A set of four prints on metallic paper play with imagery from ‘Swamp’, ‘Marsh’, and the ‘Unruly Iris of Dissent’, and add a third element – a magnification of a falling tear drop, with traces of its salt crystals, denoting the salinity of the feelings that have us come undone.

Betaal / बे-ताल / Arrhythmic instigates an encounter with simulations of arrhythimic presences in an infrastructure-inflected landscape. The landscape of loops, knots, ties, ellipses, holes made of steel wires and metal bar creates a crisscross configuration suspended in space.

Time Travel is not a typical board game, although it looks quite ordinary: it consists of a board, instructions, and alphabet squares.

Unexpected arrivals (of a virus in one year) and departures (of a species in another) transform the colour of time. Each year gets a colour signature: a chromachron.

A hard tack biscuit from the Paris Commune of 1871 was 3D scanned, 3D printed, a mould made and facsimile biscuits baked.

Perhaps, An Investigation Outside The Laws of Thought

Homo Speculos, is a work that reflects on this condition. It places five ‘true mirror’ assemblages on five pedestals at different heights and angles, such that a person appearing in front of it, sees himself, or herself, broken, but re-assembled, and laterally un-reversed.

Three metallic strips – brass, copper and steel– make a possible ‘doorway’ to another place, another time, and configure a possibility of being simultaneously inside and outside

Euphoria Machine is the name we give to the apparatus of desire and cognition that seeks to create a consensus within society for boundless energy and wealth, and effaces all doubts and dissent about the ways in which this energy and wealth must be acquired.

Revoltage Shown at: Project 88, Mumbai (2010) | Reading Light’, Festival d’Automne, Espace Oscar Niemeyer, Paris (2011) | Art Unlimited Basel (2012) | Tel Aviv Museum (2012) | Zentrum für Internationale Lichtkunst, Unna (2014) | NGMA, New Delhi (2014) Text, lightbulbs, fixtures, acrylic, wire, synchroniser Revoltage fills the space it occupies with warmth, light, and […]

We the Fuel | 2011 9 framed photographs, tape residue (210 x 180 cm) A collage made with treated film posters and dental X-rays Premonition, Experimenter Gallery, Kolkata (2011); Helsinki Photography Biennale, Finland (2014)

Marks offer a luminous typographic annotation to the political imagination.

36 Planes of Emotions extends the palette of emotions to include states of collective potential.

To survive on love and fresh air is to thrive on next to nothing. Accordingly, this image bottles the two things that are precious but impossible to sell—love and fresh air.

Three volunteers tell three stories. The surface underneath them is in a state of permanent revolution.

The Communist Latento is an image/text series that features photographs of found minimalist hand-drawn signage on transparent surfaces (mainly arrows and direction markers) annotated by a set of terse statements by Raqs.

A chessboard that scales peaks.

Seven frames stand in for the seven days of the week. Each frame contains an assemblage of suspended objects.

The clock’s hands measure the stations of the hours, while human hands play their own game of silhouettes, closing in on the hour of fear only to then open out on the moment of ecstasy, as if protecting Time from its own devices. 

The installation uses found poetry and accidental discoveries in archives and takes the form of a playful gesture of appreciation of the labour of the archivist.

One thousand four hundred and forty crystal perspex tubes, some square, some circular, some hexagonal, sit tightly packed in what looks like an transparent empty clock set on a plinth.

Every factory has a time book. The time book is an index of the value of a worker’s time. It records hours, minutes and money, and acts as the memory machine of a factory.

Insurance%Investment illustrates the mental arithmetic of investment and insurance, two mechanisms designed to administer, anticipate and forestall risk, speculation and the possibility of failure.

Sightings is a photographic experiment with decaying architecture that suggests cartographic resonances. While, Four Figures works out four ways of making sense of today’s world, mapping a frontier between precarity and possibility.

A long strip of galvanized steel bears the emboss of the high road, just past the town called harmony. On the way, possibly to Industry. 

The Mathematics of Anacoustic Reason is an aphoristic image-text work in response to an invitation to respond to the concept: Out of the Equation: Roads to Reality. The project responds to this invitation by expressing an equation written primarily in the formal language of mathematics and by elaborating on this expression with images and a brief accompanying text.

A piece in response to the invitation from Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija on the occasion of Utopia Station at Shelby Cullom Davis Centre for Historical Studies, Princeton University 

Welcome. Enter, and take your own measure of the ectropy index.

Erosion by Whispers is an intangible presence of words, whispers and rumours across our dense urban infrastructure suggesting that fragility is as much part of the experience of cities as the claim to endurance is built into their design.

Network of No_des uses driftwood from web searches, messages in data bottles, re-mixed fragments of Hindi and Bengali film scenes and research notes from Sarai’s exploration of new media street culture in Delhi to present an array of associational possibilities.

OPUS (Open Platform for Unlimited Signification) Software | 2022 OPUS (Open Platform for Unlimited Signification) was an online space for people, machines, and codes to play and work together – to share, create and transform images, sounds, videos and texts. Opus was an attempt to create a digital commons in culture, based on the principle of […]