CC Special: Interview with Ranbir Kaleka

by  Critical Collective

Ranbir Kaleka speaks to Critical Collective about creating a visual language of memory and the interplay between painting and moving image in his practice. (2019)

Critical Collective: Your video-projection works can be said to be intermedial in the truest sense, the particular effect/affect

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A Lingering Affect - Fear of a New Dawn

by  Mario D'Souza

At the edge of a swaying boat, sits a man in a white shirt. The shot fills the central screen of Ranbir Kaleka’s three-channel installation ‘House of Opaque Water’. Flanked on either side by endless gleaming waters, he begins to point us to things. “This is my home…the cows grazed by the Banyan tree”

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Paintings of Ranbir Singh Kaleka

by  M. S. Randhawa

Published in Roopa Lekha, 1972-73, VoL 44, pp. 36-38

On a visit to the annual exhibition of the Government Arts College, Chandigarh, in 1974, I came across some unusual paintings by a young artist, Ranbir Singh Kaleka. He was a final year student and I was greatly impressed by the imaginative quality

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Ranbir Kaleka

by  Gitanjali Dang

Morphing and reproducing exponentially, the image, as we now know it, is perennially beleaguered. To outwit this condition is a challenge, but Ranbir Kaleka is happy to pick up the gauntlet. Having studied art at the Punjab University in Chandigarh, Kaleka moved to London in 1985, where he completed

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Kapital & Karma - Recent Positions in Indian Art

by  Madan Gopal Singh

There once existed an aperture before the mind's eye. Images would pass through the defile in a stop-go movement weaving narratives of tender melos before dissolving into the continuum of life. The flood of images mingled with forgotten songs of celebration. These imaginings were more like plaintive

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