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. While contact with the contents of the former, is deemed salubrious and hence desirable, the thought of exposure to the contents of a grave would engender abject horror and repulsion. Both these objects are charged, albeit differently, with magical properties. One heals while the other haunts. Mobilizing the strong charge of abjection and grim consequence, induced by the imagery of a disinterred grave, the artist, in an emulation of the passion of Heath cliff, offers up for examination a war-torn and dismembered body of Kashmir as a corpus delicti, opening a space for meditation on the protracted strife and the larger question ‘why war?’The audience is invited to take a walk through the graveyard of history and throw themselves open for possession by the undead past and the dying present in a corrective danse macabre. Often times, all that the dead want, is for someone to hear their story before the graph shifts from the paranormal to the normal again.

- Adwait Singh

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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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Curated by Ranjit Hoskote
Serendipity Arts Festival‘17 15th-22nd December 17, Goa

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.

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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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