Black Waters, a film-essay which began in 1993, returns into view as a new installation; holding the distance between 1993 and the present, allowing the unfinished film, its fragments and the archive that formed around it to meet again.
The Time is Never Ripe unfolds across two floors of the seventeenth-century building, the Ladakh Arts and Media Organisation (LAMO) in Leh, bringing our practice into conversation with the changing conditions of life in Ladakh.
Disobedience Archive, Canopy for Broken Time is a landscape of gathering. Through a series of canopies, shelters, projections, embroidered textiles, acrylic structures, and light-based installations a space for watching, listening, reading, resting, and spending time with the archive was created.
In ‘Something Rare to Lose’, a translucent screen, hand-blown glass lungs, a bed, and a bell jar bring some questions into proximity. The body appears as a field of sensations, memories, impulses, and encounters that unfold across time.
As Tranquil as Can Be lingers between the intervals of noise and speech. It is a place to rest, share, linger, and gather under a canopy, thinking through tranquility and what stirs or stays still as and when life begins and ends.
How to Breathe in a Lost Vat is an immersive art work located in a former saké brewery (Kasaya House) transformed into a public and performance space in the port town of Hiketa, by the inland Seto Sea (in Kagawa prefecture, on Shikoku island, south-eastern Japan).
The monsoon, once known in India as the ‘constant friend’, is no longer a reliable companion. There has been a close link between the failure to predict the commencement and intensity of rainfall to the fortunes and misfortunes of the economic structures of a land, Cloud Messengers traces this very dialogue between between rain, floods, trade, capital, and calculation moving through patterns which are no longer dependable.
चाँद क़सम/Chand Qasam is a clock of phrases written in the moonlight, reckoning lunar and cinematic consideration of how love waxes and wanes.
Published as a part of ‘Intensification,’ a collaboration between e-flux and the Lisbon Architecture Triennial within the context of its seventh edition, “How heavy is a city?,” curated by John Palmesino and Ann-Sofi Rönnskog (Territorial Agency), 2025.
18 Personae (2025) continues the long dialogue with cities drawing on conversations, bringing together figures both real and spectral, all that makes and remakes the city every day.
What comes first, the thirst for water, the presence of its absence, or the memory of its taste?
Blood Moon, 2025 & A Day in the Life of Kiribati, 2014Shown at: ‘From the Cosmos to the Commons’, Stadtkuratorin Hamburg (2025) Blood Moon is an invitation to stay with a passage of time in the way we imagine and inhabit it. It draws the viewer into an unfolding encounter felt through the body and the […]
In the work, Blood Moon, different orientations of the clock describe the ways in which the moon affects us as humans, in our hearts and on our skin, altering our sense of lived time
Published in – ‘Thirst: In Search of Freshwater’, edited by Ellen Johl, published by The Wellcome Collection, 2025, in accompaniment to ‘Thirst : In Search of Freshwater’ curated by Janice Li, at the Wellcome Collection, London. Pages 89 – 93
Centered on a forty‑minute film and accompanied by a suite of prints, Cavalcade zooms in on a gathering where humans and non-humans jostle for space, becoming a procession, a parade, a revue, a dream converging in fluid motion.
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