to avoid any spilling Step 3: Repeat the process again and again until you are satisfied with the size of the mountain Step 4: Click a picture of the mustard seed mountain with your latest smartphone and post it on Instagram or Facebook Step 5: Sit back and enjoy a mountain of mustard seeds! participating artists Divyesh Undaviya Nihaal Faizal Poonam Jain
Oorja Garg (b. 1996) is an art practitioner and contemporary art curator based in New Delhi. She acquired her postgraduate degree in Art History and Aesthetics from the Maharaja Sayajirao University of Baroda in 2020. Her research focuses on the popular visual culture and unravels the sophisticated systems of power that exist beyond visible appearances.
On a walk 01
Pallavi Paul, The Dreams of Cynthia Still, HD 3 Channel 44 mins, 2017-18
Salik Ansari, from the Walker Series, Lenticular print, 2021-22
curated by Sayali Mundye On a walk' explores different forms of the simple act of walking. Through artworks across mediums by Ashima Ahamzadi, Pallavi Paul and Salik Ansari the exhibition presents how a walk can relate to the city, it can be a social, political and a personal experience. In the way of sauntering, a seemingly inconsequential act leads to observing, reflecting, making sense and dreaming. in addition to furthering our wellbeing walking is often a peaceful way of resistance in the form of Satyagraha or to the recent farmer's marches. It is also a deeply personal experience, with gender shaping it for individuals across time and places. A lot of the occupations of India lead to 'walas' 'phoolwala' 'kulfiwala' 'mithaiwala' 'bhelpuriwala' where labour is inherent to walking. This exhibition explores walking as something crucial to creativity, as an act of resistance, as a form of labour and as a gendered activity.
participating artists Ashima Ahamzadi Pallavi Paul Salik Ansari
Sayali Mundye is a curator, cultural manager who loves to take photographs. Over the last eight years, Sayali has worked with public and private museums including Dr. Bhau Daji Lad Museum, Piramal Museum of Art, and art organisations like Sir JJ School of Art, lADEA, UNESCO etc. Here she has led large-scale art projects, curated exhibitions, developed public programmes and managed partnerships. Sayali was a fellow of Museum Curation programme by the Centre for Art & Archaeology of the AIIS, Kress Foundation for Art Curators Conference, Cultural Management by Goethe, amongst others. Her research interests include investigating intersections between art, public, cultural organisations and society. Sayali is working on a case study for Goethe and ACRI that surveys Indian museums and ways that they can incorporate contemporary art into their galleries. Sayali is based in Bombay, is currently the Curatorial Associate at Sakshi Gallery and is ruled by Jujubes the cat.
Disobedient Bodies
curated by Shirin Fathi Working across a variety of media including photography, installation, stich work textile, video, animation and performance, this exhibition brings together artists who focus on the conception of beauty while exploring issues of body anxiety, sexual identity, obsession and transformation in relation to gender, ethnicity, nationality and race. The show features works by Iranian artists Tahmineh Monzavi, Niyaz Azadikhah and more broadly in South Asia by including works from Zuhra Hilal and Moshtari Hilal. Zuhra Hilal looks at the objectification of the female body through textile. In An Exploration of the Nameless Anatomy (2015), Hilal demands a deeper analysis of the female body through performance. In her series titled Tina (2010-2012), Monzavi documents a life of a transgender woman in Tehran. In Structure 2020, Moshtari Hilal investigates ways in which she could decolonize the Western beauty standards imposed on her as an Afghan woman living in Europe. In Salasat 2020, Niyaz Azadikhah takes inspiration from personal stories of everyday encounters with people. By using stich work textiles and animation, Azadikhah taps into the untranslatable nature of human emotion and sees her stitch work textiles as bodies that incorporate the emotions and the memories of their narrator.
Shirin Fathi is an artist and a curator based in between London and Tehran. Her artistic practice focuses on cultural changes in relation to gender identity. Her interest in curating comes from the filed of publishing, which she focused on when she was an editor at Tank magazine. In her curatorial practice she is interested in diversity and the presence of minority groups and cultural institutions. With this focus she aims to facilitate cultural exchange between the Middle East, South Asia, Europe and North America by organizing cultural events like exhibitions and symposiums.
Translations of a Hermit 01
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curated by Shivangi Bansal Translations of a Hermit is a visual account of the nature of contemplation and isolation in one’s life. It brings forward texts and memorabilia from a detailed archive of the late Manuj Babu Mishra, who deliberately chose to confine himself within the four walls of his home during the last three decades of his life. This exhibition is an attempt to grasp the rich inner world he inhabited, despite the perceived banality of his surroundings. It brings alive notable elements of those thirty years, through the work of six contemporary artists who bring in their narratives of living with oneself. The connection between the visual and textual introduces the notion of time as a non-linear concept while also tracing unique resonances between the archive and the artists. The non-linearity juxtaposes dynamism of contemporaneity alongside the inclination towards tradition, creating a space for unprecedented possibilities and outcomes to materialise. A thread of yearning that spans multiple time periods is found to run alongside each work, making its viewers acknowledge and embrace the magnitude and multifaceted nature of experiencing isolation. The late veteran artist spent years in his life sifting through the human condition, processing, deconstructing, reconstructing and transcribing what he found on his odyssey. It continues to stimulate people from all walks to look deeper, think longer - may it do the same for you
participating gallery
participating artists
Danfe Arts
01 Jupiter Pradhan 02 Pooja Duwal 03 Prakash Ranjit 04 Sanod Maharjan 05 Sunil Pandey 06 Vridhhi Chaudhry
participating museum Mishra Museum
Acknowledgements Roshan Mishra, Deepmala Maharjan, Akash Maharjan, Bishwo Manandhar, Pooja Poudel
Shivangi Bansal is a curator and researcher based in Kathmandu. She is the founder of Danfe Arts, a space that promotes visual art practices of emerging creatives in Nepal. She is involved as a culture and creative industry expert at UNESCO Nepal. Her curatorial practice focuses on politics of identity and time, while exploring its context in Kathmandu. Beyond her work, she is interested in street photography and wants to explore analog photography.
An Ode to the Anonymous
curated by Tenzing Sedonla Ukyab Lama The nomad's horse made their way through pastures known, Heavy bags laden with belongings, the road was their home. Two lovers reunited on the banks of a stream One offered salt, while the other sweets A lover`s hand outstretched, his bareback kept warm, wrapped in tiger skin The thunder rolled, the stampede began The loved one lay, wrapped in stripes now all stained Bloody, bruised, and lifeless A white unstained flower held close to its heart. like two lovers, together as one. The imaginary excerpt is taken from
/ A collection of Tea-Tales from Tibet.
Author Anonymous, translated by Jane Anne Doe
The exhibition will focus on a select few Tibetan objects, their anonymous makers, and the stories surrounding them. These stories or conversation snippets delve into the local histories, understanding, and knowledge through the perspective of an antique collector, buyer, and user. As such stories emphasize on the subtle parts of history and background, both good and terrible, expected and unexpected, and the fact that life is somehow a complex interrelated system. participating gallery/collection The Himalayan Art Gallery Tenzing Sedonla Ukyab Lama is a graduate from SUNY New Paltz with a degree in Art History and Public Relations. With, her family background in antiquities and her long-standing interest in Himalayan Art has led her to work with various creative communities and organizations such as Rubin Museum of Art, Tibet Museum, Machik, and various collectives/art studios in Lhasa. In 2021, she co-founded Zeeba Space, an online art initiative that highlights perspectives on art and culture of the Himalayan comunities. Currently, she is working as a curatorial assistant for Kathmandu Triennale and for the inaugural Pavilion of Nepal at the 59th Venice Biennale. Born in Nepal, Sedon's education and experience span Nepal, India, China, and the USA.
Public Programming Abeer Gupta Walk with curator, followed by conversation with artists Friday,18th March 2022, 6.30 PM onwards Akramul Momen Conversation with artists via zoom Monday,21st March 2022, 6.30 PM onwards Ishita Shah Conversation with Soni Wadhwa on Archiving Sindhi Literature Thursday, 17th March 2022, 5.30 PM - 7 PM Unboxing the archive with Zuleikha Chaudhari, Alkazi Theatre Archives Saturday, 19th March 2022, 6 PM - 7 PM Workshop on Personal Archiving with Ishita Shah Sunday, 20th March 2022, 11.30 AM - 1 PM (Registration details will follow soon) Unboxing the archive with Dr. Ramesh Gaur, Dean, IGNCA Wednesday, 23rd March 2022, 6 PM - 7 PM Kanika Makhija The citizen/consumer speaks : Film Screening followed by a discussion with Ravi Vasudevan (Date and Time to be Announced) Moakshaa Vohra When the clouds and earth met : Experiencing the rain and storm in Indian painting A presentation by Vinit Vyas. Thursday, 17th March 2022, 6.30 PM onwards Sayali Mundye Walk 1 : Walking through time from Shahjahanabad to New Delhi at Red Fort Saturday, 19 March 2022, 8.30 AM to 10.30 AM | Join us at Red Fort Walk 2 : Walking, observing, sketching - sharing, drinking and spilling the tea at Lodhi Garden. Sunday, 20 March 2022, 4.30 PM to 6.30 PM | Join us at IIC Register :http://bit.ly/onawalk Shirin Fathi In person artist Talk with Moshtari Hilal (Dates to be Announced) Performance (Aritst and Date to be Announced)
Acknowledgements Thank you to our CISA mentors Latika Gupta and Shuddhabrata Sengupta. And to all the invited tutors who shared with us their knowledge and experience: Leonhard Emmerling, Anita Dube, Jyotindra Jain, Naman P. Ahuja, Pooja Sood, Jahnvi Phalkey, Rupali Gupte & Prasad Shetty, Cuauhtémoc Medina, Nato Thompson, Avni Sethi, Santhosh S., Diwas Raja KC, Michelle Wong, Urvashi Butalia, Kajri Jain and Fred Ritchin.
About KHOJ Khoj International Artists’ Association is a not-for-profit contemporary art organisation based in New Delhi, which provides physical, intellectual and financial support for artists and creative practitioners. Through a variety of programmes including workshops, residencies, exhibitions, talks and community art projects, Khoj has built an international reputation as outstanding alternative arts incubation space. Since 1997, Khoj has developed itself as a unique ‘art lab’, and has supported the experimentation of many leading Indian and International artists. It plays a central role in the advance of experimental, interdisciplinary, and critical contemporary art practice in India – constantly challenging the established thinking about art. By bringing together a diverse range of artists and art practices, Khoj aims to facilitate change and awareness of vital global issues and concerns through active and engaged audience participation.
12 Exhibitions Curated by Aakriti Chandervanshi Abeer Gupta Akramul Momen Dhrupad Mehta Ishita Shah Kanika Makhija Moakshaa Vohra Oorja Garg Sayali Mundye Shirin Fathe Shivangi Bansal Tenzing Sedonla Ukyab Lama
IIC Art Gallery, Kamaladevi Complex, New Delhi 15.03.2022 - 25.03.2022