The word ‘para’ suggests a relationship to something that stands beside or runs tangential to another. Our ‘para-practices’ include writings and conversations that unfold in proximity—alongside other works, ideas, and processes. These may take the form of a ‘Sourcebook’ that helps stage public, discursive moments for a world with plural knowledge; a ‘Curation,’ the process of which unfolds with many, over time, to reapprehend the world; or a ‘Studio’ with students to reimagine the generative potential of margins and thresholds.
PresentomorrowExhibited at Mondialité (2017) Curated by Hans Ulrich Obrist and Asad Raza, Villa Empain, Boghossian Foundation, Brussels Installation with Video, still Images and Animated Text Presentomorrow brings together echoes from Raqs’ earlier installations and engages with the writings of Édouard Glissant. The work reflects on the layered nature of language and thought; how the concepts we […]
In a dialogue between a deep‑sea diver and a shipwrecked rhinoceros, this text reframes the present as a drifting, submarine horizon—one that arrives unevenly across contexts and often eludes capture, unlike the more predictable arc of the future. Drawing on maritime and temporal metaphors, the essay assembles a cast of figures—from the wise to the […]
Raqs opens by asking “Who is Memory For?” and invokes Plotinus to suggest memory lives for those who have forgotten . A chance encounter at Paris’s Musée Guimet before a Banteay Srei frieze evokes a paradoxical mix of estrangement and familiarity, tracing a narrative that began in 200 B.C. and traveled thousands of miles and […]
An Interview with Raqs on curating the 2016 Shanghai Biennale and how it fits into their curatorial practice. An interview with Raqs, by Maya Kóvskaya, first published in the September/October 2016 issue of Yishu: Journal of Contemporary Chinese Art.
Text by Raqs, Published under ‘Superhumanity’ for the 3rd Istanbul Design Biennial, 2016
Luminous WillSolo ExhibitionSchool of the Museum of Fine Arts, Boston (2015) Does history repeat itself, or simply rehearse its moves in anticipation? Can we read chronicles in terms of deferrals and déjà-vu rather than in terms of climaxes and closures? Luminous Will refers to an eponymous work by Raqs Media Collective, where the hands of […]
Rhode Island School of Design invited Raqs Media Collective to serve as Vikram and Geetanjali Kirloskar Fellows in RISD’s Painting Department. In response, Raqs designed a thirty-day open studio in the RISD Museum centered on marginalia.
Text by Raqs, Published in ‘Take on Art: Studio’, Issue 17, March 2015
The three curatorial projects City as studio, Art as a place and Common ground conceived between 2009- 2014 are an extension of Raqs’s engagement with the creative community that reimagine the questions around cultural infrastructures.
It’s Possible Because It’s Possible Shown at: Centro de Arte Dos de Mayos (CA2M), Madrid (2014); Museo Universitario Arte Contemporaneo, Mexico (2015); Fundacion PROA, Buenos Aires (2015) It’s Possible Because It’s Possible is the fruit of a collaboration between Museo Universitario Art Contemporaneo (MUAC), the Centro de Arte Dos de Mayo (CA2M), and the Fundacion […]
Asamayavali/Untimely CalendarSolo ExhibitionNational Gallery of Modern Art (NGMA), New Delhi (2014) Media rich, concept driven, formally multi-faceted, playful, urgent, replete with philosophical density – this is the kind of art that addresses all our faculties – intellectual, emotional and sensory. A visitor to this exhibition is invited to be a witness, to see himself and […]
Published in the e-flux journal issue #56, 2014
Edited by Shveta Sarda, Published by the National Gallery of Modern Art in conjunction with the solo exhibition of Raqs Media Collective, Asamayavali/ Untimely Calendar, at the National Gallery of Modern Art, Delhi, 2014.
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