Raqs Media Collective
Raqs Media Collective is an art collective founded in 1992 by Monica Narula, Jeebesh Bagchi, and Shuddhabrata Sengupta. The word raqs in Persian, Arabic, and Urdu denotes an intensification of awareness and presence attained by whirling, turning, and being in a state of revolution. Raqs take this sense to mean 'kinetic contemplation' and a restless and energetic entanglement with the world, and with time. Raqs practices across several media; making installation, sculpture, video, performance, text, lexica, and curation. Their work finds them at the intersection of contemporary art, philosophical speculation, and historical enquiry.[1]
"The turning and spinning of a phenomenon, story, image, or word until it has lost its old meaning and gained a multitude of previously unknown or overlooked meanings and nuances, finds its equivalent not only in the image of the ecstatic whirling of the Sufi dancer, but also sums up the strategy that informs Raqs in their production of new narratives."[2]
Beginnings
The Collective began in 1993, shortly after Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta graduated from the Mass Communication Research Centre (MCRC) at Jamia Millia Islamia University in Delhi. After this, the three of them worked on occasional 'educational' television programs for the University TV Network, assistantship to documentary filmmaker Pankaj Butalia's Moksh (1993), and writing assignments for the arts pages of daily newspapers.
Raqs' early works included the now lost 16 mm short fiction film - 'Half The World Left, The Universe Left to Comprehend', documentary films, 'Present Imperfect, Future Tense, 1996' (about three young people under 30, as documented by the photographers Jatinder Singh and Gauri Gill), and 'In the Eye of the Fish,1997' (produced by The Foundation for Universal Responsibility of HH, The Dalai Lama, for SPIC-MACAY about three young people in Delhi, Bhopal and Kolkata, at the thresholds of their educational journeys).[3] In 1997-98, Raqs also produced a 13 part television documentary series 'Growing Up' for Doordarshan's Channel 3, which reflected on the childhoods and adolescences of 13 important public personalities.
They started conversation with Ravi Vasudevan and Ravi Sundaram, who were both faculty at the Centre for the Study of Developing Societies, and began exploring with them the possibility of initiating an interdisciplinary platform for research and practice that would address the urban experience, and specifically, the city of Delhi. This led to the formation of the Sarai Programme, which Raqs co-founded at CSDS, in 2000.[4] From 2000 to 2012, Raqs were primarily based in Sarai, before moving to their own studio in the urban village of Shahpur Jat in Delhi, around 2010-2011.
Series of Works
Sarai Reader Series (2001–2009)
Each of the 9 issues of Sarai Reader Series are structured around a specific theme and features articles, essays, reviews & criticism, interviews and photographic essays. The Readers are inter-disciplinary and invite and commission writing by practitioners, academics, activists and artists from diverse fields.
Cybermohalla Ensemble (2001–2013)
The Cybermohalla Project takes on the meaning of the Hindi word mohalla (neighborhood) as a means for talking about one's "place" in the city. It was a network of dispersed labs for experimentation and exploration among young working-class people in different neighbourhoods of the city, that was initiated by Ankur: Society for Alternatives in Education, Delhi and Sarai-CSDS, Delhi in the year 2001.
Over the years, the collective produced a wide range of materials, practices, works and structures.[5] Their significant publications include Bahurupiya Shehr (Rajkamal, Delhi, 2007) and Trickster City (Penguin India, 2010).
City As Studio (2009–2014)
City as Studio brings together people from a range of social, cultural, and media contexts. The studios set in motion collaborative practices in contexts of unequal and contested urban environments that culminate in exhibitions, events that creatively intervene in the public life of the city through multiple media forms. The temporary City Studios in different parts of Delhi culminated in 3 studios in 3 years, each with specific durations of pre‐production, studio time, and post‐production.
Time as a Theme
Raqs Media Collective's preoccupation with time and the metaphorical possibilities of horology reflects in several of their prominent works.
Time Devices
A Day in the Life of Kiribati (2014) was a part of the exhibition Asamayavali/Untimely Calendar at the National Gallery of Modern Art, Delhi. In the work, the numbers on a clock face are replaced instead by emotional states.[6] Similarly, The Ecliptic (2014) presents an inscribed tablet, a bespoke clock, alters the interval between moments with words, light and syncopated impulses of electricity. Sleep, Clock (2018) consisted of two synchronised lenticular fields, clock faces, and text and it was exhibited at Project 88, Mumbai.
Time Gatherings
Meanwhile Elsewhere (2014) is an array of billboards and posters scattered across the urban landscape of Dhaka. Exhibited at Dhaka Art Summit,[7] each billboard shows a clock-face that features words or phrases that relate to each other, possibly in counter-point. Luminous Will (2015), exhibited at School of the Museum of Fine Arts, Boston, grows out of Raqs Media Collective's continued preoccupation with time. The question of what is or can be a 'luminous will' is central to the constellation of works that constituted the exhibition.[8]
Time Interruptions
Escapement (2009) is a horological, or clockmaking term. Like the catch and release of the valves of the heart, which sets up the basic rhythm of life, the escapement of a watch regulates the sense of the flow of time.[9] Raqs Media Collective made The Arc of the Day (2014) specially for Deutsche Bank's reception in their Birmingham office.[10] Composed of thirteen 'clocks' that morph 'time' into emotion, twelve of them plot the path of the sun through the sky. Each clock represents a different city, its position calculated on the moment of equinox and a grid reference.
Gatherings
Raqs is interested in looking "within the arena at infrastructures and relationships that bring people together, as well as the knowledge, sentiments, thresholds, and affects that are produced from it."[4]
21 Personae (2018)
21 Personae is an extension of the 51 Personae project In Barcelona, the project coincides with the In the Open or in Stealth, curated for MACBA by Raqs Media Collective. It explores the urban fabric of society through real-life stories of Barcelona's diverse inhabitants, giving us a glimpse into numerous facets of the city's multifarious surface.[11]
The Necessity of Infinity (2017)
The Necessity of Infinity was a reading performance exhibited at Sharjah Biennale. It recounts the exchanges between Al Beruni and Ibn Sina. Raqs return to this exchange to perform a polemic that foregrounds plenitude, doubt, and the need to set foot on other worlds.
51 Personae (2016)
51 Personae presented 51 dramas that featured real-life scenarios. It sought to engage with audiences on the question of artful living by telling the everyday stories of Shanghai characters at the 11th Shanghai Biennale: Why Not Ask Again: Arguments, Counter-arguments, and Stories (2016).[12]
Bureaux of Raqs and Faqs (2015)
Bureaux of Raqs and Faqs consists of found furniture, index cards, words, plaques, electronic word displays, text, and a scenario. It was exhibited at Museo Universitario Arte Contemporaneo, Mexico City. It takes inspiration from one of the ways in which the word 'Raqs' has been sometimes mistakenly parsed is as the acronym RAQS, 'Rarely Asked Questions', as opposed to 'FAQS' or 'Frequently Asked Questions'.
The Last International (2013)
The Last International presents an installation performed and exhibited at Performa Festival, New York. The performance takes New York's history as an international gathering place for people from all over the world as a starting point, and proposes a moment of coming together.
Primary Education of the Autodidact (2012)
The Primary Education of the Autodidact (2012), commissioned by the Audain Gallery, is out of a series of works by Raqs Media Collective that explores knowledge, power, utterance, and silence. It directly addresses the notion and problematic of the autodidact, and also attests to the autodidacticism of the collective's own diverse body of work and working method.
Time Symposium (2012)
Time Symposium was an event at the Wide Open School in London where a quorum of players face off across a long table over wine in a play of words and thought. Around them is a theater full of listeners and a scenario involving intoxication and conversations about time unravels through the course of the evening.
Archival Practice
"Archives stage a streamlining of the messiness of living into patterns of understanding. They open materials to differing occupancies. The tense ruse that classifies the faintness and hardness of a life's imprints also makes an archive a space that is unsettled and broken."[13]
The Bicyclist who Fell into a Time Cone (2023)
The Bicyclist who fell into a Time Cone, Commissioned by Jencks Foundation at The Cosmic House, United Kingdom (2023), oscillates between fact and fiction while hovering over the year 1980. It presents an investigation into the optics of this strange and specific sensation of time, which has become second nature since 1980. It uses the concept of parallax, which describes the changing perception of objects in relation to their background, based on the position and movement of the viewer.[14]
Unledgered (2021)
This piece was based on Asia Art Archive's research since 2014 into the personal archive of the late Hong Kong–based artist Ha Bik Chuen. It was a part of Portals, Stories, and Other Journeys curated by Michelle Wong at Tai Kwun Contemporary, JC Contemporary, Hong Kong. The letters outlined passage of time and a historical subjectivity that alters the way someone may encounter photographs.[15]
Not Yet at Ease (2018)
Not Yet at Ease includes transcripts of letters and diaries, close readings of medical records and official dispatches, extracts from novels and poetry, accounts of dreams and nightmares, fragments of archival film, photography, and spectral snatches of voices captured in hundred year old sound recordings. It premiered at FirstSite, Colchester as part of the 1914-18 NOW Commissions, and it foregrounds the experiences and testimonies of the soldiers and workers from the Indian Subcontinent who saw action in the First World War.[16]
The Museum of Lost Constellations (2013)
The Museum of Lost Constellations was exhibited at Art of Memory, The Observatory Museum, Bonniers Konsthall, Stockholm (2013) and at Untimely Calendar/Asamayavali, National Gallery of Modern Art (NGMA), New Delhi (2014). It utilises the phenomenon of 'Lost Constellations'. These are constellations fallen into disuse or gone into the exile of astronomical amnesia. The Museum of Lost Constellations is an attempt to recover thirteen of them into memory through a set of objects that recall the names and lore connected to each lost constellation.[17]
The Untold Intimacy of Digits (2012)
Untold Intimacy of Digits, a digital animation in their show Guesswork at Frith Street Gallery. Here, the digits of a giant handprint are slowly clasped and unfurled. Uncovered by the collective in UCL's archives, the handprint belonged to Raj Konai, a Bengali peasant who, in 1858, was commanded by a government official to put hand to paper as a means of identification, in an attempt to manage colonial Britain's wayward subjects.[1]
Sculptures
Coronation Park (2015)
For All the World's Futures, curated by Okwui Enwezor, 56th International Art Exhibition, La Biennale di Venezia (2015), Raqs interrupted the Giardini within Coronation Park, an assemblage of plinths, sculptures, and plaques that invoked the aesthetic of public garden sculptures.
The sculptures are fragments of ceremonial regalia, residues of authoritative stances, and the accoutrements of dematerialized power —and they commemorate neither victory nor defeat. These formations are annotated by statements inscribed on circular faux marble plaques, adapted from George Orwell's parable about the recognition of the brittleness of Imperial authority, the essay, 'Shooting an Elephant'
Emperor's Old Clothes (2017)
Emperor's Old Clothes was a model for one of the entries for a temporary sculpture for the Fourth Plinth in Trafalgar Square, where the Hans Christian Andersen story gets a new twist; his emperor was naked. Raqs give him a new life searching for new clothes in Delhi. His old robes are left behind "as a ghost of the past and a warning for the future". The pale ghostliness of the white fibreglass model is emphasised by the transparent box. Looking into and through it, the camera makes many of the people in the gallery seem a little washed-out and insubstantial. The Emperor's Old Clothes was shortlisted to go on the Fourth Plinth in 2018.[18]
Curatorial Practice
Hungry for Time (2022)
Hungry for Time works with images and objects in the historical art collections of the Academy of Fine Arts Vienna.[19] The exhibition foregrounds the premise of 'epistemic disobedience'. The fly acts as an emblem for Hungry for Time as a "potential agent of contagion," "interruption," "derangement," and irritation, as Raqs frames it. A large fly is depicted on the wall of the first room and appears regularly in an exhibition which is structured into 11 unnamed "scenes" complete with pro—and epilogue.[20]
Afterglow: Yokohama Triennale (2020)
Raqs Media Collective were the first non-Japanese artistic directors of the Yokohama Triennale.[21] Afterglow engages with the ways the pandemic challenged and transformed the way in which the Triennale had to attend to the question of time, exhibition, and public.[22]
"We are now in the afterglow of an unfamiliar, viral, and partly unreadable time, and are without familiar protocols. Alone, and collectively, we have to navigate the oscillation of scales, quickened by the alteration in familiar rules. We are now immersed in a turbulent flow whose pressure rides through us all."[23]
Five Million Incidents (2019–2020)
Five Million Incidents was a year-long series of events that had been organized by Goethe-Institut / Max Mueller Bhavan, New Delhi and Kolkata. Keeping the spotlight on the processes and practices of the art, Five Million Incidents takes the art to the everyday experiences of life. The artists' list includes Anish Cherian, Deepa Jayaraman, Hagwati Prasad, Joshua Muyiwa, Nirali Lal, Atufa Rais, Tayyab Hussain, and Srinivas Kuruganti among many other actors, dancers, educationists, visual artists, filmmakers, photographers, writers, social and cultural activists. The artwork in making at a public space was meant to provide an opportunity to interact with a variety of mediums and question the notions of time.[24]
In the Open or in Stealth (2018)
In the Open or in Stealth was exhibited at Museum of Contemporary Art of Barcelona (MACBA) and it "attempts to exorcise the ghosts that haunt the machinery of capital".[25] This group show featuring more than twenty international artists, including John Gerrard, Hassan Khan, Rosa Barba, and Lantian Xie. Loosely organized around theories of the future emerging from the conflicts of the "deep present", the works examine themes such as collectivity, memory, ecology, and systems of knowledge. 21 Personae presented a collection of stories about Barcelona's diverse inhabitants to extend on the exhibition.[26]
Why Not Ask Again? Arguments, Counter-arguments, and Stories: 11th Shanghai Biennale (2016)
Why Not Ask Again? Arguments, Counter-arguments, and Stories was the theme of the 11th Shanghai Biennale at Power Station of Art, Shanghai. It develops through a series of intersecting sections "Terminals", providing 'points of connection and amplification' for the exhibition.[27] It also includes a seven-layer "Infra-Curatorial Platform" which is an exploration of the different curatorial vantage points that draw upon new questions around network and knowledge, archives, and how the new generation has its own way of thinking the curatorial. There are also sections for Theory Opera and 51 Personae, developed through an open call with the intention to be accessible to non-specialist audiences.[28]
INSERT 2014 (2014)
Raqs Media Collective curated the month-long INSERT 2014 at Mati Ghar, IGNCA, New Delhi. Over 30 artists from all over the world came together for this project, from Taiwan to Imphal, working on media varying from sound, image, installation to performance in a single rhetoric.[29] Produced by the Inlaks Shivdasani Foundation with the support of the Goethe-Institut/Max Mueller Bhavan and Pro Helvetia, Swiss Arts Council, it seeks to reveal The Sharp Edge of the Global Contemporary, as a subtitle puts it.[30]
Sarai Reader 09: The Exhibition (2012–2013)
A collaboration between Devi Art Foundation, Gurgaon, and Sarai-Centre for Study of Developing Societies, Delhi, Sarai Reader 09: The Exhibition was a nine-month exhibition positing a situation of shifting co-inhabitation in a space by many agents and actors, in "diverse, multiple, conjoined and contradictory ways". The exhibition gathered works incrementally, allowing the space to keep transforming. The exhibition takes its name from the Sarai Reader book series and the book Sarai Reader 09 (Projections) accompanied the exhibition.[31]
The Rest of Now (2008)
The Rest of Now was part of Manifesta 7 in Sud Tyrol/Trentino Alto Adige, Italy. It was mounted in the city of Bolzano-Bozen in a former aluminium factory, ex-Alumix. It meditates on the residues and aftermaths of various types of, as the curatorial statement put it, "extraction."[32] Air pollution was made material in a large-scale installation that blocked one side of the exhibition space (The Ethics of Dust, 2008, by the architect Jorge Otero-Pailos); a deformed matryoshka doll, sprouting bulbous heads all over her body, spoke of Soviet environmental disasters (Chernobyl, 2007, by Jaime Pitarch); and the video Secure Paradise (2008, by Judi Werthein) looked at a community of Germans who relocated to Chile.[33]
Public Art
The Waves are Rising (2023)
The Waves Are Rising was a part of Sea Change at the Royal Docks by Invisible Dust, London. It features an animated augmented reality (AR) wave on a large scale LED screen, superimposed upon live video feed video of the still waters of The Royal Docks, filling the vista of the usually calm waterscape with an animated surging wave as well as detritus and data from the high seas.[34]
do it (home) (2020)
Raqs Media Collective participated in Independent Curators International (ICI) and Hans Ulrich Obrist's do it. The exhibition was based entirely on artists' instructions, which could be followed to create temporary art works for the duration of a show. With in-person events and gatherings curtailed in 2020, over 30 art spaces around the world joined do it (home).[35]
The Course of Love (2019)
The Course of Love was exhibited at the Setouchi Triennale, Honjima Island, Japan. In this sculpture with found object and lenticular fold, Raqs Media Collective play with light, the geometry of folds, and the optical properties of materials to offer a representation of a child's idea of a boat. Like a paper boat made by a child and set afloat on a stream, Raqs' sculpture, The Course of Love floats on 'a stream called consciousness', evoking everything from Sone-no Yoshitada's evocation of the course of love to the image of a boat on fire in the sea.[36]
The Blood of Stars (2017)
The exhibition Extracts from a Future History at Lulea, Sweden takes extraction as its main theme, with a commission from Raqs Media Collective titled The Blood of Stars.[37] It is a short film that presents a conversation that takes place between a girl and a woman about iron and how it connects our bodies to the earth and the cosmos. This essay film suggests that the formation of the universe exists in our very blood and investigates the various notions of iron from the Iron Age to mining and warfare.[38]
Utsushimi (2017)
Utsushimi is a site-specific work investigating the notion of the double image made for the inaugural at the Oku-Noto Triennale, Suzu City, Japan using light to reproduce the structure of an abandoned railway shed.[36] It is a simple work composed of lines and light, yet its appearance changes depending on the day and the person who views it.[39]
If the World is a Fair Place (2015)
In the process of making If the World is a Fair Place at Laumeier Sculpture Park, St Louis, Raqs invited people to finish the sentence, "If the world was a fair place, then...". More than 500 responses were collected.[40] This intervention also centres on the notion of "fairness," or justice and an inquiry into the history of World's Fairs.[41]
The Autodidact's Transport (2013)
For Gwangju Folly II, Gwangju, Raqs transformed a train of the Gwangju Metro into The Autodidact's Transport. The artists have undertaken a conceptual re-invocation of Erasmus's In Praise of the Folly (1668) on the Gwangju Metro as a way of extending the folly project beyond the frame of static presence in built spaces.[42] Scripted orations from In Praise of the Folly and short films were played to inspire thoughts on democracy.
Robin Hood of Wisdom (2012)
Robin Hood of Wisdom was a part of the Copenhagen Art Festival, Copenhagen. It involved printed cards and guerrilla actions to add tracts of different literature to books in a library.[43]
More Salt in Your Tears (2011)
Visible from ferries to Kökar (Åland Islands) and cruise ships to Stockholm is a text sculpture in steel that arises from the Baltic Sea. It reads: More Salt In Your Tears. A public art project, conceptualised in 2010, to bring to attention the effect global warming has on the non-salty water body.[44]
Select Publications
2022 Hungry for Time, book accompanying the exhibition at the Vienna Academy of Art, Spector Books, June, 2023 ISBN 9783959055567
2020 Afterglow, catalog of the Yokohama Triennale 2020, Yokohama Museum of Art
2020 Sourcebook, Yokohama Triennale 2020, Yokohama Museum of Art
2018: Raqs Media Collective: Everything Else is Ordinary, Ed. Susanne Gaensheimer, Kerber Verlag, Berlin
2017 Twilight Language, Whitworth Art Gallery
2017 We Are Here, But Is It Now? Contemporary Conditions Series, Eds. Jacob Lund & Geoff Cox, Sternberg Press. Berlin & New York
2016 Why not ask again, multiple publications, Shanghai Biennale, Power Station of Art
2015 Lessons, Reminders, Lessons, Akademie X: Lessons in Art + Life, Phaidon Books, London
2015 Untimely Calendar, Ed. Shveta Sarda with Raqs Media Collective, National Gallery of Modern Art, New Delhi
2014 Casebook, Ed. Philip Monk, Art Gallery of York University, Toronto,
2010 Seepage, Anthology of Raqs' essays, Sternberg Press, Berlin + New York
References
- ↑ 1.0 1.1 Sherwin, Skye (22 March 2012). "Artist of the week 182: Raqs Media Collective". The Guardian. Retrieved 23 August 2023.
- ↑ Emmerling, Leonhard. "Raqs Media Collective - Everything else is ordinary". An Introduction into the Artistic Practice of Raqs Media Collective.
- ↑ de Gersigny, Anabelle (24 February 2015). "Raqs Media Collective". Ocula Magazine. Retrieved 6 September 2023.
- ↑ 4.0 4.1 Media Collective, Raqs (2022–2023). Practising Collectivity: What is possible and not yet forbidden? (PDF). Germany: Ute Müller-Tischler, Department Manager of the District of Mitte, Berlin I Director of CAMPI and Co-Founder of CURARE Solvej Helweg Ovesen, Director of Studies (CURARE Course Management & Concept) I Co-founder of CURARE. Search this book on
- ↑ Hirsch; Sarda, Shveta, eds. (2008). Cybermohalla Hub (PDF). New Delhi: Sarai-CSDS and Sternberg Press. ISBN 978-93-82388-00-5. Search this book on
- ↑ Menezes, Meera. "A Tryst with Time". Critical Collective. Retrieved 22 August 2023.
- ↑ Nova, Tasnuva Amin (1 February 2014). "Making time for the Dhaka Art Summit". Dhaka Tribune. Retrieved 22 August 2023.
- ↑ "Raqs Media Collective: Luminous Will - e-flux Education". www.e-flux.com. Retrieved 2023-08-22.
- ↑ "Raqs Media Collective | 8 Jul - 30 Sep 2009". Frith Street Gallery. Retrieved 2023-08-22.
- ↑ "The UK Collection". country.db.com. Retrieved 2023-08-22.
- ↑ "Exhibition - In the Open or in Stealth | MACBA Museum of Contemporary Art of Barcelona". www.macba.cat. 2018-10-31. Retrieved 2023-08-22.
- ↑ Movius, Lisa (23 September 2016). "Raqs Media Collective get philosophical for 2016 Shanghai Biennale". The Art Newspaper. Retrieved 22 August 2023.
- ↑ "Unledgered". Retrieved 2023-08-23.
- ↑ Westall, Mark (25 March 2023). "1980 IN PARALLAX AN EXHIBITION BY NEW DELHI-BASED RAQS MEDIA COLLECTIVE". FAD Magazine.
- ↑ Bhargava, Aaina (6 July 2021). "Portals, Stories, and Other Journeys". e-flux criticism. Retrieved 24 August 2023.
- ↑ Bowman, Matthew (18 November 2018). "Review of Raqs Media Collective: Not Yet at Ease". Art Monthly (421): 22–23 – via academia.edu.
- ↑ Eaton, Natasha (17 July 2019). ""With Respect to Residue": Raqs Media Collective, Decolonial Museum as UFO" (PDF). Third Text Online Forum: Decolonial Imaginaire: 26.
- ↑ Hudson, Mark (19 January 2017). "From a flying bull to the emperor's old clothes: the cream of the Fourth Plinth shortlist reviewed". The Telegraph. Retrieved 6 September 2023.
- ↑ Mopidevi, Srinivas Aditya (5 December 2021). "Raqs Media Collective's recent exhibition in Vienna speaks against 'hunger for time'". StirWorld. Retrieved 28 August 2023.
- ↑ Speidel, Klaus. "Raqs Media Collective: HUNGRY FOR TIME". The Brooklyn Rail. Retrieved 28 August 2023.
- ↑ "Afterglow Interview: The Making of the Yokohama Triennale 2020". Pass Journal. 4 December 2020. Retrieved 28 August 2023.
- ↑ "Yokohama Triennale 2020: Not an end, an Afterglow - Announcements - e-flux". www.e-flux.com. Retrieved 2023-08-28.
- ↑ "AFTERGLOW - Yokohama Triennale 2020". Yokohama Triennale 2020 "Afterglow" (in 日本語). Retrieved 2023-08-28.
- ↑ Bhullar, Dilpreet (7 May 2020). "Project Five Million Incidents emphasises on the process of making an artwork". STIRworld. Retrieved 29 August 2023.
- ↑ Le Genissel, Aurélien (19 February 2019). "attempts%20to%20exorcise,updated%20version%20of%20the%20fireflies%20( "Raqs Media Collective "In the Open or in Stealth" at MACBA – Museu d'Art Contemporani de Barcelona". Mousse Magazine. Retrieved 29 August 2023.
- ↑ "In the Open or in Stealth - MACBA Museu d'Art Contemporani de Barcelona". e-flux. 29 October 2019.
- ↑ Lejeune, Rose (2 December 2016). "Biennialgram From The 11th Shanghai Biennale". Biennial Foundation. Retrieved 29 August 2023.
- ↑ "11th Shanghai Biennale – "Why Not Ask Again: Arguments, Counter-arguments, and Stories"". Contemporary And. 29 August 2023.
- ↑ Majumdar, Payel. "INSERT 2014 – The Sharp Edge of the Global Contemporary" (PDF). Artsome. Retrieved 29 August 2023.
- ↑ Ghoshal, Somak (15 February 2014). "Art | Mind over matter". Mint. Retrieved 29 August 2023.
- ↑ "Sarai Reader 09: The Exhibition - Announcements - e-flux". www.e-flux.com. Retrieved 2023-08-29.
- ↑ Herbert, Martin. "Martin Herbert on Manifesta 7". Artforum. Retrieved 29 August 2023.
- ↑ Gronlund, Melissa (9 September 2008). "Manifesta 7". Frieze. Retrieved 29 August 2023.
- ↑ "Sea Change at the Royal Docks". Invisible Dust. Retrieved 2023-08-29.
- ↑ "Independent Curators International (ICI): do it (home)". Flash Art. 18 May 2020. Retrieved 29 August 2023.
- ↑ 36.0 36.1 "Artist Q&A: Raqs Media Collective". Whitechapel Gallery Blog. 29 April 2020. Retrieved 29 August 2023.
- ↑ "Extracts from a Future History - Announcements - e-flux". www.e-flux.com. Retrieved 2023-08-29.
- ↑ "ICC | "The Blood of Stars" - Raqs Media Collective (2017)". NTT InterCommunication Center [ICC]. Retrieved 2023-08-29.
- ↑ "Artists' Breath: The importance of open platform - interview with Monica Narula, Raqs Media Collective". Art Front Gallery. 10 November 2020.
- ↑ Kaira, Vandana (23 August 2020). "Raqs Media Collective: 'We have been questioning the boundaries of knowledge and art'". The Indian Express. Retrieved 30 August 2023.
- ↑ "Raqs Media Collective". Laumeier Sculpture Park. Retrieved 2023-08-30.
- ↑ "Raqs Media Collective. Gwangju Folly II. 2012". universes.art. Retrieved 2023-08-30.
- ↑ "THE ROBIN HOOD OF WISDOM" BY RAQS MEDIA COLLECTIVE - AT COPENHAGEN ART FESTIVAL, retrieved 2023-09-06
- ↑ Puri, Nikita (22 December 2014). "Whirling with Time: A conversation with Delhi-based Raqs". The Indian Express. Retrieved 30 August 2023.
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