Anti-Memoirs

This exhibition will engage with a spectrum of ways in which artists in late-colonial, postcolonial and contemporary India have addressed the challenge of a present that is always saturated in and over determined by a past or pasts. Or, as the matter may also be phrased: a spectrum of ways in which they have addressed the challenge of a past or pasts that are continually being reshaped in the present, or even as the present.

In the process, these artists concern themselves with the nature of memory as it is embodied in vigorous, living inheritances – as testimony, as ceremony, as craft lineage, as poetic idiom, as stylisation of place in poetry and song. Curator Ranjit Hoskote will look specifically, at artistic practices that deal with three major thematic emphases: locus, language, and landscape.

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2018

Bearing Points

Curated by Diana Campbell Betancourt
Dhaka Art Summit’18 2nd-10th February, 2018

‘Leaves like Hands of Flame’ (running time 5 min 3 sec) is a two-channel video meditation by Veer Munshi. Its title is taken from a line in a poem by Ranjit Hoskote, which speaks of the chinar.

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2017

Dissensus

Curated by Bhawna Kakar
Gallery Bikaner House, 7th-16th July 17, New Delhi-1

Installation Relics from the Lost Paradise, the Kashmir-born artist Veer Munshi seems to literalize the dictum ‘History is Alive’. Both the reliquary and the coffin are repositories/ resting places for the dead, with the difference that one is configured to the task of animating/ remembrance, the other with that of putting way/ forgetting.

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2015

India Art Fair'15

Supported by: Popular Prakashan
29 January - 1st February, 2015

A tribute to the Kashmir flood victims, Munshi’s installation features an upturned home, replete with hand-carved details characteristic of Kashmiri homes. Inside the house, find Munshi’s water colours depicting a 100 local faces, from the milkman and the press woman to the vegetable vendor.

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