Raqs Media Collective
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Raqs Media Collective (*1992, by Monica Narula, Jeebesh Bagchi and Shuddhabrata Sengupta). The word “raqs” in several languages denotes an intensification of awareness and presence attained by whirling, turning, being in a state of revolution. Raqs take this sense to mean ‘kinetic contemplation’ and a restless and energetic entanglement with the world, and with time. Raqs practices across several media; making installation, sculpture, video, performance, text, lexica, and curation. Their work finds them at the intersection of contemporary art, philosophical speculation and historical enquiry
"The turning and spinning of a phenomenon, story, image, or word until it has lost its old meaning and gained a multitude of previously unknown or overlooked meanings and nuances, finds its equivalent not only in the image of the ecstatic whirling of the Sufi dancer, but also sums up the strategy that informs Raqs in their production of new narratives." [1]
Late 20th Century
The Collective began in 1993, shortly after Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta graduated from a film school - the Mass Communication Research Centre (MCRC) in the Jamia Millia Islamia University in Delhi. Raqs was shortly after the Bagchi, Narula and Sengupta worked together on a now lost 16mm film for a workshop at the Goethe Institute in Delhi. That experience helped us understand that we could work together even outside the context of 'assignments' for the film school. After this, the three of them met almost every day, regardless of whether or not there was 'work'. Work was occasional 'educational' television programs for the University TV Network, assistantship to documentary filmmaker Pankaj Butalia's Moksh (1993) and writing assignments for the arts pages of daily newspapers.
It was during this time that Raqs started a long research towards an essay film that they had hoped to make on Anthropology and Photography in the Andaman Islands for which they received a research grant from Channel 4 Television in the UK. That film, ‘Black Waters’ remains unmade to this day. Though Raqs never got to make the film, it did instil in them a sustained interest in memory and measurement along with a habit of regular meeting, discussions, travel, taking notes, finding things out and crucially visiting archives. This was also the period during which Raqs embarked on a long research on the history and practice of cinematography in India with C. K. Muralidharan. This project involved interviewing around twenty seven veteran as well as working cinematographers in depth about their practice and life.
In the early ‘90s we set up our studio (inside our then living quarters). We had just bought a computer, and they were not as common as they are today. It was a machine that was used by many of our friends and comrades. It was a modest production site for research notes, for writing proposals, projecting scenarios, for producing booklets on work and political economy, essays, criticism, correspondence, catalogues, etc. Among other things, it contained our growing address book and the early eclectic notes for Sarai. This poor, overworked machine went through various disruptions – crashes, version changes, incompatibility issues, upgrades and new software. Through it we made our first forays into list cultures and the internet. It saw us through what must arguably have been the most exciting and foundational decade of our realizing the immensity of the zone of work and ideas that we would go on to inhabit."[2]
Raqs’ early works included the (now lost) 16 mm short fiction film - ‘Half The World Left, The Universe Left to Comprehend’, documentary films, ‘Present Imperfect, Future Tense, 1996’ (about three young people under 30, as documented by the photographers Jatinder Singh and Gauri Gill, and ‘In the Eye of the Fish,1997’ (produced by The Foundation for Universal Responsibility of HH, The Dalai Lama, for SPIC-MACAY about three young people in Delhi, Bhopal and Kolkata, at the thresholds of their educational journeys.
In 1997-98, Raqs also produced a 13 part television documentary series ‘Growing Up’ for Doordarshan’s Channel 3, which reflected on the childhoods and adolescences of 13 important public personalities - artists, writers, scientists, psychologists, social scientists, puppeteers and theatre directors. (Arpana Caur & Ajeet Cour, Zohra Sehgal, Ebrahim Alkazi, Kumar Shahani, Sudhir Kakar, Veena Das, Dadi Pudumjee, Manjula Padmanabhan, Qurratulain Hyder, Krishen Khanna, Jayant Narlikar, Pandit Jasraj and Madhavi Mudgal)
Early 21st Century
Around 1998, Raqs felt the need for a more stable base for their practice and to connect, in a sustained way, to other kind of scholarship and practices. It was at this time that they started conversation with Ravi Vasudevan and Ravi Sundaram, who were both faculty at the Centre for the Study of Developing Societies, and began exploring with them the possibility of initiating an inter disciplinary platform for research and practice that would address the urban experience, and specifically, the city of Delhi.
It was this process that led to the formation of the Sarai Programme, which Raqs co-founded at CSDS, in 2000. Their work in Sarai involved editing the Sarai Reader Series (a publication programme), directing the Sarai Media Lab, administering the Sarai Reader List and several other internet list serves, directing the Independent Practice and Research Fellowships, and mentoring the Cybermohalla Hub at Sarai. In this time Sarai became a South Asia’s pioneering public engagement located at the intersection of research, reflection and interventions on new media, urban studies, intellectual property and its discontents, and the politics of information technology, surveillance and censorship.
"It’s not just about putting people in a room together and asking them to curate, it’s about trying to find a geometry of thought, a way of being and expressing together. Sarai was a geometry box, it was a toolkit for making different geometries. One of the things we did was institute a set of independent fellowships. By the end, there were more than 600 fellowships that occupied many different areas of practice, ranging from technology to theatre, to dance, to culture, to contemporary art, to historical research, to archiving..Sarai deliberately created a conversation exploring what it meant to be online between new technologies, as well as finding constant, intensive, frequent possibilities for physical interaction."[3]
From 2000 to 2012, Raqs were primarily based in Sarai, moved eventually to their own studio in the urban village of Shahpur Jat in Delhi, around 2010-2011.
Infra Practices
"Infra is often glossed as ‘below’ a threshold. Here we could be in conversation, or could have initiated or instigated the process, but the authorial impulse is distributed and may not even coalesce into any entity. Here our practice folds within other practices, and develops a stream that is in conversation, yet keeps moving with its own momentum. The associative density that these practices acquire over long periods is unscripted. A cursory glance at the Sarai Readers (01 to 09) over a decade will show how they attracted authors and artists from so many parts of the world, from within inner cities to insulated laboratories, from hospital intensive care units to the raging fields of protests. This sediment is what propels the world around us." [4]
Sarai Reader Series (2001- 2009)
Each issue of Sarai Reader Series is structured around a specific theme and features articles, essays, reviews & criticism, interviews and photographic essays. The Readers are inter-disciplinary and invite and commission writing by practitioners, academics, activists and artists from diverse fields.
Sarai Reader 01: The Public Domain
Sarai Reader 02: The Cities of Everyday Life
Sarai Reader 03: Shaping Technologies
Sarai Reader 04: Crisis/ Media
Cybermohalla Hub (2001- 2013)
Sawda-Ghevra was one of the possible locations for the hub. As the hub began to be fleshed out and gained a fullness of form, the question of its dimensions became important. The simple act of inserting a small place of gathering into the grid, as a building that was neither a house nor a workspace, became a playful thought of reimagining urban life. The hub was from then on imagined on three-by-six meters, which is the standard plot size for a house within the grid of Sawda-Ghevra. Nikolaus Hirsch and Michel Müller were invited by raqs Media Collective to make a 1:1 prototype of the building in “The rest of Now,” part of the international exhibition Manifesta 7 in Bolzano, Italy (in July 2008), where it was realized with students of Akademie der Bildenden Künste Stuttgart. From August 2008, Ankur, with the support of Sarai, initiated dialogues with the Municipal Corporation of Delhi (MCD) to get a long-term lease to construct the hub in Sawda-Ghevra and run it as a public building. Thyssen-Bornemisza Art Contemporary in Vienna came forward with support for the physical realization of the hub in Delhi.
In 2011, a new prototype of the hub was realized in the Louisiana Museum of Modern Art in Copenhagen, as part of the exhibition “Living” curated by Kjeld Kjeldsen, and different considerations towards its actual construction in Delhi were brought to bear in this version. The vision for the hub is constantly evolving, being revised, remade, and reconstituted. The hub could be built anywhere, just as it has been in the last five years of its life: in Stockholm, Bolzano, Vienna, and Copenhagen. And in Delhi it could potentially be built in Burari, Loni, Greater Noida, Sawda-Ghevra, Badarpur, Jharoda, or Dakshinpuri—that is, any context that would be hospitable to it. Cybermohalla Ensemble has been drawing different places across Delhi into its imaginary of the hub, speculating on where it can be made, so it may become a gift to this immense and beautiful city, and fuel imaginations of infrastructures for intellectual and creative life in our contemporary.
"Cybermohalla Ensemble emerged out of an environment — the Cybermohalla environment — which is not only a cluster of physical spaces, but also, critically, a dense conversational milieu that has formed over a decade. The challenge grew as a number of books about projects in urban contexts framed “voices” from within contexts as “experience,” and understanding about their built environments, contexts, and processes as “interpretation” and “knowledge-making.” A mode of urban thinking is becoming current, one that evens out all forms of knowledge other than that of the “expert” as inputs from local, or native, informants. It starts from a premise of equality in the creation of knowledge. Some of the crucial reflections within the conversations towards imagining the hub were on the porous, incremental, and disruptive nature of urban life; the durational, introspective, and challenging terms of intellectual and creative life; and a building as an invitation to being and thinking together. If one has to move beyond the intimation of material conditions of life as the determining factor for what is possible to be said and imagined, it becomes important that the ways we think about what constitutes knowledge, time, and the impulse of creation be made central to the argument of an architecture in the city."[5]
City As Studio (2009-2012)
City as Studio brings together people from a range of social, cultural and media contexts to engage creatively with the local rhythms of a place. The studios set in motion collaborative practices in contexts of unequal and contested urban environments that culminate in exhibitions, events that creatively intervene in the public life of our city through multiple media forms. The temporary City Studios in different parts of Delhi are imagined as generative environments that create contexts for innovation and experimentation in areas of dense intersections of social, technological and cultural forces. The project culminates in 3 studios in 3 years, each with specific durations of pre‐production, studio time and post‐production.
Sarai Reader 09: Projections
Time
Raqs Media Collective's pre-occupation with time and the metaphorical possibilities of horology offers a working mill of ideas that face the future and a way of reading contemporaneity; a polyphony on the question of ‘how to be with time’.
Gatherings
"We are interested in looking within the “arena” at infrastructures and relationships that bring people together, as well as the knowledge, sentiments, thresholds, and affects that are produced from it." [3]
Hubris
Coronation Park (2015)
For All the World’s Futures, curated by Okwui Enwezor, 56th International Art Exhibition, La Biennale di Venezia (2015), Raqs interrupted the Giardini within Coronation Park, an assemblage of plinths, sculptures and plaques that invoked the aesthetic of public garden sculptures. The sculptures are fragments of ceremonial regalia, residues of authoritative stances, and the accoutrements of dematerialized power —and they commemorate neither victory nor defeat. They offer nine meditations on hubris.
Coronation Park echoes and amplifies the accidental epiphany that Raqs experienced a long time ago about the nature of power at the eponymous derelict quasi-ceremonial space where relics of the British Raj are kept for the consideration of an absent public at the outskirts of Delhi.
Raqs proposed an itinerary through the Giardini, where the structures constituted a series of ‘stations’ that invite the viewer to reflect on the inner life of power. These formations are annotated by statements inscribed on circular faux marble plaques, adapted from George Orwell’s parable about the recognition of the brittleness of Imperial authority, the essay, ‘Shooting an Elephant’.
Emperor's Old Clothes & Hollowgram (2017)
Every child who has had a passing acquaintance with the legacy of Hans Christian Andersen knows the story of the ‘Emperor’s New Clothes’. It is a great story — it also makes for one of the sharpest parables on the operations of constituted power. Only the child in the story can see the fact that the wielder of power is naked. Not even the emperor is aware of his own nakedness, because power often isn’t.We all know that one of the ways in which power acts is through the optic of how it wants to be seen. We too can choose to see the raiment left behind and deduce that the emperor, perhaps, is naked."[7]
"Every monument has one foot in ephemera.
And, sometimes, that foot slips.
Monuments fall.
A robe, frozen, and empty of the figure it had clothed.
In search of a new costume designer or perhaps a sudden awareness of nakedness?
Andersen’s child appears from anywhere. He calls out.
The sovereign is naked.
A petrified fancy-dress power turned into a hollow telegram from the future.
A melting hologram." [8]
"Very little remains when the apparatus, the machine of authority, gets taken apart. It is a void, a spectral non-thing. What after this hollowing out of power? The “Hollowgram” thinks this through in immaterial form, through a play and projection of light. It is a ghostly echoof a sculpted robe that once adornedthe icon of an Imperial personage in Delhi."[9]
Para Practices
Major Exhibitions
2023 1980 in Parallax, Jencks Foundation at The Cosmic House, London
2021 The Laughter of Tears, Kunstverein Braunschweig
2020 The Pandemic Circle, Stamps Gallery, Michigan
2019 Pamphilos, Fast Forward Festival, Onassis Foundation, Athens
2019 Still More World, Mathaf, Arab Museum of Modern Art, Doha, Qatar
2019 Spinal, Frith Street Gallery, London
2019 Provisions, Project 88, Mumbai
2018 Not Yet At Ease, (14-18 Now) Firstsite, Colchester, Essex
2018 Raqs Media Collective, K21, Museum for 21st Century Art, Dusseldorf
2018 Provisions for Everybody, solo project for AV Festival, Newcastle upon Tyne
2017 Hollowgram, Serpentine Gallery Outdoors, London
2017 Twilight Language, The Whitworth, The University of Manchester, Manchester
2017 Passwords for Time Travel, remaimodern.org
2016 Thicket, Tate Exchange, Tate Modern, London
2016 Happen-stances, Project Space Plus, The University of Lincoln, Lincoln
2015 Art in the Age of Collective Intelligence, Laumeier Sculpture Park, St Louis
2015 It’s Possible Because It’s Possible, Fundacion PROA, Buenos Aires
2015 Luminous Will, School of the Museum of Fine Arts (SMFA), Boston
2015 A Myriad Marginalia, Rhode Island School of Design (RISD), Providence
2015 It’s Possible Because It’s Possible, Museo Universitario Arte Contemporaneo, Mexico
2014 Untimely Calendar, National Gallery of Modern Art (NGMA), New Delhi
2014 Corrections to the First Draft of History, Frith Street Gallery, London
2014 It’s Possible Because It’s Possible, Centro de Arte Dos de Mayos (CA2M), Madrid
2014 A Sublime Economy of Means, tranzitdisplay, Prague
2013 Strikes at Time, Museum An de Stroom, Antwerp (for Europalia)
2013 Extra Time, Chronus Centre, Shanghai
2013 Raqs Media Collective: Black Box, Baltimore Museum of Art
2013 The House of Everything and Nothing, 24 Jorbagh for Outset, New Delhi
2012 A Phrase, Not A Word, Nature Morte Gallery, Delhi
2012 The Great Bare Mat and Constellation, Isabel Stewart Gardner Museum, Boston
2012 Primary Education of the Auto-didact, Audain Gallery, Simon Fraser University, Vancouver
2012 An Afternoon Unregistered on the Richter Scale, Photographers’ Gallery, London
2012 Guess Work, Frith Street Gallery, London
2012 Reverse Engineering, Nature Morte, Berlin
2012 A Different Gravity, Solo Booth, India Art Fair
2011 Reading Light, Siege du Parti Communiste Francaise, Festival d’Automne, Paris
2011 Surjection, Art Gallery York University, Toronto, Canada
2011 Premonition, Experimenter Gallery, Kolkata
2010 The Capital of Accumulation ++, Project 88, Mumbai
2010 The Surface of Each Day is a Different Planet, E-flux Space, New York
2010 The Capital of Accumulation, Museum of Modern Art, Warsaw
2010 The Capital of Accumulation, HAU Theater, Berlin
2010 Things that Happen while Falling in Love, The Baltic, Newcastle
2009 The Surface of Each Day is a Different Planet, Tate Britain, London
2009 Escapement, Frith Street Gallery, London
2009 When the Scales fall from Your Eyes, Ikon Gallery, Birmingham
2009 Decomposition, Asia Art Archive, Hong Kong
2006 The KD Vyas Correspondence, Vol.1, Museum of Communications, Frankfurt
2006 There Has Been a Change of Plan, Nature Morte Gallery, New Delhi
2004 The Impostor in the Waiting Room, Bose Pacia Gallery, New York
2004 The Wherehouse, Palais des Beaux Arts, Brussels
2004 The Listening Room, Das TAT, Frankfurt
Curatorial Projects
Hungry for Time (2022)
"..the question of both ‘epistemic’ and ‘disobedience’, and the two together, can come into motion at a collective moment of rethinking the world, drawing in both the individual experiential, and the planetary. The concept comes to us via Walter Mignolo, and he says that to him it comes from a 1991 essay by the Peruvian sociologist and thinker, Aníbal Quijiano. To us this relay is important to keep in movement. Epistemic disobedience seeks to call into question the way in which things are settled through a combination of taste and violence, and become almost invisible as habit. ‘De-habiting’ is always possible, but needs a devising of procedures to activate. The scale here, again, could be minor or seismic."[10] If we are to believe the writer Paul Valéry, who said that a critic should try to discover what an artist attempted to do and then judge their work according to the artist’s own standards, the audience’s irritation might well indicate success for Raqs. After all, the emblem for Hungry for Time is the fly, a “potential agent of contagion,” “interruption,” “derangement,” and irritation, as Raqs frames it. A large fly is depicted on the wall of the first room and appears regularly in an exhibition which is structured into 11 unnamed “scenes” complete with pro—and epilogue. - Klaus Speidel, The Brooklyn Rail [11]
Afterglow: Yokohama Triennale 2020, Yokohama, Japan
2019-2020 Five Million Incidents, Goethe Institute, Delhi & Kolkata
2018 In the Open or in Stealth, MACBA, Barcelona
2017 Specters of Communism: A Festival on the Revolutionary Century, Haus der Kunst, Munich, Germany
2016 11th Shanghai Biennale, Power Station of Art, Shanghai
2014 INSERT2014, Mati Ghar, IGNCA, New Delhi
2012 August – 2013 April Sarai Reader 09: The Exhibition, Devi Art Foundation, Gurgaon
2012 The Absent Photograph, “Photo Espana”, Online aspect
2008 Steps Away from Oblivion, “Indian Highway”, Serpentine Gallery, London, Astrup
Fearnley Museum, Oslo (2009), Herning Kunstmuseum, Denmark (2010), MAC,
Lyon (2011), MAXXI, Rome (2011), Beijing (2012).
Independent show at Lund Konsthalle (November 2009)
2008 The Rest of Now, Manifesta 7, Sud Tyrol/Trentino Alto Adige, Italy
2008 Scenarios, Manifesta 7, Sud Tyrol/Trentino Alto Adige, Italy (co-curated with Adam Budak,
Anselm Franke, Hila Peleg)
2007 Building Sight, Watermans Gallery, London
2006 Building Sight, On Difference #2, Kunstverein Stuttgart
Public Art Projects
2023 The waves are rising Sea Change: New Climate Stories For The Royal Docks by Invisible Dust,
London
2022 Children’s game (“Time Travel”) for school children in Poland, “Primary Forms”,
Museum of Modern Art in Warsaw
2020 do it (home), Independent Curators International (ICI), New York (Online)
2020 Why not ask again - Rubber stamp, Mail Art Project, la Galerie Imaginaire
2019 The Course of Love, Setouchi Triennale, Honjima Island, Japan
2017 Blood of Stars for Extracts from a Future History, Lulea, Sweden
2017 Utsushimi, Oku-Noto Triennale, Suzu City, Japan
2017 Fourth Plinth Shortlist, The National Gallery, London
2016 Perhaps (An Investigation Outside the Laws of Thought), The Brayford Pool, Lincoln
2016 However Incongruous, Yorkshire Sculpture Park, UK
2015 Coronation Park, Venice Biennale
2015 If the World is a Fair Place, Laumeier Sculpture Park, St Louis
2014 Meanwhile | Elsewhere, Dhaka Art Summit
2014 The Vertebrae of Knowledge, Instal Hope, Gothenburg Airport
2013 The Auto-didact’s Transport, Gwangju Folly II, Gwangju
2013 How to Get from Here to There, Visual Motif, Festwochen Vienna
2013 The Museum of Lost Constellations, Time Memory and Representation,
The Royal Observatory, Stockholm
2012 The Fruits of Labour, for REAKT: Olhares e Processos, Guimares, Portugal
2012 Primary Education of the Autodidact and Robin Hood of Wisdom for the Copenhagen Art Festival,
Copenhagen, Denmark
2012 Whenever the Heart Skips a Beat (Print), 30 billboards in the 48 SHEET Billboard
Project, Birmingham
2012 The Translator’s Silence, laser-incised paper takeaways, Lines of Control,
Johnson Museum, Ithaca, 2012
2011 More Salt in Your Tears, Baltic Sea
2010 Five Uneasy Pieces, Anyang Public Art Project, Seoul, Korea
2009 Participation in a competition-by-invitation for proposing a piece of public art in a square
in central Oslo.
2008 Unusually adrift along the shoreline, Neighbourhood Secrets, Stavanger/Sandnes
2008 Three Cubic Conundrums, paper story cubes for takeaway, Proboscis, London, 2008
2006 Please do not touch the work of art, postcards, Nature Morte, Delhi, 2006
2005 On the Question of Standards, while considering freedom of speech, after Duchamp,
postcards for Utopia Station, Das TAT, Frankfurt, 2005
2003 Utopia is a Hearing Aid, Posters for Utopia Station, Venice Biennale, 2003
2002 Point D’Ironie, Issue # 28
Select Publications
2022 Hungry for Time, book accompanying the exhibition at the Vienna Academy of Art, Spector
Books, June, 2023 ISBN: 9783959055567
2020 Afterglow, catalog of the Yokohama Triennale 2020, Yokohama Museum of Art
2020 Sourcebook, Yokohama Triennale 2020, Yokohama Museum of Art[12]
2018: Raqs Media Collective: Everything Else is Ordinary, Ed. Susanne Gaensheimer, Kerber Verlag, Berlin
2017: Twilight Language, Whitworth Art Gallery
2017: We Are Here, But Is It Now? Contemporary Conditions Series, Eds. Jacob Lund & Geoff Cox
Sternberg Press. Berlin & New York,
2016: Why not ask again, multiple publications, Shanghai Biennale, Power Station of Art
2015: Lessons, Reminders, Lessons, Akademie X: Lessons in Art + Life, Phaidon Books, London
2015: Untimely Calendar, Ed. Shveta Sarda with Raqs Media Collective, National Gallery of Modern Art, New Delhi
2014: Casebook, Ed. Philip Monk, Art Gallery of York University, Toronto,
2010: Seepage, Anthology of Raqs’ essays, Sternberg Press, Berlin + New York
Art Festivals
Raqs Media Collective has been showing in art festivals across the globe including Documenta 11, Kassel (2022) curated by Okui Enwesor, Utopia Station & The Structure of Survival, 50th Venice Biennale, Venice curated by Molly Nesbit, Rirkrit Tiravanija and Hans Ulrich Obrist (2003); Do you Believe in Reality?, Taipei Beinnial, Taipei, Taiwan (2004); International 04, Tate Gallery Café, Liverpool Biennial, Liverpool (2004); Beyond, 2nd Guangzhou Triennial, Guangzhou (2005); Icon: India Contemporary, 51st Venice Biennale, Venice (2005); Zones of Contact, 15th Biennale of Sydney, Museum of Contemporary Art, Sydney Artistic Director: Dr Charles Merewether; Janken: The Power of Chance, Ogaki Biennale of New Media Art, Ogaki (2006); Not Only Possible, But Also Necessary: Optimism in the Age of Global War, 10th Istanbul Biennial (2007); Sao Paulo Biennale, Sao Paulo, Brazil (2010); Shanghai Biennale, Shanghai, China (2010); Momentum: Nordic Biennial, Moss, Norway (2011); Medi(t)ation: Asian Art Biennial, Taichung, Taiwan (2011); 2nd Ural Industrial Biennial of Contemporary Art, Ekaterinaberg, Russia (2012) Bandung Pavilion, Shanghai Biennale, Shanghai (2012); Re:Emerge Sharjah Biennale, Sharjah (2013); Fear and Understanding, Bucharest Biennial, Bucharest (2014); Agitationism, Ireland Biennale, Limerick, Ireland (with Iswanto Hartono) (2014) All the World’s Futures, curated by Okwui Enwezor, 56th International Art Exhibition, La Biennale di Venezia (2015); The Eighth Climate (What Does Art Do?), 11th Gwangju Biennale, Gwangju, Korea (2016) Superhumanity, 3rd Istanbul Design Biennial, Istanbul (2016); FotoFest 2018 Biennale, Houston, Texas (2018) curated by Sunil Gupta; Utsushimi, Oku-Noto Triennale, Suzu City, Japan (2017); The Course of Love, Setouchi Triennale, Honjima Island, Japan (2019); The Poetics of Reason, Lisbon Architecture Triennale, Lisbon (2019); Kyiv Biennale, Kyiv, Ukraine (2019); Sea Art Festival, Busan Biennale, Korea (2021); Being Theoria, Hangzhou Triennial of Fibre Art, Zhejian Museum, China (2022)
References
- ↑ Emmerling, Leonhard. "Raqs Media Collective - Everything else is ordinary". An introduction into the artistic practice of Raqs Media Collective.
- ↑ "humanities underground » Off Modern: A Conversation with Raqs". Retrieved 2023-07-11.
- ↑ 3.0 3.1 Media Collective, Raqs (2022–2023). Practising Collectivity: What is possible and not yet forbidden? (PDF). Germany: Ute Müller-Tischler, Department Manager of the District of Mitte, Berlin I Director of CAMPI and Co-Founder of CURARE Solvej Helweg Ovesen, Director of Studies (CURARE Course Management & Concept) I Co-founder of CURARE.
- ↑ "INFRA-PRACTICES". Retrieved 2023-07-18.
- ↑ Hirsch; Sarda, Shveta, eds. (2008). Cybermohalla Hub (PDF). New Delhi: Sarai-CSDS and Sternberg Press. ISBN 978-93-82388-00-5.
- ↑ City, As Studio (2011). CITY AS STUDIO (PDF). New Delhi: The Sarai Programme Centre for the Study of Developing Societies. ISBN 978-81-905853-5-4.
- ↑ "The Emperor's Old Clothes by Raqs Media Collective". fine print. Retrieved 2023-07-17.
- ↑ Media Collective, Raqs (March 2023). ""History is Hubris in Drag", #Issue 24, Monuments Must Fall, Conversation Piece convened by Edwin Coomasaru". British Art Studies.
{{cite web}}: CS1 maint: url-status (link) - ↑ https://works.raqsmediacollective.net/index.php/2017/08/06/hollowgram-2/
- ↑ world, STIR. "Raqs Media Collective’s recent exhibition in Vienna speaks against ‘hunger for time’". www.stirworld.com. Retrieved 2023-07-17.
- ↑ Speidel, Klaus (2021-12-08). "Raqs Media Collective: HUNGRY FOR TIME". The Brooklyn Rail. Retrieved 2023-07-17.
- ↑ "SHARING OUR SOURCES". Yokohama Triennale 2020 “Afterglow” (in 日本語). Retrieved 2023-07-17.
External links
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