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.
Na-Bam unfolds as meditation on water, depth, and the impossibility of measure. Presented as a six-screen video installation with video wallpaper, the work moves through shifting landscapes of land, river, sea, and forest—charting the imprints of thirst, flood, and memory.
The Bicyclist Who Fell into a Time-Cone, published by Jencks Foundation (2023), takes the form of an artist book, and foregrounds text over image. Mirroring the film’s visual textures, the five voices in the pamphlet register varying distances from what is seen on the screen and its potential elucidations: voiceover, description of images, words on screen, added layers of annotations and meta-annotations.
All, Humans is a permanent commission at School of Linguistics and Cultural Studies, Goethe University, Frankfurt.
All, Humans builds itself from uniquely human faculty of language to construct conceptual categories that transverse the human condition. It arcs out like a canopy – suspended between a multiplicity of minds, hearts and hands, sheltering and anticipating the universal human aspiration and claim for freedom, equality and dignity.
The Collective Eye interviews Raqs Media Collective and delves deep into their early days, influences, and experiences
e-flux journal #27, September 2011, Raqs Media Collective
The Waves Are Rising features an animated augmented reality (AR) wave on a large scale LED screen, superimposed upon live video feed video of the still waters of The Royal Docks, filling the vista of the usually calm waterscape with an animated surging wave as well as detritus and data from the high seas.
The Bicyclist Who Fell into a Parallax Time Cone’ is an investigation into the optics of this strange and specific sensation of time, which has become second nature since 1980. It is a time traveling search, aboard an imagined and remembered bicycle.
1980 in Parallax Exhibition at Jencks Foundation at The Cosmic House, United Kingdom (2023) Raqs finds correspondence with Charles Jencks’ work as designer, critic, historian, concrete poet and artist, and with his Post-Modernist manifesto and former home turned Grade I listed museum, The Cosmic House. The concept of parallax describes the changing perception of objects […]
Published in, ‘Monuments Must Fall Issue #24’, British Art Studies (Conversation Piece convened by Edwin Coomasaru)
Unruly Iris of Dissent (U.I.D 2)Shown at: ‘Archeology of the self: Archives, Anarchives & the Artist‘, Art Heritage Gallery, New Delhi (2023) Projection of Video Loop 12 years after The Untold Intimacy of Digits (2011), which animated a nineteenth century Bengali peasant’s handprint found in a London archive into a spectral count towards infinity, Raqs […]
Upright board with an inscribed ‘Infra-Vocabulary’ of a selection from Raqs Media Collective’s synonyms for capital, taken from their work – ‘A Dying Man Sings of That which Felled Him’ (installation with video and inscriptions, 2006) which was subsequently published in their book, ‘Seepage’ (Sternberg Press, 2009)
This interview reflects on the conditions, thresholds, and frictions that shape collective work—within and beyond institutions, publics, and time. Raqs draws from their own processes to consider how collectivity is practiced, stretched, and sometimes tested. The conversation thinks through the limits of what can be done together, and what remains open, despite constraint. Published in […]
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