KHOJ LIVE 12 Brochure

Abecassis
& The Natives
Amitesh Grover
Ammad Tahir
Diya Naidu
HEMANT Sreekumar
Inder Salim
Miss Dotty
An
of LivePotty
performance
& Evening
Madame
Neha Choksi
Pushpmala N
& Mamta Sagar
Rashmi Kaleka
with Hans Koch
& suchet malhotra
27th January 2012
Rohini Devasher
New Delhi
blueFROG
Subodh Gupta
Vivan Sundaram
4.00 - 9.30 pm
@ The Kila
Seven Style Mile, Mehrauli
Entry is free.
KHOJ LIVE 12 will be held indoors
and outdoors. While arrangements
for heating have been made, we
recommend that you dress warmly.
*Programme subject to change
4.00 - 4.15
blueFROG
Introduction by Pooja Sood, Director,
KHOJ International Artists’ Association
Launch of Atul Bhalla’s Book Yamuna Walk by
RoseLee Goldberg, Founding Director and Curator,
Performa Welcome by Feroze Gujral, Director, OUTSET, India
4.20 - 4.50
blueFROG
Abecassis & Sonic Tree Natives, Noisindia #5
4.55 - 5.25
Courtyard
Amitesh Grover, 4/7 (ongoing till 6.55pm)
5.30 - 6.00
blueFROG
Miss Dotty & Madame Potty, Don’t be Dotty
6.00 - 6.15
BREAK
Terrace
Inder Salim, THIS Inder Salim STUFF (ongoing till 6.40pm)
Terrace
Neha Choksi, Pause to Release (ongoing till 8.00pm)
6.20 - 6.55
Terrace
Subodh Gupta, Spirit Eaters
6.55 - 7.20
Terrace
Diya Naidu, Nadir
7.25 - 7.45
blueFROG
Hemant Sreekumar, Raping an Ellipse
7.45 - 8.00
BREAK
Courtyard
Ammad Tahir, Sheikh Mujibur Rahman
Terrace
Rohini Devasher, Shadow Walkers (ongoing till 10.00pm)
8.00 - 8.30
Courtyard
Pushpamala N & Mamta Sagar, Motherland
8.35 - 9.05
Evoluzione
Vivan Sundaram, A vignette from
GAGAWAKA: Making Strange
9.05 - 9.35
blueFROG
Rashmi Kaleka in collaboration with Hans Koch &
Suchet Malhotra, Chhota Paisa
KHOJLIVE12 is an evening of live performance.
From its first international workshop in 1997 to Khojlive08,
a 6 day live art festival in 2008, and more recent international
residencies devoted to performance and time-based practices,
Khoj has consistently engaged with the genre of live art.
In an attempt to further explore the possibilities of the genre,
specifically within the context of contemporary cultural
production in India, KHOJLIVE12 will showcase thirteen works
by artists working across contemporary dance, sound, fashion
and gaming. While a number of artists push the boundaries
of their respective practices using choreography, design and
languages of the digital era, others actively seek interaction
and audience participation, challenging the traditional
relationship of audience as passive spectator.
Through the course of the evening performances will unfold
across the venue, transforming The Kila’s diverse set of
spaces – a state of the art music club, a sprawling terrace,
a central courtyard, a museum of film and art and a store for
designer wear – into an active laboratory of new ideas, forms
and experiences for artists and audiences alike.
A unique public event, KHOJLIVE12 wishes to provide an
expanded articulation of time based art, its possibilities
and potential.
Abecassis &
sonic tree Natives
Amitesh Grover
Ammad Tahir
Diya Naidu
HEMANT Sreekumar
Inder Salim
Miss Dotty
& Madame Potty
Neha Choksi
Pushpamala N
& Mamta Sagar
Rashmi Kaleka
with Hans Koch
& suchet malhotra
Rohini Devasher
Subodh Gupta
Vivan Sundaram
Abecassis &
sonic tree Natives
Supported by The
French Embassy in
India and the Institut
Français, New Delhi
Eryck Abecassis is a composer, musician and an electric
guitar player. He composes and plays orchestral, chamber and
electronic music for alternative theatre and cinema. He started
doing workshops on instrumental research at the IRCAM (Institute
for music/acoustic research and coordination) in Paris. He has
been commissioned to compose music for Radio-France, GMEM,
Ina-Grm, Grame and French Government. His music has been
played in numerous international festivals including Présences;
Les musiques, Marseille; Musiques en scène, Lyon; Amplitude
festival, Denmark and Computerart festival, Padova.
Sonic Tree Natives
Allan Lyngdoh is a part of Delhi based band, Sonic Tree
Natives formed in 2010. Allan plays the acoustic guitar and
experiments with natural acoustic sound.
Andy Naorem is a part of Delhi based band, Sonic Tree
Natives formed in 2010. He plays the electric guitar and likes
to explore various processed sounds using conventional and
non-conventional gadgets. In April 2011, Andy performed with
Eryck Abecassis for Noisindia #3 at Khoj International Artists’
Association in New Delhi.
Noisindia #5 is a multimedia music experience based on
the ongoing Ship Breakers Opera Project – a sonic print of
Eryck Abecassis’ musical residency in India. Experimenting
with fresh, chaotic sounds of the shipbreaking yards of
Alang, Noisindia #5 looks to experiment with music, not in its
conventional form of notes, chords or rhythm, but as noise. It
experiments with noise not only as an acoustic phenomenon
but also as a distortion (or an accident) of the ‘normal/polite’
signal, using conventional and non-conventional instruments
and devices to express an idea, seek a certain construct, a
structure. This experimentation will be performed against a
backdrop of images and videos to form the final composition.
Eryck Abecassis Composition, Laptop, Video
Andy Naorem Electric Guitar, Electronics
Allan Lyndoh Acoustic Guitar, Bass, Electronics
NOISINDIA #5
duration 30 mins
Amitesh Grover
4/7 is a continuation of an exploration and a
celebration of exchange, both intimate and
collective, between the artist and audience.
Participating in an instruction-based gaming and
interactive event, audiences in Karachi and Delhi
will be invited to make their own journey through
the show with opportunities to connect in real time
through a digital medium. This event – a game in
2 parts – explores public and private behaviours
creating a vibrant fairground of fragmented
experiences, pushing the notion of interactive
performance and audience/performer collaboration.
Amitesh Grover is a performance maker, new media artist and pedagogue.
An alumnus of the National School of Drama (India), he has created 15
Performances & Mixed-Media Installations, which have travelled to 110 shows
across 9 countries so far. Having completed his MA (Performance Arts) from
University of the Arts, London in 2006, he went on to focus on exploring the
live interface between the body and media in performance. His work has been
shown widely in India and abroad. His recent works include Social Gaming
and Strange Lines - a multimedia performance based on a graphic novel and
Hamlet Quartet - a rendition of three scripts based on Shakespeare’s Hamlet.
Special Thanks to Vasl Artists’ Collective and the Indus Valley School of Art &
Architecture, Karachi
Supported by The American Center, New Delhi.
4/7
A digital, cross border, real time event
between India and Pakistan
duration 3 hrs (ongoing)
Ammad Tahir
The performance is a re-enactment of a
speech given by the first Prime Minister
of Bangladesh, Sheikh Mujibur Rahman,
at independence in 1971. After the return
of democracy to Pakistan in 2007 Tahir
began developing an idea to recite seminal
speeches made by politicians throughout
Pakistan’s history. Politicians’ speeches
represent a projection of power, history and
contemporaneity that are intended to arouse,
impress and direct the political masses.
The speech is a key element of the politicians’
public persona, which Tahir orally replicates
in the form of performance. Exposing and
examining the rhetorics and poetics of
national bureaucracy, his re-enactments are
a means to analyse established historical
narratives of Pakistan, and to reflect on its
turbulent political condition now.
Karachi-based artist and educator, Syed Ammad Tahir holds a
BFA from the Indus Valley School of Art and Architecture, where
he is now a visiting faculty member. His practice includes drawing,
painting and performance, and he has featured in theatre and
television dramas in Pakistan. Exhibitions of his work have taken
place at the VM Gallery, the IVS Gallery, Poppy Seed and the
Karachi School of Art galleries in Karachi, and at Rohtas Gallery
in Lahore. His performances and works on paper explore similar
narratives of urbanity, the body, and political bureaucracy, and he
has undertaken a number of mural projects across Karachi. He is a
member of the working group at Vasl Artists’ Collective.
Sheikh
Mujibur Rahman
History was made out of violence
duration 5 mins
Diya Naidu
Nadir or the deepest depths, is a performance which
explores ideas of isolation and the inescapable fact
of bondage within separation. Articulated through
the body, the movements are created from memories
of deep emotional states. Pleading with Fate, God
and Death, Nadir is an invitation to enter into this
space and be convinced by it.
Diya Naidu studied ISTD jazz, classical ballet, choreography techniques,
Kathak and physical theatre before graduating from Attakkalari’s Diploma
in Movement Arts and Mixed Media in 2007. Diya has performed across
India and in several international locations with Attakkalari’s multimedia
dance productions TransAvatar, Chronotopia and Traces. She is an emerging
choreographer and created her first solo work Nadir after being awarded the
Robert Bosch Young Choreographers Award in 2010.
Nadir
duration 20 mins
A young choreographer;
Attakkalari Centre for Movement Arts
photo Ann Dsouza
photo Anoop Kumar
HEMANT Sreekumar
A synthetic performance with light and silence.
The performance simulates the violence, brutality
and trauma of a forced sexual intercourse. The
object used to demonstrate these emotions is a
circle (a special case of an ellipse). This universally
symbolic shape is applied here as a proto-icon for
femininity which is then deeply violated.
Hemant Sreekumar got involved with noise in 1986 when he started
tripping on television and radio static. He currently gains increasing joy in
embroidering coded computational processes to create sonic situations.
He has trained in art history and digital media. He has worked in the past as a
programme coordinator at Khoj International Artists’ Association, New Delhi.
More recently he has been a researcher at Compart, Bremen, documenting
early computer generated/algorithmic art. At present he works as a Data
Visualization Consultant for W+K. His present compositions deal with notions
of measurement, decay, data sonification and stochastic emergence.
Raping an Ellipse
(She was asking
for it)
duration 30 mins
If “aesthetic is the ability to manage
contradiction” then those identities
(inherited and cultivated) which
divide us, here in this region of the
world, crumble, once allowed to sit
face to face.
Inder Salim
Projection “Inder Salim” is one such
conceptual construct that repeatedly
revisits its own core purpose via
a visual mask, or by touching
those geographies, which hold its
historicity, or by stimulating others
to taste this self or its contradiction…
this food…
Born in Kashmir, Inder Salim is a conceptual/
performance artist practicing for over 25 years. Inder
has performed at different venues in India and abroad.
He was a Sarai Independent Fellow in 2006-07.
He is one of the mentors of the City-as-Studio program
at Sarai/CSDS and is presently organizing Harkat@
Sarai, a series of open-ended performance art events.
He organized Art Karavan International 2010, where
30 artists from India and aboard travelled for two and
a half months through 9 cities in North India with the
objective of experimenting with open-ended interactive
processes of art. He lives and works in New Delhi.
THIS Inder Salim STUFF
duration 40 mins
Miss Dotty ·····················
·········· & Madame Potty
Don’t Be Dotty is an autobiographical
movement piece which questions
conformity to social norms, especially
by women, within Indian society. With
marriage considered the acme of a
woman’s life, Don’t be Dotty humorously
joins the dots – or doesn’t – to form a
‘picture-perfect’ vision of life. Chamko
Rani offers a peek into her dotty vision of
life, a life lived in the distance between
one dot and another.
I, Miss Dotty, am a dancer-choreographer and illustrator.
In dance, I work with contact improvisation on land and
in water, Japanese martial art forms and Kathak. I briefly
trained in Kalaripayyatu, Bharatnatyam at the Attakkalari
Centre for Movement Arts and performed along Malaysian
and African artists at the Seoul International Dance Festival
2009 as well as Attakkalari India Biennale and Ignite! Festival
of Contemporary Dance in India. I operate under the name of
Divya Vibha Sharma, a.k.a Chamko Rani.
I, Madame Potty, am a performer / dance educator / video
dance maker / raconteur based in Pune. I have been making
movement based work since 2001. My works have been
shown in places such as the Royal Opera House and Sadlers
Wells in London, among other international venues, including
the Shriram Centre in Delhi. I also operate by the name of
Rajyashree Ramamurthi.
Don’t Be Dotty was created and performed as part of the
two-month choreographic process of Gati Summer Dance
Residency 2010 at Gati Dance Forum, New Delhi.
Don’t be Dotty
duration 22 mins
.
.......................................
Neha Choksi
A gathering abandons voice and motion to explore
the erasure and presence of silence.
Pause to release is a performative piece whose
protagonists are expressively silent in the
eloquence of a gathering at a standstill. Time has
stopped. It is a still life that expresses the eroticism
of passing time, the impotence of silence. It is an
occupation of the silences between sounds and
movements. A frozen tableaux of partying, a scene
of indeterminate engagement with the audience.
Neha Choksi’s art presents a materially bound search for absence.
She approaches the processes of absenting, erasing, shrinking, exhausting,
disappearing through an artwork’s need to have presence. Her work
considers how to focus presence through reduction and erasure, what is
left out and what is left in. The work often has a poetic and absurd flavour
leavened with the tragi-comic. In the last few months Choksi’s work has
been presented by the Utah Museum of Contemporary Art, Frieze Art
Fair’s Sculpture Park, and the Generali Foundation, Vienna. In 2012 her
work will be shown at the Enclave Gallery, London, the John Hansard
Gallery, Southampton, and will be included in the Asia Pacific Triennial at
the Queensland Art Gallery. Her works are in notable public and private
collections. Her work is represented by Project 88, Mumbai. She currently
lives and works in Mumbai.
Artist supported by Project 88, Mumbai.
Pause to Release
duration 2 hrs (ongoing)
Detail of exhale crumple, 2009, Neha Choksi
Pushpamala N
& Mamta Sagar
Artist Pushpamala N. and poet Mamta Sagar
explore the idea of freedom and captivity
through the work of the first Kannada
woman writer and Nationalist, Nanjangud
Thirumalamba. The half-hour performance
lies between performance art, theatre and
literary monologue. Set against a stylized
theatrical set from popular theatre, where
Mother India regally sits, the contemporary
woman poet explores the history of women’s
reformation as central to the Indian freedom
movement and the debates around it, all
the while interrogating the figure of Mother
India as representing the nation.
Conceptualized by Pushpamala N and Mamta Sagar
Production and Design © Pushpamala N
Text © Mamta Sagar
Beginning her career as a sculptor with an interest in narrative
figuration, Pushpamala N has transitioned into casting her
own body as various characters and personae in the medium of
photo-performance. Collectively, Pushpamala's work engages
with postcolonial theory and a feminist historical gaze and her
‘photo-romances’ and studio photographs seduce viewers through
spectacular and elusive narratives. Recently Pushpamala has
been expanding her photographic practice into the medium of
experimental short films, live performance and sculptural tableau.
Her work has been shown widely in India and internationally.
Mamta Sagar has three collections of poems, four plays, an
anthology of column writing, a collection of essays and a booklet
on Slovenian-Kannada Literature Interactions to her credit. Her
poems are translated into many Indian languages including
English apart from Spanish, French, Vietnamese, amongst several
others. She has presented poems at poetry festivals across
the world.Mamta teaches at the Centre for Kannada Studies,
Bangalore University and lives in Bangalore.
Motherland
duration 30 mins
Rashmi Kaleka with
Hans Koch & suchet malhotra
Chhota Paisa (small money) consists of
Hans Koch’s composed music intervention
over and underlaying the collection of
hawkers’ voices by Rashmi Kaleka.
The hawkers’ ‘untrained’ voices shift and
change with Hans’ Messiaen-like tapestry,
juxtaposed with a visual that takes us
through a sea of roofs in Delhi – the idea
is to suture ‘everyday history’ with the
contemporary. The morphing of street/
ambient sounds, through a collection of
diverse and native instruments, will be
performed live by Suchet Malhotra as an
introduction and an apt counterpoint to
Chhota Paisa.
Rashmi Kaleka’s interest in sound goes back to her own
history – her childhood in Kenya where the rhythm and intonation
of Swahili, Punjabi and the tribal dialects of her grandparents
permeated her consciousness. Since 2010 her sound installations
have been part of various group exhibitions: Finding India –
Art for the New Centruy – MOCA Taipei; Samtidigt (Concurrent) –
Kulthuhuset, Stockholm; In 2011: Concurrent India – Helsinki City
Art Museum. In 2012 her work will be part of India Today – ARKEN
Museum of Modern Art, Copenhagen and Tel Aviv Museum of Art,
Israel. Rashmi Kaleka lives and works in New Delhi.
Hans Koch left his career as a recognized classical clarinetist
to become one of the most innovative reed-player improvisers in
Europe. Since the eighties, he has worked with the likes of Cecil
Taylor and Fred Frith. As a composer he has shaped the sound of
Koch-Schütz-Studer since the beginning as well as working for
radio-plays and film. Since the nineties he has been working with
electronics as an extension of the saxes/clarinets as well as with
sampling/sequencing/laptop.
Chhota Paisa
duration 30 mins
Suchet Malhotra plays instruments from the world’s rhythm cultures:
the tabla from India, darbouka & framedrums from Egypt, the Kurdish def,
djembes from Ghana & Gambia, the Peruvian cajon, bongos from Cuba, the
Congolese ududrum and the aboriginal yidaki/ didgeridoo from Australia.
With a diverse collection of native and ambient instruments at hand, his
repertoire covers the inhabited continents and continues to grow.
The work Chhota Paisa (small money) is a collaboration between the Swiss
musician, Hans Koch and the Indian artist Rashmi Kaleka. The piece is
partly commissioned by Pro Helvetia – Swiss Arts Council in 2011 and 2012.
Rohini Devasher
Shadow Walkers is a chronicle in parts of eclipse
chasers, people who are addicted to walking in the
shadow of the moon. A chronicle in the sense of an
almost obsessive subculture of people whose lives
have been transformed by the night sky. For the past two years, Rohini has been working
on a form of collective investigation with amateur
astronomers in Delhi, collecting stories, interviews,
conversations and histories. How does one create
a sense of engagement with someone else’s
experiences? Is it possible to be a participant
again once a work is complete? As an amateur
astronomer herself, Rohini is keen to explore the
dual role of the artist as both ‘participant’ and
‘observer’. Shadow Walkers is one vignette within
this project. Born in 1978, Rohini Devasher lives and works in New Delhi. She received
her MA in Printmaking from Winchester School of Art in the UK and her BFA
from the College of Art in New Delhi. Her work has been exhibited widely in
India and abroad. Devasher’s artistic practice explores the interface between the underlying
laws and processes, which govern growth and form in biological and physical
systems and their mirroring in the digital domain. Standing at the threshold
of art, science and fiction, her forms pulsate with primordial life, while
simultaneously being precursors to a futuristic space. Her current work
involves research and fieldwork in astronomy, a significant part of which will
be developed at the Max Planck Institute for the History of Science in Berlin
this year.
Part of the research for Shadow Walkers was undertaken during the Sarai
Associate Fellowship, City-as-Studio – an initiative of the Sarai Programme at
CSDS, Delhi between February and November 2010. Shadow
Walkers
duration 15 mins
Subodh Gupta
Spirit Eaters explores notions of identity,
cultural specificity, aspiration and
excess that preoccupy Subodh Gupta’s
art making. De-contextualizing the
presentation of specific cultural practices,
Spirit Eaters harks to his childhood
experience of watching kanthababas, a
group of paid, professional eaters in Bihar
who rapidly consume vast amounts of
food for the appeasement of the souls of
ancestors and elders. The performance is
simultaneously repulsive, vulgar, amusing
and awe-inspiring.
Subodh Gupta was born in 1964 in Khagaul, Bihar, and is
now based in New Delhi. The artist’s change of residence from
his native village to a major urban center is like an allegory of
today’s India. Gupta is interested in what inevitably disappears
in the process of such change. The extensive use of stainless
steel utensils in his artwork codifies the complex socioeconomic and cultural situation of present day India. Selected
Solo exhibitions include ‘A glass of water’ at Hauser & Wirth,
New York (2011), ‘Faith matters’ at Pinchuk Art Centre, Kiev,
Ukraine (2010), ‘Take off your shoes and wash your hands’
at Tramway, Glasgow, Scotland (2010) and ‘Oil on canvas’
at Nature Morte, New Delhi, India (2010).
Spirit Eaters
duration 30 mins
Vivan Sundaram
They stand and sit motionless in the dark.
Six figures dressed up, positioned in a straight
line, attentive to their cue. Are they poised to
move, are they frozen in meaningless gestures?
They are lined up in the wings; they are already
on the stage. When the lights come on, the play
will start. Is ‘waiting’ part of the enactment?
We, voyeur-viewers (jaded exhibition-goers,
excited fashion-gazers), take in the silhouette,
examine some material detail, build up a
narrative. Inside the glass box and outside we
participate perchance in a performance act
(an act of performance).
Vivan Sundaram, b.1943, studied painting at M.S. University, Baroda
and The Slade School of Fine Art, London in the 1960s. Since 1990 he
has turned to making artworks as sculpture, installation, photography,
video and garments. He has exhibited in the biennials of Sydney
( 2008 ), Seville ( 2006 ), Taipei ( 2006 ), Sharjah ( 2005 ), Shanghai
( 2004 ), Havana ( 1997 ), Johannesburg, ( 1997 ), Kwangju ( 1997 ).
His last solo exhibition called GAGAWAKA: Making Strange took place
in New Delhi and will travel to Mumbai at the end of February 2012.
Vivan Sundaram lives in New Delhi and is married to the art writer
Geeta Kapur.
A vignette from
GAGAWAKA:
Making Strange
duration 30 mins
photo Anay Mann
Featured Event at the
Speakers’ Forum, India Art Fair
In collaboration with OUTSET
January 29, 2012
2.30 – 3.30 pm
‘Performance Art:
The Medium of the
21st Century’
by Roselee Goldberg
Moderated by Geeta Kapur
Discussant Sonia Khurana
RoseLee Goldberg is an art historian, critic, curator and author whose book
Performance Art: from Futurism to the Present, first published in 1979, pioneered
the study of performance art. A graduate of the Courtauld Institute of Art
(University of London), she was director of the Royal College of Art Gallery,
London and curator at The Kitchen in New York. In 1990 she organized ‘Six
Evenings of Performance’ as part of the acclaimed exhibition ‘High and Low:
Modern Art and Popular Culture’ at the Museum of Modern Art, New York. Author
of Performance: Live Art Since 1960 and Laurie Anderson, she is a frequent
contributor to Artforum and other magazines. Goldberg has lectured extensively
at The Architectural Association in London, California Institute of the Arts,
Yale, Princeton and Tate Modern, and has taught at New York University since
1987. She is also the Founding Director and Curator of PERFORMA, a non-profit
multidisciplinary arts organization established in 2004, dedicated to exploring
the critical role of live performance in the history of twentieth century art and
encouraging new directions in performance for the twenty-first century. The first
edition of the Performa biennial of new visual art performance premiered in New
York City in 2005.
Geeta Kapur is a Delhi-based critic and curator. Her texts have been published
in anthologies worldwide; her books include Contemporary Indian Artists
(Delhi, 1978); When Was Modernism: Essays on Contemporary Cultural Practice
in India (Delhi, 2000); and, forthcoming, Ends and Means: critical inscriptions
in contemporary art (Delhi, 2011). Her curatorial work includes the co-curated,
‘Bombay/ Mumbai’ for ‘Century City: Art and Culture in the Modern Metropolis’
at the Tate Modern (2001); and ‘subTerrain: artworks in the cityfold’ at the House
of World Cultures, Berlin (2003). She was member of the International Jury for the
Biennales at Venice (2005), Dakar (2006), and Sharjah (2007). A founder-editor of
Journal of Arts & Ideas, she is advisory editor to Third Text and a Trustee of Marg.
She has lectured and held fellowships in museums, universities and research
institutes across the world.
Sonia Khurana is a visual media artist of international repute, with two Masters
degrees from London’s Royal College of Art and Delhi University, and education
from the Film and TV Institute of India. Her international practice includes
projects such as a 2-year residency at the Rijksakademie Van Beeldende Kunsten
in Amsterdam, exhibitions at the Centre Pompidou 2011, the Liverpool Biennial
2010, the Aichi Triennale 2010, the Gwaunju Biennale 2008, the Pusan Biennale
2004, ARCO Madrid, 2009 and Khoj Live, 2008, among others. Khurana’s is in
many ways a nomadic practice, traversing mediums including video, photography,
performance, text, drawing and installation, and includes extensive travel and
interventions in international sites that problematize the separation of private
and public, interior and exterior. At once poetic and political, her art sites the
struggle between body and language within social interactions in diverse milieus.
Curated by
KHOJ International Artists’ Association, an autonomous, registered
society based in New Delhi, which has built an international reputation
for outstanding alternative arts incubation. It plays a central role in
the development of analytical, experimental, interdisciplinary and
critical contemporary art practice in India, constantly challenging the
established thinking about art.
Over the past 13 years, through its various international workshops,
residencies and other projects, Khoj has developed a vibrant network not
only with artists in Europe and North America but also across the ‘global
south’. It has actively sought to build partnerships in South Asia and
developed the first ever South Asian Network for the Arts (SANA) while
simultaneously working with artists in politically marginalized places in
India including Kashmir and the North East.
KHOJ International Artists’ Association receives core support from the
Norwegian Embassy in India.
Supported by
OUTSET India was founded in 2011 by Feroze Gujral. It is a philanthropic
organization dedicated to providing a platform for contemporary
art in India, and for Indian artists abroad. The organization aims to
offer vital support for artists and art organizations through various
activities including the production of new works, public donations and
publications.
blueFROG is a revolutionary, integrated music project in India. It consists
of the country’s premiere live music performance club, state-of-the-art
music recording studios, a music production house, and an independent
record label & artist management service.
Collateral Event of The India Art Fair
KHOJLIVE12 is presented by KHOJ International Artists’
Association, supported by OUTSET India.
Venue and beverage support by blueFROG at The Kila
Additional venue support by Osianama – the Osian art museum
and Evoluzione at The Kila.
Alcohol sponsor ABSOLUT
Media partner TAKE on art
Individual project support The American Center, The French
Embassy in India and the Institut Français, Delhi, Pro Helvetia –
Swiss Arts Council
Special thanks to Vasl Artists’ Collective and the Indus Valley
School of Art & Architecture
KHOJ International Artists’ Association receives core support from
the Norwegian Embassy in India.
KHOJ LIVE 12 Team
Pooja Sood, Director
Charu Maithani
Asmita Rangari
Gayatri Uppal
Rattanamol Singh Johal
VP Manoj
Adil Akhtar
Pratush Lala
Art Production by
Sidharth Mathawan @ studiodb.de
KHOJ STUDIOS
S-17 Khirkee Extension
New Delhi- 110017
T +91 11 29545474
E [email protected]
W www.khojworkshop.org
Abecassis & Abecassis & sonic
sonictree Natives
tree Natives
Amitesh Grover
Amitesh Grover
Ammad Tahir
Ammad Tahir
Diya NaiduDiya Naidu
HEMANT Sreekumar
HEMANT Sreekumar
Inder Salim
Inder Salim
Miss Dotty
Miss Dotty
& Madame Potty
& Madame Potty
Neha Choksi
Neha Choksi
Pushpamala N
Pushpamala N
& Mamta Sagar
& Mamta Sagar
Rashmi Kaleka
Rashmi Kaleka
withwith
Hans Koch
Hans Koch
& suchet malhotra
& suchet malhotra
Rohini Devasher
Rohini Devasher
Subodh Gupta
Subodh Gupta
Vivan Sundaram
Vivan Sundaram