Anatomize by Nibha Sikander Booth 3D33 | Art Basel Hong Kong 2023

 March 5, 2024

About Anatomize Nibha Sikander’s artworks showcasing detailed representations of moths and birds are the artist’s attempt at a pointed confrontation of the violence we have exerted upon other species of our planet.

 In Anatomize, Sikander draws from a desire to elevate the level of deconstruction and abstraction that she had showcased in her last series, Wandering Violin Mantis. Moving away from anatomically accurate replicas of moths, the artist has made one major change in her work, by enlarging their forms. This allows her to study and analyse them in greater detail. Her arrangement of these details is influenced by the specimen-like presentation of taxidermy in museums. However, in this series Sikander’s methodical layout of the fragments of the species depicted appears closer to an imaginary script solidifying her position at the intersection of science, craft, and art.

As described by curator Roobina Karode, Sikander’s works “are manifestations of the artist’s entomological interest that seeks not to dissect, but to deconstruct the received notions of natural history.” Working exclusively with paper Sikander succeeds in creating a world that invites the viewer in closer, almost as if through a magnifying glass. According to her, paper mimics nature in its versatility – soft, stiff, malleable and flexible, almost like wings, feathers and antennae – allowing her to mould it to her will.

About the Artist

Nibha Sikander earned her Bachelors (2006) and Masters (2008) in Visual Arts from the Maharaja Sayajirao University, Vadodara.

In 2019, Nibha had her first solo exhibition, Wandering Violin Mantis at TARQ. Since her graduation, she has been part of several group exhibitions, some of which include The Inner Life of Things: Around Anatomies and Armatures at the Kiran Nadar Museum of Art, Noida (2022); ALCHEMY: Explorations in Indigo, Kasturbhai Lalbhai

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

She has taken part in residencies like Paradise Lodge International Artist Residency, Lonavala, Mumbai (November 2013); Sandarbh International Artists Residency Programme, Jaipur (November 2012); and Residency at the American School of Bombay, Mumbai (March – May 2010).

She is the recipient of the Nasreen Mohamedi Scholarship, Maharaja Sayajirao University, Vadodara, 2004-2005. She recently participated in India Art Fair 2020 in Delhi. Nibha currently works and lives in Murud-Janjira and Mumbai

About TARQ

TARQ was founded in 2014 by Hena Kapadia on the values of creating a meaningful conversation around art and its myriad connotations and contexts. It was envisioned as somet    hing of a laboratory – an incubator for young contemporary artists which would work towards pushing the boundaries of how contemporary art in India is exhibited and perceived. TARQ’s youthful and experimental ethos encourages collectors, novice and seasoned alike, to approach art collecting through a perspective that marries thoughtfulness with an inquisitive eye for aesthetics and artistic processes.

Since its conception, TARQ has endeavoured to create a robust outreach program that ties in with the gallery’s exhibitions and overall raison d’être. The program is an amalgam of educational initiatives in the form of workshops, gallery walk-throughs and talks. Our intention is to engage with a diverse audience to develop an informed viewership for contemporary art in the future

TARQ

KK (Navsari) Chambers, Ground Floor, 39B AK Nayak Marg, Fort, Mumbai 400001, 022-66150424

Tuesday – Saturday: 11:00am – 6:30pm

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Anatomize by Nibha Sikander Booth 3D33 | Art Basel Hong Kong 2023

 

March 5, 2024

About Anatomize Nibha Sikander’s artworks showcasing detailed representations of moths and birds are the artist’s attempt at a pointed confrontation of the violence we have exerted upon other species of our planet.

 In Anatomize, Sikander draws from a desire to elevate the level of deconstruction and abstraction that she had showcased in her last series, Wandering Violin Mantis. Moving away from anatomically accurate replicas of moths, the artist has made one major change in her work, by enlarging their forms. This allows her to study and analyse them in greater detail. Her arrangement of these details is influenced by the specimen-like presentation of taxidermy in museums. However, in this series Sikander’s methodical layout of the fragments of the species depicted appears closer to an imaginary script solidifying her position at the intersection of science, craft, and art.

As described by curator Roobina Karode, Sikander’s works “are manifestations of the artist’s entomological interest that seeks not to dissect, but to deconstruct the received notions of natural history.” Working exclusively with paper Sikander succeeds in creating a world that invites the viewer in closer, almost as if through a magnifying glass. According to her, paper mimics nature in its versatility – soft, stiff, malleable and flexible, almost like wings, feathers and antennae – allowing her to mould it to her will.

About the Artist

Nibha Sikander earned her Bachelors (2006) and Masters (2008) in Visual Arts from the Maharaja Sayajirao University, Vadodara.

In 2019, Nibha had her first solo exhibition, Wandering Violin Mantis at TARQ. Since her graduation, she has been part of several group exhibitions, some of which include The Inner Life of Things: Around Anatomies and Armatures at the Kiran Nadar Museum of Art, Noida (2022); ALCHEMY: Explorations in Indigo, Kasturbhai Lalbhai

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

She has taken part in residencies like Paradise Lodge International Artist Residency, Lonavala, Mumbai (November 2013); Sandarbh International Artists Residency Programme, Jaipur (November 2012); and Residency at the American School of Bombay, Mumbai (March – May 2010).

She is the recipient of the Nasreen Mohamedi Scholarship, Maharaja Sayajirao University, Vadodara, 2004-2005. She recently participated in India Art Fair 2020 in Delhi. Nibha currently works and lives in Murud-Janjira and Mumbai

About TARQ

TARQ was founded in 2014 by Hena Kapadia on the values of creating a meaningful conversation around art and its myriad connotations and contexts. It was envisioned as somet    hing of a laboratory – an incubator for young contemporary artists which would work towards pushing the boundaries of how contemporary art in India is exhibited and perceived. TARQ’s youthful and experimental ethos encourages collectors, novice and seasoned alike, to approach art collecting through a perspective that marries thoughtfulness with an inquisitive eye for aesthetics and artistic processes.

Since its conception, TARQ has endeavoured to create a robust outreach program that ties in with the gallery’s exhibitions and overall raison d’être. The program is an amalgam of educational initiatives in the form of workshops, gallery walk-throughs and talks. Our intention is to engage with a diverse audience to develop an informed viewership for contemporary art in the future

TARQ

KK (Navsari) Chambers, Ground Floor, 39B AK Nayak Marg, Fort, Mumbai 400001, 022-66150424

Tuesday – Saturday: 11:00am – 6:30pm

MGW 2024 | Areez Katki: As this melts on your knee at TARQ

About the Exhibition

The team at TARQ takes immense pleasure to introduce Areez Katki’s solo show titled As this chin melts on your knee. The exhibition presents a body of work created between 2022 and 2023, across the mediums of textile, paper and sculpture, delving deeper into Katki’s research and unfolding narratives. Exploring the tactile and sensuous nature of textiles has been a recurring focus in Katki’s practice over the past decade. As he gathers and repurposes old, found, and sometimes remnants of newer textiles, one can observe how each piece of cloth carries associations with material memory. These connections can be familial and deeply personal or, at times, reveal more political and historical threads.

Areez Katki Dream Valves, 2023 Kaolinite clay, raku, Caspian Sea sand Individual parts varied, total upon installation (base): 12.2 x 16.5 x 6.2 inches  Courtesy of Areez Katki and TARQ 

Through inquisitive research, Katki began studying the contents of Tablet IV from the Epic of  Gilgamesh, an ancient Mesopotamian odyssey. The narrative of the poem serves as the conceptual  tableau for Katki’s Oneiria series of embroidered panels, as well as their painted studies. Inspired by  Gilgamesh’s journey across an apocalyptic dreamscape with Enkidu, Katki exercised his own psychoanalytic dream-keeping journal where his anxieties of loss, death, and fear unfurled. 

Transcribing, illustrating, and embroidering these visions on khadi panels, Katki reveals his own surreal, often cinematic, visions interlaced with anxieties from a queer antecedent. Five Fragments, which precede the larger Oneiria panels, can be viewed as the artist’s early experiments with using Sumerian cuneiform—the language that the Epic of Gilgamesh was originally inscribed in four millennia ago. These panels are composed with cuneiform symbols which the artist has studied extensively, to form a glossary of unique phrases, made up of simple words that these compositions evoke both linguistically and pictorially. Extending his research around ancient Indigenous histories, Katki has closely examined what remains of Achaemenid art over the past seven years. The process began with an exploration of Persepolitan archives and propagated into a series of nine diptych works on paper. Eliminating scientific and archaeological precision, the works cite artifacts, architectural motifs and subjects from a destroyed and pilfered past, to now reframe and reimagine these histories in a series of enlivened polychromatic compositions.

Areez Katki Anointed 3: Saffron, 2023 Mixed media on Arches cotton paper 12.2 x 12.2 inches Copyright: Copyright Areez Katki, 2023

The newest addition to Katki’s visual language is his venture into three-dimensional earth-based forms where Kaolinite clay, a material sourced and processed from his mother’s garden in Tāmaki Makaurau Auckland, behaves as a cultural marker of geographic locationality. Katki’s fascination with archaeology and materials from the quotidian, often found and restored, has seen him venture into this arena of excavation and restoration that attempt to reframe the practice of archaeology as a pedagogy rooted in care.

Areez Katki Three clever boys, 2023 Watercolour on Arches cotton paper Top: 11.69 x 8.26 inches Bottom: 5.9 x 11.81 inches Diptych Copyright: Copyright Areez Katki, 2023

As articulated by Adwait Singh, who has written an essay accompanying the show, “Throughout the current body of work, we notice a use of history that can be termed queer. Katki deliberately hones  these unexpected and at times irreverent modes of accessing and mobilising the past perhaps as a  corrective to the differential resistance that the discipline has developed over the course of its established use. This resistance can prove particularly prohibitive to those in the margins who aspire to get their stories admitted into the high annals of history. Faced with systematic exclusions produced by inherent resistances that are as unforgiving as they are relentless, Katki seems to have come up with a reworked mandate: throw a wrench in history.”

Artist: Areez Katki 

About the Artist

Areez Katki's practice dwells around conceptual and material-based intersections which survey the phenomenology of postcolonial identities. Fragmentations of a migrant identity can be traced through objects and material culture, in the recesses of collective memories that host spiritual cosmologies and queering orientations. These relational embodiments and correspondences with materiality are underpinned in Sara Ahmed’s statement that, “Objects extend bodies, certainly, but they also seem to measure the competence of bodies and their capacity to ‘find their way’.” (‘The Orient and Other Others’ Queer Phenomenology 2006).

Navigating across disciplines and pedagogies, Katki’s practice looks toward generating deeper understandings of such affective material. His work also tends to pose questions around conditions such as hybridity, particularly through embodiments that have been subject to rupture. While investigative acts of gathering and conservation run throughout Katki’s nearly decade-long art practice, his writing contextualizes the repurposing of historic material through ongoing engagements with storied narratives and biomythography. Both practices examine the historic and the personal, using gestures which survey the nature of (our) relationships with sites and embodiments.

Katki's work has been exhibited across Oceania, Asia, North America and Europe. It is held in numerous public and private collections internationally. Katki has been invited to present a significant new body of work in ‘Personal Structures’ at the 60th Venice Biennale in 2024. He was recently appointed the Aotearoa NZ visual artist in residence at Künstlerhaus Bethanien Berlin for 2024–2025

As this chin melts on your knee

Areez Katki

TARQ

Preview: Thursday, 11th January 2024 | 5:00 – 9:00 pm 

Mumbai Gallery Weekend continues from Friday, 12th January – Sunday, 14th January, 11:00 am -

8:00 pm on all three days, Show continues till 24th February 2024 

Gallery Hours: Tuesday - Saturday 11:00 am to 6:30 pm 

For further enquiries contact: press@tarq.in | +91 98213 32108  #ArtistsAtTARQ.

Facebook: https://www.facebook.com/tarqmumbai/ Instagram: @tarqmumbai Twitter: @tarqtweets

Animalia. Forays from Los Angeles to Mumbai 10.09.2023 - 07.01.2024

Darmstadt, 13.09.2023: Since Sunday, 10.09.2023, the Kunsthalle Darmstadt is presenting the exhibition Animalia. Forays from Los Angeles to Mumbai. Until 07.01.2024, the relationship between humans and animals is the focus of a presentation in which are participating 35 artists from North and South America, India, Pakistan and Europe. 

Symbols of Migrations Installation by Smita Kinkale 

While the devastating exploitation of Planet Earth seems to be proceeding inexorably, many species of animals are threatened with extinction and entire ecosystems are disappearing, animals are more visible than ever in contemporary art. What is the basis for this newly-awakened study of animals? How is it different than earlier manifestations? Raising questions of this sort, Animalia. Forays from Los Angeles to Mumbai investigates our relationship to animals in all its contradictions and asks what role art plays therein.

Recent painting by Ratnadeep Gopal Adivrekar 
Ratnadeep Adivrekar’s works deals with ancient Indian philosophical belief that a part of the whole ‘Brahmanasi’ resides in all living things, which forms the ‘atman’ hence many animals are venerated and dense with symbolism

Offering a broad, geographically wide-ranging selection of artistic positions, the exhibition shows how diverse the approaches to this theme can be. An examination of the field during our preparations for this exhibition showed that certain approaches and preferences repeat themselves among the artists. The course through the exhibition was divided into four chapters in accordance with several clearly recognizable, major orientations in art involving animals; the sections appear in succession and conform to a dramaturgy of sorts. After the focus of the initial topic Open Drawers is on taxonomical classification such as is outstripped by fantasy (Horst Haack) or pursued to the point of mockery (Mark Dion), voices are raised under Profit, Profit, Profit in protest against the subjection of animals in adherence to the laws of the market economy. Following after this critical realism is the optimistic pragmatism of those who, in an exemplary manner, engage in Overcoming Borders Between Species. The final chapter is entitled Living Images and offers philosophical fare: dream, consciousness, artificial intelligence, mimesis, language.

Artists and Collectives in the Exibition 

Ratnadeep Gopal Adivrekar (India) Mia Bencun (Nigeria, Germany) Rolf Bier (Germany) Ali Cherri (Lebanon, France) Mark Dion (USA) Katja Eckert (Germany) Franca Franz (Germany) Gerrit Frohne-Brinkmann (Germany) Andreas Greiner (Germany) Horst Haack (Germany, France) Thomas Hawranke & Lasse Scherffig (Germany) Hörner & Antlfinger, CMUK (Germany) Katharina Immekus (Germany) Sanna Kannisto (Finland) Smita N. Kinkale (India) Lisa Korpos (USA) Basir Mahmood (Pakistan, The Netherlands) NEOZOON (Germany, France) Olly Williams & Suzi Winstanley (United Kingdom) Michael Pendry (Germany, United Kingdom) Arnulf Rainer (Austria) Stephan Reusse (Germany) Harold Rubio (Puerto Rico) Muzzumil Ruheel (Pakistan) Thomas Sturm (Austria,Germany) Miriam Tag (Germany) Diana Thater (USA) Federico Uribe (Columbia, USA) Rajesh P. Wankhade (India)

With support from Kulturfonds Rhein-Main Sparkasse Darmstadt Sparkasse Hessen-Thüringen Entega Stiftung Collaborative Partners HIMS Academy Zoo Vivarium Darmstadt Alte Fasanerie Hanau Darmstädter Textwerkstatt Ehrenamt für Darmstadt Schuldruckzentrum Darmstadt 

Media Partner arte 

The exhibition Animalia. Forays from Los Angeles to Mumbai at a glance.

Responsible for the contents, planning and realization of the exhibition: Dr. León Krempel, Director of the Kunsthalle Darmstadt, curator in collaboration with Ismail Mukadam, Kurator, HIMS Academy Title and Duration: Animalia. Forays from Los Angeles to Mumbai 10.09.2023 - 07.01.2024

Press Photos Press photos for your reporting on exhibitions at the Kunsthalle Darmstadt are available at our website: https://www.kunsthalle-darmstadt.de/Aktuell_31_0.html

Press Contact 

Kunsthalle Darmstadt Anna Weingärtner presse@kunsthalle-darmstadt.de

 Tel. +49(0)6151-891184 You can also visit us online! 

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TARQ: Preview Thursday 10th August 2023 | 6:00 pm – 9:00 pm

Parag Tandel: Archipelagic Archivist

Curated by Shaunak Mahbubani

About the Exhibition

Amongst the incessant din of new construction, it is often forgotten that Mumbai was once an archipelago of seven islands. The Kolis, indigenous inhabitants of these lands and waters stewarded the vibrant ecology for centuries. In his upcoming solo exhibition at TARQ, artist Parag Tandel from Thane’s Chendani Koliwada, archives the rich culture of the Kolis alongside networks of kinship between the community and coastal ecosystems.

Passing down knowledges through oraliture, the Kolis have been left out of the process of writing their own history. To counteract this historical erasure, Tandel presents new bodies of sculpture that draw from complex traditions of food, fishing, and faith. Eschewing imperial modes of recording such as maps and ledgers, the artist instead looks towards the realm of affect to create a distinct form of archiving that resonates with the heritage of his people.

"This method of archiving that Parag has developed can be seen within the context of what Caribbean philosopher Édouard Glissant has called archipelagic thinking — one that balances acts of belonging with ways of being in relation to the world, that is 'rooted and open, in harmony and in errantry,' 1 " writes curator Shaunak Mahbubani. "Presenting a solo show after seven years, one sees a profound leap in Parag's practice, especially within his immersion into material culture that simultaneously channels his Koli ancestry while being in dialogue with the rapidly changing state of the city, and the global climate crisis at large."

Tracing a route from the arrival of the Portuguese to the current coastal road development, Tandel brings us into contact with a range of interconnected stories. In sculptures fashioned from the Jambul tree, we encounter the effects of 17th century policies which outlawed ageold jambul wine making processes. Alongside, in the limited edition publication 'Ek Bagal Mein Chand Hoga Ek Bagal Mein Rotiyan', we are introduced to recipes collected from Koli kitchens, a food culture that is currently under threat due to rapid urbanization and oceanic pollution. 

Talisman for Coastal Futures 3, 2023

Not content with only looking at history, the artist is also keenly interested in fostering new possibilities. 'Into The Bones' is a unique collaboration with metalwork artists from the Bastar region of Chhattisgarh, melding indigenous artistic techniques from the two regions to develop a series of 12 intricate mixed media sculptures. Calling out to the next generation, the show culminates with an assembly of ecstatic thread sculptures, combining the traditional armatures of the Koli faith with the dynamic energy of the ocean and all its inhabitants. 'भराली' are talismans to cast spells for inter-species coastal futures.

Poetically moving between islands of time and material metaphor, Parag Tandel invites viewers to enter the waterways of the erstwhile Bombai archipelago, where tides carry the force of celebration, loss, and resilient hope. 

1 Glissant Édouard, Wing B. Poetics of Relation. Ann Arbor Michigan: University of Michigan Press; 1997. p 34. 

About the Artist Parag Tandel 

(b. 1978), is a Mumbai-based artist with a Postgraduate-Diploma in Creative Sculpture from M. S University, Baroda (2005) and Diploma in sculpture and modelling from Sir J.J School of Art, Mumbai (2003). Tandel’s solo exhibitions include Pregnant Room 1 and Pregnant Room 2, both showcased at Pundole Art Gallery, Mumbai, (2008 & 2010) Chronicle at TARQ, Mumbai (2016) and Autopolisphilia curated by Noopur Desai at Sudarshan art gallery, Pune, India (2018). He has also been part of various group shows across India including Event, Memory, Metaphor curated by Anish Gawande at TARQ, Mumbai (2022); New Natures: A Terrible Beauty is Born curated by Ravi Agarwal at the Goethe Institut, Mumbai (2022); All Canaries Bear Watching curated by Premjish Achari at Jawaharlal Nehru University, New Delhi (2022); Fragile Kinships curated by Shaunak Mahbubani at the Swiss Embassy, New Delhi (2018); Baroda March, Mumbai (2015); Small is Big, Durbar Hall, Kochi (2013); Earth Art Project Tansa, Arka Art Trust, Mumbai (2013); The Art of Drawing, The Guild, Mumbai (2011); TAKE 2, Aarushi Arts, Delhi (2011); and AvaGard, Threshold Art Gallery, Delhi (2009) among others. 

Some of his public art projects include Tandel Fund of Archives, pop-up museum of fisherfolk, Mumbai (2020 & 2019); (En)counters- Daily Rations Public art project, curated by Artoxygen, Breathing art works, Mumbai (2017); Geographies of consumptions, Mumbai (2015); Big 

Catch, Kala Ghoda Arts Festival, Mumbai (2012); and Sandarbh, Rajasthan (2011). Tandel has been a recipient of the Jhunjhunwala Scholarship Award (2003); Maharashtra State Art Award (2003); and All India Art and Craft Society State Award (2003). Additionally, he has participated in residencies at the Banboo Curtain Studio, Taiwan (2018) Piramal Art Residency (2017), Space 118 (2015), Mumbai and in Partapur, Rajasthan

Parag’s artist book Ek bagal mein chand hoga ek bagal mein rotiyan was published in 2021 by TARQ with support from Mumbai Water Narratives at the Living Waters Museum. He recently showed his work How to cook Bombay Duck in various ways? at India Art Fair 2023. 

Journey of Bombay duck, 2023

He currently lives and works in Thane, Mumbai. 

About the Curator Shaunak Mahbubani (they/she) is a nomadic curator and writer. They primarily pursue projects under the exhibition series 'Allies for the Uncertain Futures’ focused on exploring possibilities of co-visioning futures grounded in the pursuit of non-duality. The fourth iteration in this series, AUTOPOIESIS (2022-23) had manifestations and cross-pollinations across Mexico City, New Delhi, and Berlin. 

They will curate The Albanian Conference at the upcoming Lagos Biennale (2024). Other recent curatorial projects include how many songs from a single note? (TARQ, Mumbai, 2022), Party Office at documenta fifteen (Kassel 2022, co-curated with Vidisha-Fadescha), A—ligning the Un—certain (Maxim Gorki Theatre, Berlin, 2022), Skin To Skin (Experimenter, Kolkata, 2023), Entre Sures (Mexico City, 2021, Co-curated with Eli Moon), Seeds are Being Sown (PRAF, New Delhi, 2020), Reality is Post-Produced (TIER, Berlin, 2019), and Saavdhaan: The Regimes of Truth (New Delhi, 2018).

Shaunak’s art writing has appeared in Artforum, Critical Collective, Mezosfera, ifa Biennale stories, STIR World, Hakara Journal and other platforms. They have been awarded residencies, grants, and engagements from Goethe Institut, ISCP New York, La Napoule Foundation France, The Gujral Foundation, Inlaks Foundation, and IFA India. Since 2019, they have also been collaborating with artist-curator Vidisha-Fadescha under the moniker 'After Party Collective', creating momentum towards the affirmation of trans*, intersex, and gender-dissident bodies through curatorial and performance projects, including DANCE TRANS* REVOLUTION (New York, 2021), and publication series Consent of The Goverened (coedited with Party Office, 2021-ongoing). 

Shaunak is currently based between Berlin and India.

Preview Thursday 10th August 2023 | 6:00 pm – 9:00 pm 

Show continues till 30th September 2023

Gallery Hours: Tuesday - Saturday 11:00 am to 6:30 pm 

For further enquiries contact:

Harshada Vijay | press@tarq.in | +91 9930318581