The focus of Adajania’s writing, research and curatorial interests is the relationship between the artistic imagination and the technological resources and potentialities available to it in any particular society and period. She has proposed several conceptual tools with which to examine the consequences of newness across various sectors of cultural production, including the concepts of the ‘new folkloric imagination’, ‘new context media’, and ‘mediatic realism’. Adajania has reflected, in several essays and lectures, on the aesthetic and political effects of what, following the theorist Paul Virilio, she terms dromomania, an obsession with speed produced by the globalisation of communicative and distributive processes. In another strand of her engagement with the politics of cultural acts, Adajania has addressed the question of redefining public art within the particularity of regional public spheres.
This artwork description has been sourced from Wikipedia.
Nancy Adajania is a cultural theorist and independent curator based in Mumbai. She was joint artistic director of the 9th Gwangju Biennale, 2012, and is a contributor to the FORMER WEST research, conference and exhibition project.
Adajania has written and lectured extensively on art and the public sphere, and transcultural art practices all over the world. Her latest book, ‘The Thirteenth Place: Positionality as Critique in the Art of Navjot Altaf’, was published in 2016. She has curated a number of exhibitions, most recently ‘No Parsi is an Island’ at the National Gallery of Modern Art, New Delhi in 2016. Adajania is the editor of the monograph Shilpa Gupta in 2010 and co-author of The Dialogues Series in 2011. She was research scholar-in-residence at BAK/ basis voor actuele kunst, Utrecht, 2010 and 2013. Adajania is a member of the faculty for the Art Criticism and Theory Course at Jnanapravaha, Mumbai.
This artist bio has been sourced from JNAF.