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Text: Nancy Adajania
The Registry of Things Past: 'Neither you are aware, nor the police'
Conversation: Madhusudhanan and T. V. Santhosh
228 pages with more than 161 colour plates
An internationally acclaimed film-maker and artist, Madhusudhanan’s artistic practice flows seamlessly across media. His fascination with images, especially the advent of the moving image and its place in human history, is refl ected in a series of fi lms, paintings, drawings, video art and sculptural installations. The feature film ‘Bioscope’ (2008) is one of his foremost works. It is based on the journey of the then new art form of cinema during the colonial India. He is deeply concerned with issues of war, colonisation, India’s fi lm history and manmade borders. Marxism and Buddhism have been decisive infl uences on his art. ‘The Marx Archive: The Logic of Disappearance’ is an ongoing project comprising of drawings, sculptural installations and video. From this series, 90 charcoal drawings were shown at the Kochi Muziris Biennale, 2014, curated by Jitish Kallat. Selection from the same series and a new series called ‘The Penal Colony’ were shown at the Venice Biennale, 2015, curated by Okwui Enwezor. His fi lms have been awarded several international and national awards and have been shown extensively in film festivals, art galleries, museums, including Museum of Modern Art (MoMA), New York.
Nancy Adajania is
a cultural theorist and curator based in Bombay. Her book, The
Thirteenth Place: Positionality as Critique in the Art of Navjot
Altaf, which combines an art historical perspective with a politics
of culture approach, was published by The Guild, Bombay, in 2016.
Her monographic essay, ‘Obey the little laws and break the great
ones: A life in feminism’, has been recently published in Arc Silt
Dive: The Works of Sheba Chhachhi (Tulika and Volte Gallery,
Delhi/Bombay, 2016). Adajania has written extensively on the works
of four generations of Indian women artists over the last two
decades. Adajania was Joint Artistic Director of the 9th Gwangju
Biennale (2012) and has curated a number of exhibitions including
‘No Parsi is an Island’ (National Gallery of Modern Art, Delhi,
2016), which retrieves artistic positions that have been
marginalised from canonical accounts of Indian art history, and a
cycle of video art for ‘Sights and Sounds: Global Film and Video’,
Jewish Museum, New York (2015). In 2014, she curated the hybrid
exhibition-publication project ‘Sacred/Scared’ (Latitude 28 and TAKE
on Art magazine, Delhi), interweaving the expressive with the
discursive by linking the exhibition to a transdisciplinary
T. V. Santhosh
was born in Kerala. He received his graduate degree with
specialisation in sculpture from Santiniketan and Masters in
sculpture from M. S. University, Baroda. Santhosh’s works have been
shown widely in Museums and Biennales including 56th Venice
Biennale; Kiran Nadar Museum of Art, New Delhi; Kochi Muziris
Biennale; Singapore Art Museum, Singapore; G.S.K. Contemporary show,
Royal Academy of arts, London; Havana Biennial and 4th Moscow
Biennale, among many others.
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