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How green is my valley

The grid of 14 photographs and video Is the expression from my being in Kashmir on August 5th, 2019 when Article 370 was scraped and the communication blockade was imposed which lead to the migration of thousands of youth to the main land reminded me of my youth when I left the valley my native place three decades back due to political upsurge /migration.

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Sclupture / Zuljinah, Serendipity arts festival at Goa -2017

A major presence in the annual Shi’a commemoration of the battle of Karbala, Zuljanah was Imam Hussein’s horse. Zuljanah was raised by the Imam’s grandfather, the Prophet Muhammad. After Imam Hussein and his family had been martyred by the forces of the tyrant Yazid, Zuljanah wandered across the battlefield of Karbala, looking in vain for his rider, his neighing a lament for the fallen, which resonates across the centuries.

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Installation / We’re inside the fire, looking for the dark

This work takes its title from a line in Agha Shahid Ali’s haunting poem, ‘The Country Without a Post Office’. It brings together the voices of Kashmir’s poets like Lal Ded, Ghulam Ahmed, Mahjoor, Allama Iqbal, Saadat Hasan Manto, Dinanath Nadim, and Agha Shahid Ali. How does the poetic voice reach out of, and above, untold and untellable suffering, strife, and horrors

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Installation / Country without a Post Office at Serendipity arts festival Goa-2017

Inspired by Agha Shahid Ali’s poem, ‘The Country Without a Post Office’, this work invokes the missives unsent, the appeals unheard, the letters unread in a situation where rhetoric and violence have overtaken the possibility of establishing common ground and restoring human communion.

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Installation / A place for repose Kochi Biennale -2018

Veer Munshi has addressed a range of subjects in the course of an artistic career that spans 17 years and has been conducted in several cities, including Baroda, Srinagar, Bombay and New Delhi.

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Installation / Serenity of dissolution, Invited project at India Art Fair -2015

Installation of toppled house is reminder of what was lost in the recent flood in that state .The heritage house having vernacular architecture of medieval times can be entered from its base, and inside are a multitude of small portraits reflecting those affected by the flood . A video at the far end of the interior is a meditation on various kinds of loss connected with Kashmir

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Installation / Protected innocense in false dichotamy

Whispers of silence hearing the truth in quiet moments-resin wood plastic-60/4040inches -2019 at Bikaner house curated by Meena Vari

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Drawings / Shrapnel

An environment that draws the viewer into the simulation of a conflict zone, ‘The Chamber’ has evolved organically from Veer Munshi’s paintings about the transmogrification of everyday life through civil strife, terror and endemic violence.

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Drawings /

Painted to connect” during the ravaging floods of September 2014 have inflicted unprecedented loss of life and property in Kashmir .“I remember getting disconnected from the people of valley for many days.

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Installations / Burial- at Smart Museum Chicago-2014

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Videos /

‘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. Through one channel, which remains deceptively static, Munshi runs an animation sequence that tracks the gradual burning-down of a grand old mansion from his ‘Pandit Houses’ archive.

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Photographs / From ‘Pandit Houses’ archive

Veer Munshi’s ‘Pandit Houses’ is an ongoing photographic archive. It presents stark documentary evidence, without annotation or comment, of the erasure of the Kashmiri Pandit minority from the life of the Valley. This is the tragic outcome of a combination of factors: separatist violence and intolerance, the cynical indifference of the State, the breakdown of trust between communities.

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Paintings / Encounter

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Digital works /

It is reference to endangered animal deer called Hangul in Kashmir which is at the verge of extinct, painted against the cityscape of the valley, its horns grown in wilderness looking to return to the roots of belonging where the inhabitants once cherished the humanity and composite culture co-relates to mass migration of the minority community who fled from their beloved homes due to political unrest ‘yearning to return.

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Paintings / Zodiac Series

These works are in startling contrast to the direct frontality of Veer Munshi’s current series of paintings .Munshi uses the languages of appropriation-delving into inter-related fields of portraiture, pop iconicity, and calander art. He also makes, forays into art history to evoke the climatic points of recognizable artists and their styles, to create hybrid narratives, Munshi uses the Zodaic to pick and anoint his gallery of icons .

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Paintings/ Exile

Exile is strangely compelling to think about but terrible to experience. It is the unhealable rift between a human being and native place, between the self and its true home; its essential sadness can never be surmounted.

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Curatorial Projects

During our sojourn on this earth, as we journey through life, we often feel we have come to a blind-end having lost our directions. When you are caught between two conflicting ideologies, it becomes a question of being caught between Scylla and Charybdis.

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