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Critical Writing Ensemble

Curated By Katya García-Antón, Antonio Cataldo, Diana Campbell, Chandrika Grover And Bhavna Kakar


“to reshape some histories, to bring back the forgotten others, to reassess and alter the already hazily known, to redefine some standards of writing and our understanding, thoughts and feelings of an era lost. More importantly, to allow this man to breathe his words […] Memory, collectively lost, can now be somewhat regained.”

These thoughts are taken from the last pages of the publication The Art Critic dedicated to the Burmese born, India based critic and artist Richard Bartholomew. The words come from Bartholomew´s son Pablo, and they eloquently comment on the power of his father’s archive, in particular his writing, to critically build different pasts. Bartholomew’s thoughts do more than address the urgent need to fortify the interlinking of art historical narratives - many forgotten or simply unknown - within the South Asia region, but they inspire us to consider their impact beyond it. And they do more, since they demand that we persevere in new ways of nurturing critique that will strengthen regional histories of immense richness to the world.

To do so we must nurture structures of empowerment, knowledge sharing and production, within which micro-histories will not just claim their place within macro-histories but also contribute to their revitalisation.

It is on the wings of this impulse that Diana Campbell Betancourt, Artistic Director of the Dhaka Art Summit, together with Katya García-Antón, Director and Curator of OCA, Office of Contemporary Art Norway, Chandrika Grover Ralleigh, Head of Liaison Office India of the Swiss Arts Council – Pro Helvetia, and Bhavna Kakar, Director of Take on Art Magazine are launched the CRITICAL WRITING ENSEMBLE as part of the Dhaka Art Summit 2016. The project was curated by Katya García-Antón, Director and Curator of OCA, with the collaboration of Antonio Cataldo, Senior Programmer of OCA. Research into the processes and structures that could help to empower writers today has been a part of the curatorial practice of Katya García-Antón in recent years. She was commissioned by Pro Helvetia – Swiss Arts Council in 2012-13 to devise a programme for the discussion and activation of critical art writing in Switzerland involving cross-generation peers across the linguistic regions and traditions of the country. CWE has drawn from this valuable experience, repositioning previous thoughts and posing new questions within the context of the Dhaka Art Summit, as well as the histories and currencies of the South Asia region. CWE took a cross-regional approach and was developed in collaboration with Bhavna Kakar, who in addition to convening with the peers in Dhaka, also developed CWE-1 in an official partnership with Maharaja Sayajirao University of Baroda, by organising a series of discussions and workshops amongst regional peers during the month of December 2015 in the lead-up to CWE II at the Summit. Finally, in 2017, CWE will be developed as a further iteration within the context of Nordic Europe through a programme held in OCA, Oslo.

CWE therefore brings together peers from the South Asia region and across the globe, into different working constellations to share writing histories and knowledge with each other, experiment together, and produce new critical impulses regarding art writing, which will be compiled in a specially dedicated publication with wide international distribution.

Such an endeavour is positioned within a local therefore as much as a global framework, in more ways than one, for not only is this a project of some urgency regionally, it reminds us of the fact the crisis is a global one. Art writing has for some time endured challenges which vary in nature across the world. In some parts there are fewer places in which to write critically and experimentally about art and art history, there is less and less financing for this, there is less and less time; in others whilst platforms for writing may actually be on the rise, their value and impact has declined.

Writing is by nature a lonely endeavour, but under these conditions, art writing is being pushed to the margins and alienated from the central and critical position it should have in our societies, as will the immediate contact it should have with our audiences. If this decline continues, art histories around the world will homogenise and the immense richness and diversity of our cultures, essential to rewrite and re-imagine present and past histories, will lose their critical edge as the very voices that should build it, which should experiment it and reinvent it, disappear over time.


CWE seeks to foster a community of art writing peers working together. Breaking the isolation that characterises much writing practice, the platform hopes to create a lively environment for intellectual exchange.

CWE seeks to connect art writers experience and knowledge of regional and national writing histories, across the South Asian region and other regions globally.

CWE II seeks to develop these relations through a four-day platform of presentations, panel discussions, lecture performances, group debates and readings, within the context of the Dhaka Art Summit, its exhibitions and talks programmes.

CWE views art writing as a practice in its own right. Writing in general is strongly shaped by the contexts in which it is practiced and where it appears, and so the platform will consider discussing writing in a variety of historical and formal contexts.

CWE counted on access to the Asia Art Archive that was on site in Dhaka.

CWE will publish the material presented during, and derived from these sessions and distribute it internationally by Mousse Publishing. The publication will include a variety of contributions from all peers.

Session 1 Discussion, part 2

Al Fresco – Writing Within and Against the Art School

Date: 3 February 2016, 3.30pm

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

With Yin Ker, Filipa Ramos, Shukla Sawant, Chus Martínez, Anshuman Das Gupta, moderated by Katya García-Antón and Antonio Cataldo

Session 1 Discussion, part 2

Al Fresco – Writing Within and Against the Art School

Date: 3 February 2016, 3.30pm

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

With Yin Ker, Filipa Ramos, Shukla Sawant, Chus Martínez, Anshuman Das Gupta, moderated by Katya García-Antón and Antonio Cataldo

Rebranding Mesopotamia: The Inextinguishable Fire

by Övül Durmusoglu

Date: 7 February 2016, 12.00pm

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

Turkish curator and writer Övül O. Durmusoglu will focus on the flow of information which builds our disjointed everyday life to address the reality of war and its virtual manifestations. Starting with the reading of contemporary cinematic and installative propositions she asks questions which are immanent upon us – Where did Daesh come from? How did the migrant population increase in Europe? Or, how did the populist right-wing Pegidas movement against non-Muslims and immigrants in Germany, started in Dresden, draw thousands of participants in 2014? – to morph on our future from within and outside the arts.

Övül O. Durmusoglu is a curator and writer. She is the director/curator of YAMA screen in Istanbul. She works as a curatorial advisor to Gulsun Karamustafa's monograph in Hamburger Bahnhof in 2016. She also co-leads 'Solar Fantastic’, a research and publication project between Mexico and Turkey. Durmusoglu has recently curated 'Future Queer', the 20th year anniversary exhibition for Kaos GL association in Istanbul. In the past, she acted as the curator of the festival Sofia Contemporary 2013 titled as 'Near, Closer, Together: Exercises for a Common Ground'. She organised different programmes and events as a Goethe Institute fellow at Maybe Education and Public Programs for dOCUMENTA (13).

Indian Printed Matters after Independence

by Devika Singh

Date: 8 February 2016, 12.00pm

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

This presentation by Paris-based art historian and curator Devika Singh (who is currently writing a book on artistic practices in India between 1947 and 1991) takes the title of this session on ‘printed matter’ as a point of departure to discuss a moment when art reviews were a critical site of transaction in India between the public sphere and contemporary art currents. For writers of the immediate post-independence period, few issues mattered more than the relation between India and the outside. Opinionated and polemical, writings on art contributed to debates on the nature of art and its dialogue with history and ideas of the nation. Commenting on Indian art of the 1950s in the pages of the review MARG in 1967, Jaya Appaswamy described this changing decade as an opening onto the world, from ‘local nationalistic idioms to a world international language’. Using the first years of MARG as a central example, the presentation explores this period of radical reconfiguration to ask what its internationalism amounted to and how we can make sense of it today.

Devika Singh is an art historian, critic and curator based in Paris and an affiliated scholar at the Centre of South Asian Studies at the University of Cambridge. She holds a PhD in the History of Art from the University of Cambridge. Singh was the Smuts Research Fellow at Cambridge (2012-2015) and has held fellowships at the French Academy at Rome (Villa Medici), the Freie Universität, Berlin, and the John W. Kluge Center of the Library of Congress, Washington DC. She has published extensively in catalogues, art magazines and journals, including frieze, Art Press, Art Asia Pacific, Art History and Modern Asian Studies and is currently writing a book on art in post-independence India for Reaktion Books. She is also curating several exhibitions on photography in India.

Letters– ‘The long awaited morn’

by Salima Hashmi

Date: 4 February 2016, 12.30pm

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

Artist, cultural writer, activist and founding Dean of School of Visual Arts at the Beaconhouse National University at Lahore Salima Hashmi, will read and comment letters of her father Faiz Ahmed Faiz to address the power of the epistolary form as a critical tool for resistance.

Salima Hashmi is an artist, curator and contemporary art historian. Professor Hashmi was the founding Dean of the School of Visual Art and Design at Beaconhouse National University, Lahore; she taught at the National College of Arts (NCA) Lahore for 31 years and was also Principal of the College for four years. Salima Hashmi has written extensively on the arts. Her book Unveiling the Visible- Lives and Works of Women Artists of Pakistan was published in 2002, and Memories, Myths, Mutations – Contemporary Art of India and Pakistan, co-authored with Yashodhara Dalmia for Oxford University Press, India, was published in 2006.  She has recently edited The Eye Still Seeks – Contemporary Art of Pakistan for Penguin Books India in 2014. In addition, Salima Hashmi curated ‘Hanging Fire’: an exhibition of Pakistani Contemporary Art for Asia Society Museum, New York in 2009, which was accompanied by an extensive catalogue. The Government of Pakistan awarded her the President's Medal for Pride of Performance for Art Education in 1999. And the Australian Council of Art and Design Schools (ACUADS) nominated her as Inaugural International Fellow, for distinguished service to art and design education in 2011.She is a practicing artist and has participated in many group exhibitions and has had six solo exhibitions at a national and international level. She is Council Member of the Human Rights Commission of Pakistan.

Dislocating Authority in a Colonial Art School: critical interventions of a “native” insider

by Dr Shukla Sawant

Date: 3 February 2016, 4.00pm

Venue: 2rd Floor Auditorium, Bangladesh Shilpakala Academy

Focusing on the autobiography, periodical columns and official reports written by Madhev Vishwanath Dhurandhar (1867–1944), a ‘native’ art educator and administrator within the colonial bureaucracy of the Bombay Presidency, the presentation will examine the curricular interventions and nuanced resistance offered by him through his arguments published in English and Marathi to address different language publics. In contrast to the colonial era education policy that insisted on a revivalist typology rendered through language of academic rigor and directed towards design education for the ‘natives,’ Dhurandhar, who was to rise to the position of the headmaster of the venerable Sir Jamsetjee Jeejeebhoy School of Art, while adhering to academic means, was to make his career primarily as an independent ‘History Painter,’ illustrator and landscapist. While Santiniketan’s credentials as a site of Tagore’s resistance project have been dealt with extensively in art historical writing in India, the everyday opposition of figures entangled in colonial institutional structures have received little attention. With her presentation Jawaharlal Nehru University Professor Shukla Sawant, based in Delhi, by drawing attention to rare archival material, hopes to further the discussion on the fissures in colonial structures of power that were chiseled out from within. 

Dr Shukla Sawant is a visual artist and Professor of Visual Studies, School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi where she has taught since 2001. She is also currently visiting faculty at the Bhau Daji Lad Museum, Mumbai. Prior to joining JNU, Shukla Sawant taught for twelve years at the Department of Fine Arts and Art Education Jamia Millia Islamia New Delhi. After graduating in painting from the College of Art, New Delhi she specialised in printmaking at the École nationale supérieure des Beaux-Arts in Paris and later went to the Slade School of Art and Centre for Theoretical Studies, London on a Commonwealth grant. Her research interests include modern and contemporary art, art in colonial India, photography, printmaking and new media. Shukla has ten solo shows to her credit and has published various catalogue essays and contributed chapters in books on Contemporary Indian Art. She is a founding member of the Indian Printmakers’ Guild and was a working group member of Khoj International Artists’ Association between 1998–2005. She has delivered lectures at the NGMA, New Delhi; University of Heidelberg, Germany; New School, New York and Brandeis University; and has participated in the 18th International Congress of Aesthetics, Beijing University, 2010. Her recent publications include: ‘Landscape Painting a Formal Inquiry’ in The Indian Quarterly, ‘A Question of Perspective’, The Indian Quarterly; ‘Instituting Artists’ Collectives: the Bangalore/Bengaluru Experiments with “Solidarity Economies”’, Journal of Transcultural Studies, Heidelberg University; ‘Out Of India: Landscape Painting Beyond the Picturesque Frame’ in Landscape Painting, the Changing Horizon, Delhi Art Gallery, New Delhi, 2012.

Art writing from below: Transversality in the country of mistranslation

by Mustafa Zaman

Date: 8 February 2018, 3.00pm

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

Conceiving it as a site for raising and debating issues, Depart magazine’s editor Mustafa Zaman will offer the raison d’etre behind the art quarterly published from Dhaka, Bangladesh, whose principal aim is providing critical reinforcement to the burgeoning art scene of the country. Zaman will look at the state of art criticism in Bangladesh while simultaneously examining some of the crucial critical interventions as activities from below. Often subject to mistranslation in the artistic circuit, what some writings set in motion is a social/collective reaction, while others pass without notice. Thus, the coincidence of art as a critical praxis and art writing as a critique remains even more misunderstood.

Born in 1968 Mustafa Zaman received his Bachelor of Fine Arts in 1989 from the Institute of Fine Arts (now, Faculty of Fine Arts), University of Dhaka. In the late 1990s Zaman started contributing art reviews to Observer Magazine, a weekly supplement of the daily Observer. He joined The Daily Star in 2002 and worked in the scope of a feature writer for Star Weekend Magazine for three years writing on a gamut of subject matters including art, literature and politics. He has contributed numerous art reviews and articles on major Bangladeshi artists to a number of vernacular dailies including Bhorer Kakoj and Prothom Alo. Zaman is now editor of Depart: a magazine launched in 2010 and focused on contemporary art from South Asia with special emphasis on the emerging art scene of Bangladesh. He has written numerous prefaces to exhibition catalogues of major Bangladeshi young artists.  Zaman’s major curatorial efforts include ‘CrossOver’ (2011–2012), which occasioned two back-to-back workshops and exhibitions planned in collaboration with co-curator Sushma K Bahl, sponsored by Art & Bangladesh in Dhaka, and Art Mall in Delhi, with artists from India and Bangladesh as participants; two solo exhibitions in 2013 including ‘DeReal’ by Bahram, a rickshaw painter who crossed over to mainstream art circle, and ‘Gravity Free World’ by expatriate artist A Rahman; and lastly a retrospective exhibition in 2014 entitled ‘In(site)’ by Kazi Salahuddin Ahmed. As an artist Zaman had his first solo in 2002 where sourced image were placed alongside texts to interrogate the order of knowledge; his second solo showcased his large paintings on canvases in an exhibition in 2010, at Bengal Gallery of Fine Arts; and the third was a playful mix of two and three-dimensional works framed as a series of seemingly disparate yet thematically related conceptual pieces at Alliance Francaise in 2010. His most recent multimedia installations and interactive pieces were presented at Bengal Lounge in 2013, at a duo exhibition with fellow artist Rafiqul Shuvo, under the title ‘Automated Subjectivity’.

Aunohita Mojumdar

Date: 8 February 2018, 11.30am

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

Mojumdar, editor of Himal Magazine, Kathmandu, will speak about the responsibility of the writer and the theatre of war by bringing to light stories of everyday reality in territories of conflict and violence.

Aunohita Mojumdar is the Nepal-based editor of Himal Southasian: the region's only long-form independent print publication. She began her career as a freelance journalist in Delhi in the 1980s, and quickly moved onto explore the relationship between citizens and the state in Punjab and Kashmir. She worked for eight years in Afghanistan, writing on topics that ranged from the role of art in women's lives to the evolving social attitudes towards media, incarceration, and family planning. She has contributed to a wide variety of media that includes but is not limited to Eurasianet, Asia Times, Himal Southasian, The Guardian, The Christian Science Monitor, NRC Handelsblad (Dutch), Sydsvenska (Swedish), Al Jazeera, Times of India and Hindustan Times.

The Artist’s Apostrophe

by Mike Sperlinger

Date: 8 February 2016, 2.30pm

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

One of the features of recent discussions of art has been the proliferation of the possessive artist's apostrophe, in phrases like ‘artists’ moving image’ or ‘artists' writing’. Thinking about the phrase ‘artists’ writing,’ Professor of Theory and Writing at The Academy of Fine Art, KHiO (Oslo, Norway), Mike Sperlinger, will briefly examine some of the practices, histories and institutional dilemmas concealed by that seemingly innocuous grammatical mark – for example, what kind of relationship between the fields of art and writing does it imply? And who is really in charge of making this kind of attribution – to whom does the possessive apostrophe itself really belong? To do that Sperlinger will present a few examples – in particular Tracks: a journal of artists’ writings, a little-known publication edited by the American sculptor Herbert George in the mid-1970s.

Mike Sperlinger is Professor of Writing and Theory at The Academy of Fine Art Oslo. Before that, he worked for more than a decade at LUX: a London-based agency for artists working with the moving image, which he co-founded with Benjamin Cook in 2002. As a writer he has contributed to a variety of publications including Afterall, Art Monthly, Dot Dot Dot, frieze, Radical Philosophy and Texte zur Kunst, as well as catalogue texts for artists including Ed Atkins, Gerard Byrne and Hong-Kai Wang. He has edited publications including Afterthought: New Writing on Conceptual Art (2005) and Kinomuseum: Towards an Artists’ Cinema (2008). He has also curated a number of exhibitions, including ‘Let's Take Back Our Space’ (Focal Point Gallery, 2009) and a solo exhibition by Marianne Wex (Badischer Kunstverein, 2012); and he was the producer of the film Crippled Symmetries by the artist Beatrice Gibson, which won the Baloise Prize at Art Basel in 2015. He is currently working on a volume of selected writings by the late artist Ian White and an anthology of Tracks: a journal of writing by artists published in New York in the 1970s.

The Art Critic

by Rosalyn D’Mello

Date: 4 February 2016, 2.30pm

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

Mumbai based artist and writer Rosalyn D’Mello played a central role in the research that enabled the publication in 2012 of The Art Critic – a historic selection of the art writings of art critic, poet, writer, painter and photographer Richard Bartholomew (b. Tavoy, British Burma, 1926, d. Delhi, India, 1985). D’Mello will present a lecture performance addressing significant points in Bartholomew’s poetic and literary legacy, from the period of the 1950s up to the 1980s that offered an insider’s account of the little known story of Modern Indian Art.

Rosalyn D’Mello is a widely published freelance art writer based in New Delhi. She was the Editor-in-Chief of BLOUIN ARTINFO India. She is a regular contributor to Vogue, Open, Mint Lounge, Art Review, and Art Review Asia.  D’Mello was among five writers nominated for Forbes’s Best Emerging Art Writer Award in 2014 and was also nominated for the inaugural Prudential Eye Art Award for Best Writing on Asian Contemporary Art in 2014. She was the associate editor of The Art Critic, a 600+ page selection of the art writings of Richard Bartholomew from the 1950s to the early 1980s and was a member of the jury of the Prudential Eye Art Award 2015. Her first book, A Handbook For My Lover was published in 2015 by Harper Collins India.

On Curating Webjournal

by Dorothee Richter

Date: 8 February 2018, 12.30pm

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

Drawing from recent research and from her work as an editor of the independent international journal OnCurating, Dorothee Richter, Head of Postgraduate Programme in Curating at the Zurich University of the Arts, Zurich, Switzerland, will discuss hybrid curatorial models to address experiences of working and writing across online and offline platforms.

Dorothee Richter is head of the Postgraduate Programme in Curating and co-founder, with Susanne Clausen, of the Research Platform for Curatorial and Cross-disciplinary Cultural Studies, Practice-Based Doctoral Programme: a cooperation of the Postgraduate Programme in Curating and the Department of Fine Arts, University of Reading. From 1999 to the end of 2003, Richter was artistic director of the Künstlerhaus Bremen where she curated a discursive programme based on feminist issues, urban situations, power relation issues and institutional critique. In 2005 she initiated, in collaboration with Barnaby Drabble, the Postgraduate Studies Programme in Curating. In 2007 she organised the symposium ‘Re-Visions of the Display’ with Jennifer Johns and Sigrid Schade at the Migros Museum in Zurich; in 2010 the ‘Institution as Medium. Curating as Institutional Critique?’ symposium cooperation with Rein Wolfs; and in 2013 the symposium ‘Who is afraid of the public?’ at the ICA London, cooperating with Elke Krasny, Silvia Simoncelli and the University of Reading. She was curator of Fluxus Festival at Cabaret Voltaire in 2012, and worked as curator at the Museum Baerengasse in 2014. In 2008 she initiated the web-journal and has been Publisher since.  Her most recent publication is Fluxus. Kunst gleich Leben? Mythen um Autorschaft, Produktion, Geschlecht und Gemeinschaft (2012) and the new Internet platform which presents current approaches to critical curatorial practice. In 2013 she produced a film together with Ronald Kolb: Flux Us Now! Fluxus Explored with a Camera.

What we left unfinished: Shahrazade in the archives

by Mariam Ghani

Date: 7 February 2016, 11.30am

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

NY-based artist Mariam Ghani will give a performative, part-text-based presentation of the audiovisual material of What We Left Unfinished – a long-term research, film, and dialogue project centered around five unfinished Afghan feature films shot, but never edited, between 1978 and 1992.

Mariam Ghani is an artist, writer, filmmaker and teacher. Her research-based practice spans video, installation, photography, performance, and text. Her exhibitions and screenings include presentations at the Rotterdam, ‘CPH:DOX’ and ‘transmediale’ film festivals, the Sharjah and Liverpool Biennials, dOCUMENTA (13) in Kabul and Kassel, MoMA in New York, the National Gallery in Washington DC, the St. Louis Art Museum, and the CCCB in Barcelona. Recent texts have been published by Creative Time Reports, Foreign Policy, Ibraaz, Triple Canopy, and the Manifesta Journal. Ghani’s recent curatorial projects include the international symposium ‘Radical Archives’, the traveling film programme ‘History of Histories’ and the collaborative exhibition ‘Utopian Pulse’. Ghani has collaborated with artist Chitra Ganesh since 2004 with ‘Index of the Disappeared’: an experimental archive of post-9/11 detentions, deportations, renditions and redactions; with choreographer Erin Kelly since 2006 on the video series ‘Performed Places’; and with media archive collective since 2012 on the ‘Afghan Films’ online archive. Ghani has been awarded the NYFA and Soros Fellowships, grants from Creative Capital, Art Matters, the Graham Foundation, CEC ArtsLink, NYSCA, the Mid-Atlantic Arts Foundation and the Experimental Television Center, and residencies at LMCC, Eyebeam Atelier, Smack Mellon, the Akademie Schloss Solitude, and NYU’s Asian/Pacific/American Institute. She holds a BA in Comparative Literature from NYU and an MFA from SVA. Ghani currently teaches in the Social Practice MFA programme at Queens College and is a Visiting Artist at the Orville H. Schell, Jr. Center for International Human Rights at Yale Law School.

Forms of Address: personal testimony and public engagement

by Geeta Kapur

Date: 7 February 2016, 11.00am

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

Art historian, curator, critic and an expert on contemporary art and theory, noted for her many accomplishments in curating and art criticism, Kapur will lecture on the importance of texts and documentation in witnessing and testimonials of the paradigmatic of the historical, political and ethical dilemmas of our times. Starting from her manuscript ‘Public Address: Citing Installation and Performance Art’ she will question the readability of texts in enhancing historical and political consciousness, and the fragility of such instances when annotating trauma, loss, and mourning.

Geeta Kapur is a Delhi-based art critic and curator. Her essays on alternative modernisms, contemporary art practice and curatorial interventions in India and the global south are widely anthologised. Her books include Contemporary Indian Artists (1978), When Was Modernism: Essays on Contemporary Cultural Practice in India (2000), and Critic’s Compass: Navigating Practice (forthcoming 2016). Kapur's curatorial projects include survey exhibitions at the Lalit Kala Akademi and the National Gallery of Modern Art (Delhi and Mumbai). She co-curated the ‘Festival of India’ exhibition, ‘Contemporary Indian Art’, at the Royal Academy of Arts, London (1982); curated ‘Dispossession’, of Indian artists at the first Johannesburg Biennale (1995); co-curated ‘Bombay/ Mumbai’ for the multi-part exhibition, ‘Century City: Art and Culture in the Modern Metropolis’, Tate Modern, London (2001); curated ‘subTerrain’, for the ‘Body.City’ project, Haus der Kulturen der Welt, Berlin (2003); co-curated ‘DiVerge: Crossing Generations’, Chemould40, 2003; and curated ‘Aesthetic Bind’, five exhibitions in Chemould50, Mumbai (2013–2014). Geeta Kapur has been a member of the International Jury for the biennials in Venice (2005), Dakar (2006), and Sharjah (2007); she was also on the Advisory Committee of Kochi-Muziris Biennale (2012–2013). She was a member of the Asian Art Council, Guggenheim Museum, New York (2007-2009 and 2014); and is currently on the Advisory Board, Asian Art Archive, Hong Kong (since 2009). A founder-editor of Journal of Arts & Ideas, she was on the Advisory Council of Third Text for two decades and is now on the Advisory Board of ArtMargin. She is an editorial advisor and Trustee of Marg. She has lectured in universities and museums worldwide and held Visiting Fellowships at the Indian Institute of Advanced Study, Shimla; Clare Hall, University of Cambridge; Nehru Memorial Museum and Library, Delhi; University of Delhi and Jawaharlal Nehru University, Delhi. She was awarded the Padmashri in 2009.

Earth Poison: Environmental Writing as Militant Research

by Nabil Ahmed

Date: 7 February 2016, 2.00pm

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

Artist, writer, curator, and team member of the Forensic Architecture research project based at Goldsmiths, University of London, Nabil Ahmed will deliver a lecture which combines video, performance and sound art to address the writing of the world as an accumulation of catastrophic events.

Nabil Ahmed is an artist, writer and researcher. His transdisciplinary research explores contemporary status of nature in spatial relation to the law, conflict and development. More recently Ahmed has participated in the Taipei Biennale (2012), Cuenca Biennale (2014) and Haus der Kulturen der Welt in Berlin where he has been part of the two-year ‘Anthropocene Project’ (2013-14) including the ‘Anthropocene Curriculum’ (with the Max Planck Institute for the History of Science in Berlin) that presented a range of artistic and theoretical approaches, concepts and experimental pedagogical projects addressing climate change and widespread environmental transformations. His writings have appeared in academic journals, magazines, and various art and architecture publications recently commissioned by the Office for Contemporary Art Norway (OCA), Third Text, Volume, Architecture and the Paradox of Dissidence (Routlege, 2014), Forensis: The Architecture of Public Truth (Sternberg, 2014) and many others. Ahmed is co-founder of Call and Response, a sound art organisation based in London. He initiated the Earth Sensing Association – a research organisation for the diffusion of knowledge at the intersection of environmental change, conflict and cultural production. He holds a PhD from the Centre for Research Architecture at Goldsmiths, University of London with a doctoral thesis that charted hidden narratives and evidenced the coupling of human conflict with natural environments in Bangladesh and West Papua. He is a member of the ERC funded Forensic Architecture Project at Goldsmiths, which brings together architects, artists, filmmakers, activists, and theorists to undertake research that gathers and presents spatial analysis in legal and political forums. Ahmed is a lecturer at The Cass School of Architecture at London Metropolitan and has previously taught in the department of Visual Cultures at Goldsmiths, University of London. He has been a guest critic at the Architecture Association, University of Westminster Faculty of Architecture and the Royal College of Art, London. He is a fellow at Akademie Schloss Solitude in Stuttgart.

One foot in sea, and one on shore, To one thing constant never.

by Chus Martínez

Date: 3 February 2016, 12.30pm

Venue: 2rd Floor Auditorium, Bangladesh Shilpakala Academy

In recent years Chus Martínez, curator and Head of the Institute of Art at the FHNW Academy of Art and Design, Basel, has reflected upon the relation between art practice, institutions and education in the years to come. For the Ensembles Martínez will give a talk on what she calls the ‘Metabolic Era.’ She will focus on the transformation of life through physical and mental ingestion—from diets to procrastination—and explore how such metabolic processes could potentially inform the future of art.

Chus Martínez has a background in philosophy and art history. Currently she is the Head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland. Before she was the Chief Curator at El Museo del Barrio, New York, and dOCUMENTA (13) Head of Department and Member of Core Agent Group. Previously she was Chief Curator at MACBA, Barcelona (2008–11), Director of the Frankfurter Kunstverein (2005–08), and Artistic Director of Sala Rekalde, Bilbao (2002–05). For the 51st Biennale di Venezia (2005), Martínez curated the National Pavilion of Cyprus, and in 2008 she served as a Curatorial Advisor for the Carnegie International and in 2010 for the 29th Bienal de São Paulo. During her tenure as Director of the Frankfurter Kunstverein she curated solo exhibitions of Wilhelm Sasnal among others; and a series of group exhibitions including ‘Pensée Sauvage' and ‘The Great Game To Come’. She was also the founder of the Deutsche Börse Residency Program for international artists, art writers, and curators.While at MACBA Martínez curated the Thomas Bayrle retrospective, an Otolith Group monographic show, and an exhibition devoted to television, ‘Are you ready for TV?’. In 2008, Martínez was the curator of the Deimantas Narkevicius retrospective exhibition, ‘The Unanimous Life’, at the Museo de Arte Reina Sofia, Madrid, which travelled to major European museums. Martínez lectures and writes regularly including numerous catalogue texts and critical essays, and is a regular contributor to Artforum among other international art journals.

Bagyi Aung Soe (1923/24–1990): Attempts at a Tenable (Hi)Story of a 20th-Century Artist Straddling Nations, Traditions & Disciplines

by Yin Ker

Date: 3 February 2016, 3.00pm

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

Ker, an educator and researcher on Southeast Asian and Buddhist art based in Singapore, will explore the legacy of Śāntiniketan pedagogy in the work of Burma’s most important exponent of modernist practice, painter Bagyi Aung Soe. Following his return to Yangon in 1952 and over the next three decades, through illustration, which, in place of the virtually inexistent gallery and museum, served as the site of avant-garde artistic experimentations, he examined the linguistic rationale of a plethora of pictorial idioms, ranging from the ukiyo-e to cubism. In innovating new idioms, his non-figurative illustrations published in Shumawa Magazine in January and February 1953 provoked a furore which saw traditionalists branding his art as ‘seik-ta-za-pangyi’, meaning psychotic or mad painting – an epithet that would become synonymous with Aung Soe’s works as well as modern art in general in Burma. Ker’s presentation will share the challenges of developing an adapted narrative of his art which defies the conventions of art and art history.

Yin Ker owes her training to the University of Paris-Sorbonne (Paris IV), INALCO (Paris) and the International Theravada Buddhist Missionary University (Yangon). Since 2000, she has been researching on Myanmar’s trailblazer of modern art, Bagyi Aung Soe (1923/24–1990). Her research interests also include the constructs of ‘art’ and ‘art history’ beyond the Euro-American canons; the intersections of ancient and modern methods of knowledge- and image-making; as well as innovatory ways of telling (hi)stories of Buddhist art. Yin Ker continues to paint and to investigate new modes of image-making in parallel with theoretical research within and beyond the discipline of art history. She currently teaches (Hi)stories of Arts from Southeast Asia; aesthetic manifestations of Buddhist devotion and practice; and ways of seeing and thinking about pictorial strategies from different parts of the world at Nanyang Technological University (Singapore). She previously taught Art History at Nalanda University (Rajgir) and Modern and Contemporary Southeast Asian Art at Nanyang Academy of Fine Arts (Singapore), and curated at the Singapore Art Museum (National Gallery Singapore). As an independent curator, writer and translator, Yin Ker worked on ‘Video, an Art, a History, 1965-2010’, a selection from the Centre Pompidou and Singapore Art Museum collections, ‘plAy: Art from Myanmar Today’ and ‘From Callot to Greuze: French Drawings from Weimar’. Her publications include ‘Kin Maung (Bank) and Bagyi Aung Soe: Two Models of ‘Modern’ Myanma Art and the Question of its Emergence’, in Modern Art Quarterly (Taipei Fine Arts Museum, 2014); ‘A Short Story of Bagyi Aung Soe in Five Images’ in Field Notes: Mapping Asia (Asia Art Archive, 2013); ‘L’ « art fou » ou l’art moderne birman selon les illustrations de Bagyi Aung Soe’ in La question de l’art en Asie orientale (Presses de l’Université de Paris-Sorbonne, 2008); and ‘Modern Art According to Bagyi Aung Soe’ in Journal of Burma Studies (North Illinois University, 2006).

Borrowing your eyes, her words, my prose—the memoirs of a memory impaired

by Filipa Ramos

Date: 3 February 2016, 2.30pm

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

Writer and Curator Filipa Ramos (currently editor of Art Agenda, London) will re-imagine traditional paedagogic formats, and standard exhibition review analysis, with a reading relating to an imaginary visit through exhibition we haven’t seen, but which we can experience through the eyes of an absent spectator.

Filipa Ramos was born in Lisbon and is a writer and editor based in London. Currently she is Editor in Chief of art-agenda, commissioning and publishing experimental and rigorous writing on art. She is a lecturer in Art and Moving Image at the Experimental Film MA Programme of Kingston University, and at the MRes Art:Moving Image of Central Saint Martins/University of the Arts, both in London.Ramos is co-curator of ‘Vdrome’: an ongoing programme of screenings of films by visual artists and filmmakers, which she co-founded in 2013 with Edoardo Bonaspetti, Jens Hoffmann, and Andrea Lissoni. Previously she was Associate Editor of Manifesta Journal, curator of the Research Section of dOCUMENTA (13), and coordinator of ‘The Most Beautiful Kunsthalle in the World’ research project at the Antonio Ratti Foundation, Como. Interested in the ways in which art – and in particular moving-image based work – provides a site of encounter for humans and nonhumans, she has written, lectured, and curated exhibitions and film programmes on the topic and is currently editing an anthology of art writing on Animals, to be published this coming Autumn. She has been a guest curator at several public and private institutions and her writing has appeared in diverse journals and catalogues.

Location Location Location

by Sharmini Pereira

Date: 8 February 2016, 2.00pm

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

Pereira will discuss about her organisation Raking Leaves, a complex cosmogony of forms for commissioning and publishing artists' books based in Sri Lanka. During her presentation, Pereira will open up three specific projects, one with an artist from Sri Lanka and the other two with Pakistani artists, and she will address how Raking Leaves has catalysed in relation to the socio-political and art historical context of Sri Lanka.

Sharmini Pereira is the director and founder of Raking Leaves: a leading non-profit independent publishing organisation. In 2013 she founded the Sri Lanka Archive of Contemporary Art, Architecture and Design in Jaffna, Sri Lanka. The archive collects materials in English, Sinhala, and Tamil and host talks, seminars and screenings related to its contents. She curated her first exhibition in Sri Lanka, ‘New Approaches in Contemporary Sri Lankan Art’ in 1994. Selected curatorial projects have included working as co-curator (Sri Lanka) for the Asia Pacific Triennale (1999), co-curator Singapore Biennale (2006), international guest curator Abraaj Capital Art Prize (2011), and as guest curator at Aga Khan Museum where she curated ‘The Garden Of Ideas – Contemporary Art from Pakistan’ (2014). Pereira's writing has appeared in Mousse Magazine, Guggenheim’s Online, Art Asia Pacific, Groundviews and Imprint amongst others. She is currently a nominator for the 2016 Anima/AGO Photography Prize and a judge for the 2017 Geoffrey Bawa Award for Architecture. She was born in 1970 and is based in Sri Lanka and New York.

Towards 2019: The futurity of a location

by Anshuman Das Gupta

Date: 3 February 2016, 12.00pm

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

Das Gupta, curator and faculty member of the Art History department in Kalabhavan, Śāntiniketan (Visva Bharati University) will discuss the singular approach of art paedagogy and its relation to text at Śāntiniketan as envisioned through its founder Rabindranath Tagore. Fostered through a pedagogical programme devised by Tagore’s right-hand man Nandalal Bose (1882–1966), Śāntiniketan represented the sum of ancient Indian theories of aesthetics, Tagore’s humanist and universalist ideals transcending demarcations of national borders, and the debates on nationalist and Pan-Asianist ideologies initiated by many a luminary in the orbit of the ashram: Okakura Kakuzō (1862–1913), Sister Nivedita (1867–1911), and Ananda Coomaraswamy (1877–1947).  Śāntiniketan as a Location/ site has many acquired dimensions to it; and this presentation will also consider the Location / site through some of its receptions by current scholars and past participants thus producing a discursive horizon leading to many possible directions for its future, in particular when looking at its upcoming centenary year in 2019 and beyond.

Anshuman Das Gupta is a curator and currently teaching faculty in the Art History department in Kalabhavan, Santiniketan (Visva Bharati University) and is affiliated with the Curatorial/Knowledge programme in the Department of Visual Cultures at Goldsmiths, University of London as a PhD candidate. Born in 1967 in Kolkata, India, he graduated in Art History from Kala Bhavan, Santiniketan, and received post-graduate degrees in Art History from the Faculty of Fine Arts, MS University, Baroda in 1990 and 1992 respectively. Das Gupta’s essays and seminar papers have been published in several journals and publications such as the Marg publications: Art and Visual Cultures in India 1857–2007 (2009), Akbar Padamsee (in Press, 2009) and Contemporary Indian Sculpture, among others. Das Gupta has taken up several curatorial assignments at various times, which include an exhibition organised by the French Embassy in Delhi on the birth centenary of Antonin Artaud in 1996; Khoj International Artists’ Workshop events in Bengal in 2006; the ‘Ramkinker Baij Centenary’ exhibition in Santiniketan in 2007 (for which occasion he also organised an international seminar); ‘Santhal Family: Positions Around an Indian Sculpture’ for the Museum of Contemporary Art, MuHKA, Antwerp (a collaborative curatorial venture) in 2008. He has participated in around thirty national and international seminars, including ‘Patterns of Reflection: Writing Contemporary Indian Art’ (2009, Santiniketan- Lalit kala and kala Bhavan), ‘Periphery’ in Guwahati, Assam (2009), MuHKA, Antwerp (2008), as well as a seminar organised by ZKM and MMB in Delhi (2008). He was a Joint-Convener, collaborator and speaker in Black House: an international collaboration between artists, curators and architects, with participants from CEPT (Ahmedabad), SPA (Delhi), HCU (Hyderabad) and Dhaka (2015).

Mad heart, be brave

by Nida Ghouse

Date: 4 February 2016, 2.00pm

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

Writer and curator Nida Ghouse has been researching the Soviet-funded multi-lingual Afro-Asian magazine Lotus: a forum for short stories, poetry, reviews of books and literary essays. Lotus was a quarterly magazine that for its time was a ground-breaking literary/artistic cum political expression. The writers of the journal placed themselves in relationship to the broader social and political mechanism of imperial powers. Youssef el Sebai, was the journal’s first editor, and the journal came out of the Afro-Asian Writer’s Association, a group of African and Asian writers who spoke a multitude of languages and how met in Tashkent in 1958. Ten years later this organisation launched a journal called Afro-Asian Writings, which would go on to become Lotus. Lotus was published in Cairo and Beirut and was produced tri-lingually in Arabic, English and French.

Nida Ghouse is a writer and a curator, and is currently Director of Mumbai Art Room. She has worked institutionally as co-curator for the Jehangir Nicholson Art Foundation in 2010; as assistant curator for the Sharjah Biennial in 2011; and as associate curator for the Abraaj Group Art Prize in 2014. Ghouse's curatorial projects include the ‘Kharita Symposium on Urban Trajectories with Pericentre Projects’, ‘Untitled Exhibition #1’ with Padmini Chettur and the Clark House Initiative, ‘14 Proper Nouns’ with Hassan Khan at the Delfina Foundation, ‘In the Desert of Images’ with Melik Ohanian at the Mumbai Art Room, and ‘La presencia del sonido' at the Botín Foundation in Santander. Her ongoing projects include ‘Acoustic Matters’, supported by the India Foundation for the Arts, and ‘Emotional Architecture’, the first publication of which, launched in 2014, We, started by calling it a summer of two fires and a landslide and whose second publication No Fantasy without Protest was published in Cairo in October 2015. Ghouse’s essays and interviews have appeared in publications such as Arab Studies Journal, ArtAsiaPacific, ArteEast, ArtSlant, Bidoun, Ibraaz, and MadaMasr, and in exhibition catalogues of MuKHA in Antwerp, the New Museum in New York, the Museum of Modern Art in Warsaw, Palazzo Grassi in Venice and the Van Abbemuseum in Eindhoven. She was the first recipient of the FICA-Delfina Research Fellowship in partnership with Iniva and Goldsmiths Curatorial/Knowledge PhD programme in London in 2011, and was a resident at Fondazione Spinola Banna per l'Arte in partnership with the Resò3 programme in Turin in 2013.

A Letter From the People

by Chantal Pontbriand

Date: 4 February 2016, 3.00pm

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

Curator, critic and Director of the Museum of Contemporary Art, Toronto, Chantal Pontbriand will discuss how writing, editing, publishing, curating words as well as works are a continuous process in her work that seeks not to make fiction out of reality but to try to see in-between what words and reality have to offer. This way of working and of seeing is closely related to what she thinks the most relevant art practices have to offer. Pontbriand says: ‘Art or art writing is an on-going investigation into the world today and its issues, socio-political as well as individual. Art has relevance if it succeeds in articulating issues, what is to be worked through in order to go beyond what is known, categorized or classified. Art is the unknown. As such, it is of relevance, in producing knowledge, in advancing knowledge. As such, art writing functions as an open letter. A letter which seeks to understand the world and propose that interpretation to others. It should not be however a letter to the people, but taking the form of an investigation, a mapping of emerging ideas, concepts and forms, it is in that sense a “letter from the people”. Our task is not to dictate a pre-formated way of thinking, but to be enabling, in the sense that we, together with others, as this cannot be done alone, seek to see what lies in-between, as that which lies ahead.’

Chantal Pontbriand is a contemporary art curator and critic whose work is based on the exploration of questions of globalisation and artistic heterogeneity. She has curated numerous international contemporary art events: exhibitions, international festivals and international conferences, mainly in photography, video, performance, dance and multimedia installation. She was a founder of PARACHUTE contemporary art magazine in 1975 and acted as publisher/editor until 2007, publishing 125 issues. After curating several major performance events and festivals, she co-founded the FIND (Festival International de Nouvelle Danse), in Montreal and was president and director from 1982–2003. She was appointed Head of Exhibition Research and Development at Tate Modern in London in 2010 and founded PONTBRIAND W.O.R.K.S. [We_Others and Myself_Research_ Knowledge_Systems] in 2012. In 2015, she was appointed CEO-Director of MOCA, the Museum of Contemporary Art in Toronto, and curator and advisor of Demo-Graphics 1 (Greater Toronto Area, May-July 2017).In 2013, she received the Governor General of Canada Award for an Outstanding Contribution in the Visual and Media Arts, in 2014, an Honorary Doctorate from Concordia University, Montreal, and the distinction of Officier de l'Ordre des Arts et Lettres in France (Officer of the Arts and Letters Order of France). Most recent exhibitions include: ‘I See Words, I Hear Voices, Dora Garcia’, The Power Plant, Toronto; ‘Mark Lewis Above and Below’, Le Bal, Paris, 2015; ‘PER/FORM: How To Do Things with[out] Words’, CA2M, Madrid; ‘The Yvonne Rainer Project’, Jeu de Paume, Centre d’art de la Ferme du Buisson, and Palais de Tokyo, Paris; ‘Photography Performs: The Body as the Archive’, Centre de photographie d’Île-de-France (CPIF); co-curated with Agency, ‘Dora Garcia, Of Crimes and Dreams’, Darling Foundry, Montreal, 2014; ‘Higher Powers Command’, Lhoist Collection, 2010; ‘HF|RG [Harun Farocki | Rodney Graham]’, Jeu de Paume, Paris, 2009. Recent publications include: Mutations, Perspectives on Photography, Steidl/Paris Photo, 2011; The Contemporary, The Common: Art in A Globalizing World, Sternberg Press, Berlin, 2013; PER/FORM: How To Do Things with[out] Words, CA2M/Sternberg Press, Madrid/Berlin, 2014; PARACHUTE : The Anthology, JRP/Ringier, Zurich, 2012-2015 (4 Volumes).

Readings from Anthology: Essays or Poems, a book in process

by Quinn Latimer

Date: 4 February 2016, 11.30am

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

Latimer is an American poet and writer based in Basel and Athens, and currently editor-in-chief of publications for documenta 14. Her work pays special attention to the literary format of the letter as a space of criticality and community occasioned by the intimacies of its address. In this session she will read from and discuss the work that comprises Anthology – a forthcoming collection of critical prose, poetry, and more hybrid texts that move between genre, and pull from history letters and fiction. She will specifically explore the form and function of the refrain, its serial ecstasies and political possibilities.

Quinn Latimer is an American poet, critic, and editor based in Basel and Athens. She is the author of Rumored Animals (2012); Sarah Lucas: Describe This Distance (2013); and Film as a Form of Writing: Quinn Latimer Talks to Akram Zaatari (2014). A regular contributor to Artforum and a contributing editor to frieze, her writing also appears in recent publications for Michel Auder, Ida Ekblad, Daniel Gustav Cramer, Joan Jonas, Julia Wachtel, Kelley Walker, and in Time, for MIT Press. Her writings, readings, and video collaborations have been featured widely, including at Chisenhale Gallery, London; Serpentine Galleries, London; CRAC Alsace, Altkirch, France; the German Pavilion, Venice Architecture Biennale, Italy; Kunsthalle Zurich, Switzerland; and Qalandia International, Ramallah/Jerusalem. Additionally, Latimer is coeditor of No Core: Pamela Rosenkranz (2012); Paul Sietsema: Interviews on Films and Works (2012); Olinka, or Where Movement Is Created (2013); and Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder (2014). A Pushcart Prize nominee and a recipient of an Arts Writing Grant from Creative Capitol/Warhol Foundation, Latimer has taught and lectured at Geneva’s Haute école d’art et de design (HEAD); FHNW Academy of Art and Design, Basel; and The Banff Centre, in Alberta, Canada. She is currently Editor-in-Chief of Publications for documenta 14.

Metabolistic Writing

by Maria Lind

Date: 7 February 2016,

Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy

Drawing from her curatorial research on abstraction, and from a number of texts by various intellectuals and artists, Maria Lind, Director of Tensta Konsthall, Stockholm, and Artistic Director of the 2016 Gwangju Biennale, has analysed how in the past few decades economic abstraction was primarily dealt with by art as a subject matter or theme which increasingly mirrored the economic, social and political condition of the world. She also analysed how this system affects spatial and temporal concepts, and the writing of a future within it. In Dhaka, Lind is taking as a starting point the writing of Keller Easterling, Paul B Preciado and Matias Faldbakken, to talk about ‘metabolistic writing.’ Such an approach implies digesting and in other ways dealing with specific material at the same time as the process of writing and the use of language make up a performative and generative way of producing text.

Maria Lind has been the Director of the Tensta Konsthall since 2011 and was appointed as the Artistic Director for the 11th Gwangju Biennale 2016. She was the director of the graduate programme at the Center for Curatorial Studies, Bard College from 2008-10. Before that, she was the director of lASPIS in Stockholm (2005–07) and the director of the Munich Kunstverein (2002–04). Previous to that she was the curator at Moderna Museet in Stockholm (from 1997–2001) and in 1998 co-curated Manifesta 2, Europe’s nomadic biennial of contemporary art. Responsible for the ‘Moderna Museet Projekt', Lind worked with artists on a series of 29 commissions that took place in a temporary project-space, or within or beyond the Museum in Stockholm. She is currently a professor of research at the Art Academy in Oslo. In terms of publications, she is the co-editor of the following books: Curating with Light Luggage (2005) and Collected Newsletter; Taking the Matter into Common Hands: Collaborative Practices in Contemporary Art (2007); European Cultural Policies 2015; and The Greenroom: Reconsidering the Documentary and Contemporary Art (2008). Lind’s recent co-edited publications include Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios (2012); Performing the Curatorial: With and Beyond Art (2012); and Art and the F Word: Reflections on the Browning of Europe (2015), all with Sternberg Press. She edited Abstraction as part of MIT’s and Whitechapel Gallery’s series ‘Documents on Contemporary Art’. In 2010 a selection of Maria Lind’s essays, Selected Maria Lind Writing, spanning from 1997-2010, was published by Sternberg Press, edited by Brian Kuan Wood. Furthermore, Maria Lind won the Walter Hopps Award for Curatorial Achievement in 2009 and was a board member of IKT from 2006–2011.

Notes on Process: Writing a Life

by Belinder Dhanoa

(Read by Sabih Ahmed in Belinder’s absence)

Date: 4 February 2018, 11.00am

Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy

Dhanoa is a writer and an artist, and currently teaches Creative Writing at the School of Culture and Creative Expression at the Ambedkar University, Delhi. With a brief introduction on her singular approach to the writing of a life, Dhanoa will read excerpts from the script she wrote for artist Vivan Sundaram’s exhibition-as-play 409 Ramkinkars that opened in Delhi in the spring of 2015. The performative exhibition paid homage to one of India’s most charismatic artist, Ramkinkar Baij, and his work as innovator of sculptural form in the space, revisiting the creative milieu of sculptor-painter-scenographer-theatre artist Baij.

Sabih is an art historian and currently a Senior Researcher at Asia Art Archive (AAA). With AAA, he has overseen numerous research initiatives pertaining to modern art which include putting together personal archives, digitisation projects, and bibliography compilations of vernacular art writing. Ahmed is stationed in New Delhi and has co-organised and participated in workshops and conferences in various institutions that include the Clark Art Institute Massachusetts, the Humboldt-Universität zu Berlin, Jaffna University, and Jawaharlal Nehru University among others.His recent writings have been published in volumes such as the Sarai Reader and Marg Publications, and he also delivers lectures on art and technology in Ambedkar University's School of Culture and Creative Expression in New Delhi.

Sabih’s research interests include institutional histories of art, and in particular the shaping of the art field through second half of 20th century with changes in infrastructures, technologies, and shifting centres of authority.

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