Vivan Sundaram (1943-2023)

by  Gayatri Sinha

A towering figure of the global south, Vivan Sundaram’s passing marks a particular moment in the art sphere. In recent years, Sundaram fought a disobedient body to persist in creating work, as recently as the India Art Fair in January this year, and a conceptually directed five part work at the ongoing

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Vivan Sundaram

by  Akansha Rastogi

Published in India Perspectives, Vol. 24, No. 6/2010, pp. 147-151.

Vivan Sundaram (1943) belongs to the first generation of post-Independence Indian artists who witnessed the debates around Western modernism and indigenism; and opened aspects of Third-world’s multiple modernity for further

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Re-take of ‘Vivan’

by  Amrita Chakravarty

Vivan Sundaram’s preoccupation with the archive has been well documented. It recurs, as motif and practice, in a number of his works including the various iterations of his own family archive, The Sher-Gil Archive (1995) and Re-take of ‘Amrita’ (2002); the landmark site-specific installation

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Of Fragments and Relics

by  Nadia Nooreyezdan

In the ever-developing Manhattan neighbourhood of Chelsea, Vivan Sundaram’s latest exhibition, Terraoptics, harks back to a prehistory bound by fire, water, and earth. An extension of his earlier video work entitled Black Gold (2012), the show presents photographs of discarded terracotta

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by  Parul Dave Mukherji

Parul Dave Mukherjee, professor and former Dean of the School of Arts and Aesthetics, Jawaharlal Nehru University reviews Vivan Sundaram’s complex presentation 409 Ramkinkars. A graduate from Santiniketan herself, where Ramkinkar lived and worked, Mukherjee analyses the collaborative performance in

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The Orientalist: A short note on Vivan Sundaram’s work

by  Madan Gopal Singh

‘If the map is opposed to the trace, it is because its whole orientation is towards establishing contact with the real experimentally. The map does not reproduce an unconscious closed on itself; it constructs it. It contributes to the connection of fields, the freeing of body without organs, and their

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by  Rasna Bhushan

“The subtle instrument:

Program for an avant garde:

‘The world has surely become unhinged, and only violent movements can put it all back together again. But it may be that among the instruments for doing so, there is one-tiny, fragile, which requires to be wielded delicately...’” [1]


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Art & Empire: On Oil, Antiquities & the War in Iraq

by  Saloni Mathur


It is undoubtedly a sign of our times that Matthew Bogdanos, the reserve Marine Corps colonel who led the investigation into the April 2003 looting of the Iraq Museum in Baghdad, has become somewhat of a celebrity spokesperson for the cause of Iraqi antiquities.

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