Who Cares about Processes...?

We don't have art movements any more. We have market movements. -- Walter Robinson

As emerging art practitioners working in a time when the words 'Boom and Crash' have become inescapably linked with art culture, and a creative impulse is often self-consciously fashioned as a consumable luxury product - there are several challenges for those who wish to take on different paths and voice other concerns - since, the questions Who and How much most often take precedence over What and Why...

Thought maps, artistic processes and basically the steps that lead to the making of an art-work are neither effectively looked into nor valued. Hence, this student residency becomes a useful experiment for each of us to examine the creation process and provide the artists in residence an opportunity to instill a sense of collective participation in their individual practice.


While the commercial face of art shouldn't be critiqued through a unidimensional outlook, as it has certain benefits and delineated purposes in our culturescape, there seems to be a gap between market-driven art and inclusive art practices grounded in social relevance. This could perhaps be best bridged through critical engagement with the changing dynamics of the contemporary arts. Organizations like KHOJ thus, have a crucial role to play at this juncture - stimulating collective action towards developing a more open creative field that allows for problematization and subversion of mainstream narratives. In addition, moving beyond a codified lexicon of 'art activism' to accommodate individual investigation, alternative experimentation and diverse community based practices.

Personally, PEERS is a chance to thoroughly observe the creative process as a lived collaborative journey. During our time together as we become acquainted with one another's visual language and the distillation of ideas occurs through shared conversations, it is hoped that projects will be conceptualized as ongoing processes informed by our socio-cultural environments. For fresh graduates and continuing students from leading art schools - this interaction process enables a stepping away from institutional frameworks where pressure to produce an acceptable 'end-product' can be grueling as didactic Juries often congregate to test the worth of a creative expression.

The residency provides us an opportunity to freely introspect and experiment with new visual vocabularies - as we are no longer bound to quote from established strands of academic debates but rather encouraged to follow fresh thought trails, carry out intense interactions with contemporaries and in turn, re-align the place of the self with a widening worldview.

Introducing Peers 2009

First encounters are usually filled with a mix of excitement and curiosity and at times interspersed with awkwardness and shy silences. As the participants of the student residency - PEERS met at the Khirkee studios, an informal introduction round soon led to marathon conversations. We instantly found common areas of interest and points of debate. As we sat around the courtyard space, ideas and views were tossed about within an ambiance of camaraderie. Hours flew as we spent the day meandering through all sorts of topics from Psychoanalysis to 'high fashion'.

Prateek Sagar began to discuss the ephemeral nature of his conceptual art works, Dorendra Waribam shared his experience with video art and Aliya Pabani chatted about her projects at CEMA (A new media lab at the Srishti School of Art, Design and Technology). Many of the works discussed seemed to incorporate an intense exploration of community groups, inquiry into social patterns and creative expression using diverse technological modes.

A brief conversation with KHOJ members on the studio space, ongoing projects and the current residency helped us familiarize with new terrains. We knew we had landed into a stimulating and FUN space when their instructions included - 'watch out for falling slippers!' and 'We have a hen who wanders about the courtyard...'

As the artists went about choosing studios, we conversed about projection techniques, sonic art, light installations and various aspects of contemporary curatorial practice(s). We began to imagine the exciting possibilities and transformations that could be undertaken in the empty, whitewashed rooms. Shine Shivan began to share some creative ideas he wanted to explore during the residency. He talked about his interest in using material such as bones, feathers, and insects in his art-works. This led to a plunge into the widening discourse on extreme art. Aliya talked about the politics behind the display of human beings and specifically 'Bodies...the exhibition' in which human remains were showcased. Speculations on the origins of these bodies continues as they were allegedly linked to the secret trade in Chinese bodies.

At that point I remembered visiting the preview show of Damien Hirst's 'Beautiful Inside My Head Forever' in Delhi. As I stood before a glossy butterfly work, I had overheard a young visitor nonchalantly quiz a Sotheby's employee , 'So, he actually kills to make his art?' The reaction was a stiff smile and an impressive justification. But the larger question remains unanswered 'Is killing for art truly justifiable?'