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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How to get from here to there
Rewriting on the wall
In Rewriting On the Wall, hand-prints are reconfigured to produce an alphabet of gestures—each a gloss of the letters in standard American Sign Language as used by deaf and mute people. The letters add up to a text (which accompanies the work): a stammering, hesitant, syntactically unsure consideration (written by a hand that appears on the wall like the hand that wrote on the wall in the episode of Belshazzar’s feast in the Old Testament) of the relationship between ‘I’ and ‘We’ and the horizon that encompasses singular and plural modes of being.
More Salt In Your Tears
We the Fuel
The Untold Intimacy of Digits
An Afternoon Unregistered on the Richter Scale
36 Planes of Emotion & One Meter of Truth (Emotion)
Strikes At time
Misadventures of A Phantom Limb
The Librarian’s Lucid Dream
Impossibly Rare, Infinitely Valuable, Eternally Free
The Perpetual Recall of the Penultimate Afternoon
Revolutionary Forces (The Three Tasters)
The Communist Latento
Rules to be Invented
Time is Money
Surface Tension Studies
The Knots that Bind are the Knots that Fray
phantoroman: Skirmish
Can You Say that Again (5 Uneasy Pieces)
Super-Duper Helter-Skelter Lego World
The Things that Happen when Falling in Love
The Capital of Accumulation
Brazen (Pittsburgh Torpedo)
Brazen (2009) was displayed at The Audience and the Eavesdropper, Phillips de Pury, London and New York.
In the grounds of an abandoned steel furnace, in a city that once made the greatest amount of steel in the world, there stands an emptied out torpedo car that once transported hot molten pig iron to a steel factory across a river on rail tracks.
The surface of each day is a different planet
On the Other Hand
Decomposition
One Four Four Zero
Love is Engineering
When the Scales Fall from your Eyes
Reserve Army
Unusually Adrift from the Shoreline
Unfamiliar Tales
Anonymous Steel Worker
INSURANCE % INVESTMENT
CEASURAL VARIATIONS I & II
Sightings & Four Figures
Just Passed Harmony
However Incongruous
The Mathematics of Anacoustic Reason
With Respect to Residue
The K.D.Vyas Correspondence
Contribution For “2006 Peace Tower”
There Has Been A Change Of Plan
A Dying Man Sings Of That Which Felled Him
On the question of standards while considering the freedom of speech, after Duchamp
Ectropy Index
Erosion by Whispers
Lost new shoes
Phantoroman: Preface to a ghost story
A Measure of Anacoustic Reason
The Wherehouse
The Network of No_Des
Utopia is a hearing aid
A/S/L (Age/Sex/Location)
TAS (Temporary Autonomous Sarai)
5 Pieces of Evidence
N- Dl Jn. (New Delhi Junction)
OPUS (Open Platform for Unlimited Signification)
Coordinates Of Everyday Life
Coordinates of Everyday Life
3 videos, 1 floor vinyl, 10,000 stickers for city walls
Co-ordinates 28.8N 77.15E. Installation using video screens, sound, print, and stickers
Documenta 11, Kassel, Germany (2002); CityOne conference, Sarai/CSDS Delhi (2003); The Roomade Office for Contemporary Art, Brussels (2003); Image Asia, Copenhagen (2003); Adaptations, curated by Craig Buckley, at Apex Art gallery in New York (2004); Fredrecianum, Kassel (2004); Digital Discourse, Malta (2005 – 2006).
PLEASE DO NOT TOUCH THE WORK OF ART
PLEASE DO NOT TOUCH THE WORK OF ART
Carved marble panel, postcards, wall text
Global Health Village Manual
Global Health Village Manual
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Made with Mrityunjay Chatterjee
Print.com, Delhi (2000); Kingdom of Piracy (2002); ISEA (2004)