Based in New Delhi, where it was founded in 1992, Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta) have been highly visible on the international art scene for the last decade. They enjoy playing a plurality of roles, often appearing as artists, occasionally as curators, and sometimes as philosophical agent provocateurs. They create art and films, curate exhibitions, edit books, stage events, collaborate with architects, computer programmers, writers and theatre directors and discover processes that have made deep impacts on contemporary culture in India. Raqs follows its self-declared imperative of ‘kinetic contemplation’ to produce a trajectory that is restless in terms of the forms and methods that it deploys even as it achieves a consistency of speculative procedures.
Raqs have exhibited their works in Documenta 11 in 2002 and the Biennales of Venice, Istanbul, Taipei, Liverpool, Sydney and Sao Paulo, amongst others. Their work has been shown at the Centre Pompidou (Paris), Tate Britain (London), Art Unlimited (Basel), Mori Museum (Tokyo), SALT (Istanbul) and at the Hayward and Serpentine Galleries (London), as well as many other international institutions. In December 2015, the Collective opened Untimely Calendar (Asamayavali), the largest and most wide ranging exhibition of its work to date, spread over 3,200 square meters of Jaipur House at the National Gallery of Modern Art, Delhi, with work spanning over a decade.
Raqs curated “The Rest of Now” for the 7th edition of Manifesta: The European Biennial of Contemporary Art and “Steps Away from Oblivion” for the international roving exhibition “Indian Highway” initiated by The Serpentine Gallery, London, both in 2008. In 2013, they initiated “Sarai Reader 09: The Exhibition,” as a curatorial process of exhibiting making and unmaking. Raqs Media Collective was appointed chief curator of the 11th edition of the Shanghai Biennale opening in November 2016, under the title Why Not Ask Again? Manoeuvres, Disputations and Stories, a phrase that comes from its reading of Indian New Cinema Movement pioneer Ritwik Ghatak’s film Jukti Takko Aar Gappo (Arguments, Counter-Arguments and Stories, 1974).
This work is part of the KHOJ portfolio titled “A Gift for Khoj”.
This description has been sourced from Nature Morte.
Raqs enjoy playing a plurality of roles, often appearing as artists, occasionally as curators, sometimes as philosophical agent provocateurs. They have produced art works, curated exhibitions, edited books, staged events and collaborated with architects, computer programmers, writers and theatre directors.
The bio for the Raqs Media Collective has been sourced from the KHOJ Portfolio .