Practice is the daily ‘work’ (as verb) of art. It represents the sum of all the moves – practical, conceptual, affective, cognitive, philosophical, analytical and aesthetic – that occupies/de-occupies the state of our triangulation at any given point of time. Being contingent, this practice is a shape-shifting thing, prone to surprise itself as much it surprises others. Like a mycelial inhabitation, indeterminate and unbounded, it expands.
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1980 in Parallax Exhibition at Jencks Foundation at The Cosmic House, United Kingdom (2023) Raqs finds correspondence with Charles Jencks’ work as designer, critic, historian, concrete poet and artist, and with his Post-Modernist manifesto and former home turned Grade I listed museum, The Cosmic House. The concept of parallax describes the changing perception of objects […]
soDA magazine 19, Zurich (2002); Casebook (2014, AGYU Canada), Raqs presented the concept of “Event-shaped Hole” which translated into the essay The Event-shaped Hole and the Photographic Image in The Nordic Journal of Aesthetics, 2021 Casebook (2014, AGYU Canada) A photograph is an image of an event-shaped-hole, and as witnesses to such perforations we could […]
Every wilful misstep, every greedy grab, is an intimate intimidation to our own longer future.
The only actually shared sensation is the present continuous tense. It reconstitutes, everyday, the coarse fabric of being human, rearranging the atoms of collective experience.
A Gathering of BirdsShown at: ‘The Laughter of Tears’, Kunstverein Braunschweig, Germany (2021) Audio loop with 3 SpeakersDuration, 32’41” In the sonic range of the flight-path of a gathering of birds, we momentarily transmit to each other. We surpass contours of containment, and need no translation to be contagious.
Lifetimes and archives are in wait of revolts of intimacy that disorder the time of the living.
The Course of LoveShown at: Setouchi Triennale, Honjima (2019) Sculpture using faceted Lenticular panels, with Found Boat wataru funa-bito / the boatman lost the rudder. kaji-wo tae / the boat is now adrift yukue mo shiranu / not knowing where it goes. koi no michi kana / is this the course of love? – Sone-no […]
A singular array of surfaces in materials that range from leather to metal celebrate the essential instability of all substances
n revisiting and re-staging Cartier Bresson’s photograph in Shanghai, Raqs meet the conditions of the self-fulfilling prophecy invoked by the event captured in the original image.
This architectural installation speaks to the evolution of materials and living forms across alternative time epochs.
Utsushimi Site-specific installation at Suzu City, Oku-Noto Triennale, Japan (2017 – ongoing) Double Image / Token / Emanation Materialized Architectural Drawing in Illuminated Wireframe A double image might occur when reality exhales. In the breathing out of a form, we might see an emanation, a token of its impression in the air, on the senses. […]
The material infinitude that makes up the real world, Raqs argues, is a swirling, entangled mass of vital, corporeal wills to live and exist actualized as forms of matter and sentience
A History of Photography Shown at: ‘Asamayavali/Untimely Calendar’, National Gallery of Modern Art, New Delhi (2014) Six photographic prints2 x 2 ft. each Reading the censored letters of soldiers from the Indian sub-continent writing home in the First World War becomes a way to make a picture of the world. In this work, a selection […]
In The House of Everything and Nothing, Raqs translates their conversation traffic into a texture that clads the surface for the Gujral house in Jor Bagh, New Delhi.
Time Capsule, from 2011, is a time travel device which makes it possible for Raqs to claim its contemporaneity with the future
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