Once Again, to the Distant Observer
Text by Raqs, Published in ‘SubContingent: The Indian Subcontinent in Contemporary Art,’ catalogue accompanying the exhibition
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.
The Imposter in the Waiting Room
The Imposter in the Waiting RoomShown at: Bose Pacia Gallery, New York (2004) | National Gallery of Modern Art (NGMA) (2014) Installation with video, photography, performance, text, sound and print The Impostor in the Waiting Room is a consideration on what happens when modernity encounters its shadow. As a group of practitioners who navigate routes […]
Dreams and Disguises, As Usual.
Text by Raqs, Published in ‘Impostor in the Waiting Room’, the publication accompanying the eponymous exhibition, Bose Pacia Gallery, New York, 2004
The History & Practice of Cinematography in India
The History & Practice of Cinematography in India is a collection of transcripts of interviews with veteran and working cameramen, texts, archival photographs, production stills, bibliography, a timeline and other resources on the history of cinematographic practice in India.
New Maps & Old Territories: A dialogue between Yagnavalkya and Gargi in Cyberia
Text by Raqs, Published in Sarai Reader 01, The Public Domain, Sarai CSDS, Delhi 2001
A Frame of Mind: Researching Documentaries
Text by Raqs, Published in ‘Double Take: Looking at Documentary’, 2000