‘Practice’ is the daily ‘work’ (verb) of art. It represents the sum of all moves—practical, conceptual, affective, cognitive, philosophical, analytical, and aesthetic—that occupy or de-occupy the state of our triangulation at any given moment. Contingent by nature, this practice shifts shape, surprising itself as much as it surprises others. Like a mycelial inhabitation—indeterminate and unbounded—it keeps expanding.
.MOV.ESSAYS | .MP4.PLUS | DEVICES | GATHERINGS | INTERFERENCES | INTERRUPTIONS | LEXICA | LOOPS | UNLEDGERED
The diver, maybe she is a specter, maybe he is a submarine apparition. Diving, we are closer to the surface of the earth than an astronaut, but the paradoxical nature of a submarine horizon makes for an experience that envelopes and recedes at the same time. We could recognize this paradox as key to an awareness of our experience of the contemporary.
A hard tack biscuit from the Paris Commune of 1871 was 3D scanned, 3D printed, a mould made and facsimile biscuits baked.
A 24 hour clock where the usual digits are displaced with words in the Devanagri script relating to varying scales of time.
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.
The Ecliptic reimagines the passage of time through a bespoke clock that blends inscribed words, shifting light, and syncopated electrical impulses
A Day in the Life of Kiribati gives the time of Kiribati, the first land on Earth to switch the calendar over to 2000, and which could be the first place on this planet to disappear with rising sea levels because of global warming
The rooms are as alike, or as apart, as investment and insurance, two mechanisms designed to administer, anticipate and forestall, risk, speculation and the possibility of boom and bust. Does the imprint of one room on another indicate caution or audacity?
The Autodidact’s Transport is a transformation of the interior of a Gwangju local metro train with literal lines of conversation (originally diagrammed from Raqs’ computer conversations with each other), scripted orations that parse Erasmus’ ‘In Praise of Folly’ to think about democracy, and with short films with aphorisms that run on the advertising monitors in the trains.
The pavilions and spaces of the Shanghai Expo 2010 become chapters in Raqs’ eccentric account of a Brief History of Capital offered as a conceptual prophylactic to a nervous dowager worried about her fiscal health.
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
Three unwritten books, each marking a whimsical relationship to specific influential texts (by Rosa Luxemburg, Vladimir Illyich Lenin and Antonio Gramsci) in the canon of Marxism, find their place amongst a set of echoing titles in a carefully laid out miniature library
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) | Festival d’Automne, Espace Oscar Niemeyer, Paris (2011) | Art Unlimited Basel (2012) | Tel Aviv Museum (2012) | Zentrum für Internationale Lichtkunst, Unna (2014) | National Gallery of Modern Art, New Delhi (2014) Text, lightbulbs, fixtures, acrylic, wire, synchroniser Revoltage fills the space it occupies with warmth, […]
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)
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