Machines Made to Measure
Text By Raqs, Published in ‘Emotional Cartographies: Technologies of The Self’, Edited by Christian Nold, 2009
On the Other Hand
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.
Decomposition
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 Four Four Zero
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.
Love is Engineering
used transparencies of mechanical drawing encased in plexiglass sheets, the clouded light of dawn and the rudimentary text of the screenplay of an imaginary film sequence to speak of the quotidian battle between love and time, fought over the delicate terms of the silent departure of a man from his lover’s bed.
When the Scales Fall from your Eyes
When the Scales Fall from Your Eyes dismantles our obsessions with measurement and quantifiable evaluation by gathering scales that set out to weigh impossibilities.
How to be an artist by night
Text by Raqs, Published in in Art School : Propositions for the Twentieth Century, Edited by Steven Madoff. MIT Press, Boston, 2009
The Flights of the Pink Flamingo or Historiae Sub-Rosae of Capital and the Twentieth Century
Text by Kaushik Bhaumik, on Raqs Media Collective’s video diptych “The Capital of Accumulation”, published in ‘Art India’, Vol XV, Issue III, Quarter III, 2010
Stammer, Mumble, Sweat, Scrawl, and Tic
Text by Raqs, Published in e-flux journal #0, November, 2008
Reserve Army
The sculptural installation The Reserve Army examines the intersection of a personal artistic practice (in this case, that of the early 20th Century Indian sculptor Ram Kinkar Baij) with the construction of icons to represent the newly independent nation-state, as well as the rather clumsy union of Modernism and a traditional, folkloric Indian culture.
Unusually Adrift from the Shoreline
Unusually Adrift From the Shoreline is a work about darkness, light, navigation and memory. Centred on a cinema lost to time, it is intended to prompt unfamiliar thoughts in the city. Thoughts and feelings about the pleasures and the hidden perils of losing oneself: in movies, at sea, and in the oceanic expanse of time.
Unfamiliar Tales
Unfamiliar Tales is a pair of image-text diptychs titled ‘How The Most Terrible Solitude Was Overcome’ and ‘How the Long Wait for the Thaw was Endured’
Sarai Reader 08: Fear
Modernity once promised liberation from fear. We live amidst mobile populations, hidden terrors, financial tremors, and subtle uncertainties. From the air we breathe to the financial systems we trust, everything is threaded with disclaimers and doubts. Sarai Reader 08 leans into this pervasive anxiety—tracking how floods, riots, and crises expose our fragile infrastructures and inner lives. […]
Fact, Facticity and the Imagination
Presentation at Kunstlerhaus Buchsenhausen, Innsbruck. Excerpts published as ‘The First Information Report : On the Documentary Attitude in Contemporary Art Practice’ by Raqs Media Collective in ‘The Archive: Documents of Contemporary Art’, Edited by Charles Merewether. Published by the Whitechapel Gallery, London, 2006 & in Texte Zur Kunst, September 2003 (edited by Karin Gludovatz and […]
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