https://reliablecopy.org Reliable Copy Thu, 03 Aug 2023 06:06:38 +0000 https://reliablecopy.org en https://reliablecopy.org/A-Memorial-for-the-New-Economy Wed, 14 Nov 2018 12:43:06 +0000 Reliable Copy https://reliablecopy.org/A-Memorial-for-the-New-Economy 1.A Memorial for the New EconomyChinar Shah On the 8th of November 2016, the Government of India demonetised all circulating 500 and 1000 rupee banknotes without warning. This move suddenly invalidated these notes, deeming them unusable in exchange for any goods or service. Instantly, India’s heavily cash dependent economy found itself in an unstable position. In the months following this announcement, over a 100 people died as a consequence. As a society we quickly memorialise the consequences of human conflict, natural disasters, and even of random acts of violence, but financial collapses and its human toll are often ignored or rendered invisible. Within this context, A Memorial for the New Economy proposes a publication as a memorial - one that is neither a grand proclamation, nor a fixed monument, but instead a document dependent on systems of distribution, access and exchange. Chinar Shah is an artist, writer, and occasional curator. Her work deals with photography and its implications in moments of violence and conflict. She is the founder of Home Sweet Home - an exhibition series that uses domestic spaces to show works of art - and she taught at the Srishti Institute for Art, Design and Technology between 2014 - 2020 (Bangalore). She is also co-editor of Photography in India: From Archives to Contemporary Practice (Bloomsbury, 2018). <img width="4688" height="4688" width_o="4688" height_o="4688" data-src="https://freight.cargo.site/t/original/i/6313fad150ac5be35bd3af4722938e2fba3d9bc41eebeccf1a09f96fdf44063b/_NAV2612.jpg" data-mid="41149798" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/6313fad150ac5be35bd3af4722938e2fba3d9bc41eebeccf1a09f96fdf44063b/_NAV2612.jpg" /><img width="5221" height="5221" width_o="5221" height_o="5221" data-src="https://freight.cargo.site/t/original/i/fcc476b3a0c4a0f76973c9c111d7a101a5995cf2f7cacf528e40cb368f4385e1/_NAV2623.jpg" data-mid="41149804" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/fcc476b3a0c4a0f76973c9c111d7a101a5995cf2f7cacf528e40cb368f4385e1/_NAV2623.jpg" /><img width="4762" height="4762" width_o="4762" height_o="4762" data-src="https://freight.cargo.site/t/original/i/f53277e4b92a3032b676932d0efbbfc56df321641cd1b17e059e5ab0571a499b/_NAV2635.jpg" data-mid="41149806" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/f53277e4b92a3032b676932d0efbbfc56df321641cd1b17e059e5ab0571a499b/_NAV2635.jpg" /> A Memorial for the New Economy&nbsp; Chinar Shah This is a free digital publication.&nbsp;To download, please click on the following links: A Memorial for the New Economy (200 MB) A Memorial for the New Economy (500 MB) This publication is also available as a pdf from Printed Matter and Asia Art Archive. Exhibition History: 2019 - View India, curated by Niclas Östlind and Niyatee Shinde, at Landskrona Museum (Landskrona, Sweden) 2021 - This Boat with a Broken Rim, curated by Phalguni Guliani, at Mumbai Art Room (Mumbai, India)2023 - The House Style, curated by C&amp;L Design, at 47-A: Design Gallery (Mumbai, India)2023 - Kaghazi Pairahan: Publishing and Resistance in South Asia, curated by Akshay Mahajan and Devadeep Gupta, at Double Dummy (Arles, France)2024 - Kaghazi Pairahan: Publishing and Resistance in South Asia, curated by Akshay Mahajan and Devadeep Gupta, at Printed Matter (New York, USA) https://reliablecopy.org/Flexing-Muscles Wed, 14 Nov 2018 04:04:06 +0000 Reliable Copy https://reliablecopy.org/Flexing-Muscles 2.Flexing MusclesRavikumar Kashi Amidst the various objects that compete for attention on the streets of Bangalore, there have been in recent times a new addition in the form of flex banners. These banners represent the vast number of sene (armies) that have been surfacing in the state of Karnataka. Founded in the name of language, caste/community, and even film stars, these sene are announced and re-imagined through the digitally produced banners. &nbsp; Flexing Muscles brings together an essay in Kannada and English by Ravikumar Kashi reflecting on his observations of the medium, format, and content of these banners. Illustrated with photographs collected by the artist over six years, the essay locates in these banners a portrait of the changing city of Bangalore – one increasingly attuned to aggression and vulnerability. Ravikumar Kashi is an artist who works across painting, sculpture, photography, and installation. At the core of his practice is an interest in exploring the mechanics of meaning making. Kashi completed his B.F.A. from College of Fine Arts, Bangalore; his M.F.A. from Faculty of Fine Arts, M.S. University, Baroda; and also holds an M.A. in English from Mysore University. In addition to his practice, he teaches, lectures, and writes on visual culture. His book in Kannada titled Kannele (Akshara Prakashana, 2012)&nbsp; has received the Karnataka Sahitya Academy Award. <img width="1925" height="2584" width_o="1925" height_o="2584" data-src="https://freight.cargo.site/t/original/i/340741b4b640242ca230dcf7776397faecc97677b5d3b5aaa3b37b93c6573a9c/flex-2.png" data-mid="219198258" border="0" src="https://freight.cargo.site/w/1000/i/340741b4b640242ca230dcf7776397faecc97677b5d3b5aaa3b37b93c6573a9c/flex-2.png" /> Flexing Muscles Ravikumar Kashi Out of Print ISBN: 978-81-940260-0-6 Editors:&nbsp;Nihaal Faizal and Sarasija SubramanianPublication Design: Roshan Shakeel https://reliablecopy.org/Still-Life Mon, 09 Sep 2019 11:09:54 +0000 Reliable Copy https://reliablecopy.org/Still-Life 3.Still Life -mirrors and windows- Mario Santanilla The first Apollo moon landing. Jumbo, the elephant. The films of Chris Marker. The belly buttons of Adam and Eve. The story of the Utah teapot. The gaze of thermal vision. The virtual gamespace of ‘Journey’. The downloadable NASA 3D archive. The romantic landscapes of the American west. Toy Story and The Little Mermaid. The first video uploaded on YouTube. The nature of disguise. Moving across personal anecdotes, moments in history, cultural memory, and scientific did-you-knows, Still Life -mirrors and windows- takes the reader on a virtual journey across a range of sights and sites. At once factual and speculative, poetic and analytical, Still Life is a window that reflects and a mirror that pierces through - a gentle companion to our endless search for the limits of understanding. Mario Santanilla’s practice explores the optics of being. Guided by research on architecture, light-based technologies, and storytelling, he explores how these devices condition behavior and represent social realities. Santanilla has previously participated in ‘March Project’ at Sharjah Art Foundation (Sharjah, 2019), ‘Home Workspace Programme’ at Ashkal Alwan (Beirut, 2017–2018), and ‘Escuela Flora’ at Flora ars+natura (Bogotá, 2016). He holds a BFA from the Jorge Tadeo Lozano University, (Bogotá, 2015). <img width="1508" height="2251" width_o="1508" height_o="2251" data-src="https://freight.cargo.site/t/original/i/d64b539ddfde01efe88fd26627a2d2436ade9675070eb40cde6e21dfae974008/still-life.png" data-mid="219198323" border="0" src="https://freight.cargo.site/w/1000/i/d64b539ddfde01efe88fd26627a2d2436ade9675070eb40cde6e21dfae974008/still-life.png" /> Still Life -mirrors and windows-&nbsp;Mario Santanilla Out of PrintISBN: 978-81-940260-1-3Editors: Nihaal Faizal and Sarasija SubramanianPublication Design: Roshan Shakeel https://reliablecopy.org/The-1Shanthiroad-Cookbook Mon, 09 Sep 2019 11:14:07 +0000 Reliable Copy https://reliablecopy.org/The-1Shanthiroad-Cookbook 4.The 1Shanthiroad Cookbook edited by Suresh Jayaram&nbsp; with recipes from:Aaiushi Beniwal, Aishwaryan K, Amshu Chukki, Anita Rao Kashi, Ankit Ravani, Anna Mary Magdalene, Archana Hande, Arshad Hakim, Arshi Irshad Ahmadzai, Arundhati Ghosh, Arunesh Maiyar, Ashok Vish, Ayisha Abraham, Babu Eshwar Prasad, Barblina Meierhans, Basavachar S, Benjamin Buchanan, Bharathesh GD, Bhavani GS, Birte Hendricks, Biju Cherayath, Bilal Javeed, Devi Raju, Dimple B Shah, George Demir, Heena Pari, Dr. Hemalatha Bhuvanendra, Jahangir Asgar Jani, Janet Burchill &amp; Jennifer McCamley, Janet Meaney, Jayasimha Chandrashekar, Julia Kjelgaard, Kadamboor Neeraj, Dr. Lakshmi Devi, Lina Vincent, Manasa Kashi, Mandy Ridley, Mariraj Rajasekaran, Maureen Gonsalves, Miya Shivaram, Mohanavathi V, Murari Jha, Muskaan Singh, NS Harsha, Nihaal Faizal, Omana Eappen, Pradeep Kambathalli, Pushpamala N, Raghu Tenkayala, Ragini Bhow, Ramalingam VK, Renu Appachu, Ricardo Gallego, Rohini Sen, Rucha Vibhute, Sandeep TK, Sapna Chandu, Sarasija Subramanian, Shanthi Kasi, Sheela Gowda, Shiva Syam, Shivaji Panikker, Shubham Kumar, Shyamli Singbal, Sitikanta Samantsinghar, Smitha Cariappa, Sohail Abdullah, Sunil Sigdel, Thisath Thoradeniya, Thomas &amp; Renée Rapedius, Tim Wolfgarten, Tsohil Bhatia, Umesh Kumar, Uwe Jonas, &amp; Yugashri Anandappa. The 1Shanthiroad Cookbook brings together a collection of recipes from the community kitchen of 1Shanthiroad Studio/Gallery, compiled and edited by the space's founding director, Suresh Jayaram. Featuring recipes from over 70 contributors, including artists, curators, patrons, residents, and the extended family of friends of 1Shanthiroad, the cookbook serves as a portrait of an evolving cultural community. Emerging from and responding to the history and legacy of 1Shanthiroad - Bangalore's oldest running non-profit residency and arts space - the cookbook frames the kitchen as integral to the site and function of the space, mapping recipes across generations, cultures, and timelines, while anchoring itself in the cultural history of the wider city.&nbsp; Suresh Jayaram is an artist, art historian, arts administrator, and curator. He is also the founding director of 1Shanthiroad Studio/Gallery, a non-profit arts organisation based in Bangalore, India. His practice involves urban mapping, archiving, and arts education and he previously taught art history at the Karnataka Chitrakala Parishat in Bangalore, where he was also the Dean between 2005 and 2007. <img width="1348" height="1948" width_o="1348" height_o="1948" data-src="https://freight.cargo.site/t/original/i/0920ed538d15822a27f53f3a9d6f5eba475f9112b239e5dac0e555a4881c0f64/Yellow---The-1Shanthiroad-Cookbook-2.jpg" data-mid="142866071" border="0" src="https://freight.cargo.site/w/1000/i/0920ed538d15822a27f53f3a9d6f5eba475f9112b239e5dac0e555a4881c0f64/Yellow---The-1Shanthiroad-Cookbook-2.jpg" /> <img width="1324" height="1912" width_o="1324" height_o="1912" data-src="https://freight.cargo.site/t/original/i/18f21cb1e5790341d8bdc1d580059dec7351dc81d7a14b29d55646a6e8f4d0b8/Green---The-1Shanthiroad-Cookbook-2.jpg" data-mid="142866067" border="0" src="https://freight.cargo.site/w/1000/i/18f21cb1e5790341d8bdc1d580059dec7351dc81d7a14b29d55646a6e8f4d0b8/Green---The-1Shanthiroad-Cookbook-2.jpg" /> The 1Shanthiroad Cookbook ed. Suresh Jayaram First Edition - Out of Print Second Edition - 2022 ₹ 1000 / € 28 / $ 32ISBN: 978-81-953472-6-1 Illustrations: Akshay SethiConsulting Editor: Anita Rao KashiPublication Design: Roshan Shakeel https://reliablecopy.org/at-the-kitchen-table Thu, 01 Apr 2021 11:02:17 +0000 Reliable Copy https://reliablecopy.org/at-the-kitchen-table 5.at the kitchen table curated by Reliable Copy Works by: Asako Iwama &amp; Lantian Xie,&nbsp;Candice Lin, Carolyn Lazard, Chinar Shah &amp; Nihaal Faizal, David Robbins, Fazal Rizvi, Gavati, Jason Hirata, Leone Contini, nonfood, Pushpamala N, Rajyashri Goody,&nbsp;and Rasheed Araeen Books by: Abby Lloyd, Enid Blyton &amp; Josh Sutton, Esther David, Felicity Dahl &amp; Josie Fison, Filippo Tommaso Marinetti, Happy Potato Press, Hattie A. Burr &amp; Nettie Shuler, Lars Muller Publishers, Madeleine Conway &amp; Nancy Kirk, Michael E. Samonek, Mrinalini Bordawekar, Norah M. Titley, S. Meenakshi Ammal, Salvador Dali, Studio Olafur Eliasson, Suresh Jayaram,&nbsp;and William Powell Approaching curatorial practice from the perspective of publishing, at the kitchen table looks at how food has historically been — and continues to be — inscribed through various conventional formats, as well as the channels and platforms by which it continues to circulate as material, trace, memory, and culture. Imagined as a show of documents, the exhibition brings together a selection of cookbooks, video works, and artworks. The selection of cookbooks feature recipes and narratives compiled from artists and art-spaces, anthologies of recipes from literary fiction, cookbooks that function as historical records, and some that are self-published by individuals or community groups. The video works highlight and examine the well-worn format of the instructional cooking class and its associated performativity. Meanwhile, the artworks, which are presented via peripheral, referential, or stand-in documents, respond to (and often assume) the forms of the marketed consumable product, the stand-alone restaurant, the family archive, the recipe book, the menu, the assembly, and the feast. The proposal, the script, the poster, the photographic documentation, the resource list, the newsletter, the Keynote presentation, and the audio recording — elements that are traditionally left out of the work’s exhibition display, but that are often included in catalogues, monographs, or other publications around the work — become stand-ins for the artworks conceptually on display. Through this introduction of artworks via the documents that surround, engender, and represent them, the exhibition seeks to collapse the space between the exhibition and its documentation, the library and the gallery, and the event and its eventual publication. at the kitchen table is a travelling exhibition curated by Reliable Copy that expands through responses to the contexts, sites, and venues of its various iterations, including that of an eventual publication.&nbsp; <img width="598" height="878" width_o="598" height_o="878" data-src="https://freight.cargo.site/t/original/i/87aeaea202b0f6e5ba61f80fae31a029483a36775ffe942a5dd2a38f7f5f9b53/atkt-cover.png" data-mid="199723194" border="0" src="https://freight.cargo.site/w/598/i/87aeaea202b0f6e5ba61f80fae31a029483a36775ffe942a5dd2a38f7f5f9b53/atkt-cover.png" /> at the kitchen table #1at 1Shanthiroad Studio/Gallery, Bangalore, India17 September - 5 October 2021with support from India Foundation for the Arts at the kitchen table #2 at Ark Foundation for the Arts, Baroda, India 15 December 2023 - 31 January 2024 Further Reading: -&nbsp;Arushi Vats interviews Reliable Copy for MARCH- nonfood newsletter https://reliablecopy.org/Nervous-Fossils Mon, 09 Sep 2019 11:17:00 +0000 Reliable Copy https://reliablecopy.org/Nervous-Fossils 6.Nervous Fossils: Syndromes of the Synthetic Nether Mochu Stationed around an art freeport megaproject in the Persian Gulf, and hopping across numerous locations real and fabricated, the book spins off into shadow-histories of synthetic colour production, abstruse citizenship schemes, nuclear warning signs, and syndromes leaking back from the future. During their idiosyncratic philosophical debates, the project employees gradually begin to sense a manic sensorium operating beneath their seemingly sterile financial and logistical systems. Troubles erupt while discussing works of art; futurist imaginaries of financialisation stumble upon the deep inertia of historical time preserved in museums and tombs. Monumental works of art pleasantly rotting in history enter into messy partnerships with volcanoes, hadopelagic planktons, and whimsical vibes of rich people. Stakes are endless while smiles are fake, as the debates swerve into the discreet horror of corporate gleefulness. Mochu works with video and text arranged as installations, lectures, and publications. Techno-scientific fictions feature prominently in his practice, often overlapping with instances or figures drawn from art history and philosophy. Recent projects have explored mad geologies, psychedelic subcultures, and Indian Modernist painting. Mochu is a recipient of the Edith-Russ-Haus grant for Media Art and his practice has previously been supported by Ashkal Alwan, India Foundation for the Arts, and The Sarai Programme. Exhibitions include the 9th Asia-Pacific Triennial, Sharjah Biennial 13, 4th Kochi-Muziris Biennale, and Transmediale BWPWAP. He currently lives in Delhi and Istanbul. <img width="1700" height="2600" width_o="1700" height_o="2600" data-src="https://freight.cargo.site/t/original/i/4bd974bb40e780cda21594b0e44838d4066a8b1ac8284940cd7efc460ce2f17f/nervous.png" data-mid="219198376" border="0" src="https://freight.cargo.site/w/1000/i/4bd974bb40e780cda21594b0e44838d4066a8b1ac8284940cd7efc460ce2f17f/nervous.png" /> Nervous Fossils: Syndromes of the Synthetic Nether Mochu₹ 500 / € 18 / $ 24 ISBN: 978-81-953472-5-4 Editors: Akansha Rastogi and Nihaal FaizalEditorial Support: Avijna Bhattacharya and Sarasija Subramanian Images: Adityan Melekalam and Mochu Publication Design: Squadron 14 Co-publisher:&nbsp;Kiran Nadar Museum of Art&nbsp; https://reliablecopy.org/Modernism-Murderism Sat, 20 Aug 2022 10:59:44 +0000 Reliable Copy https://reliablecopy.org/Modernism-Murderism 7. Modernism/Murderism: The Modern Art Debate in Kumar Jyoti Bhatt, Pherozeshah Rustomji Mehta, and the readers of Kumar Modernism/Murderism, translated by Vasvi Oza, brings together, for the first time in English, a forgotten debate on Modern Art that took place in the pages of the Gujarati-language periodical Kumar between 1959 and 1964. Published across various issues, the debate brings into conversation Pherozeshah Rustomji Mehta, a writer and art connoisseur from Karachi, and Jyoti Bhatt, a young artist who had just begun teaching at the Faculty of Fine Arts, MSU Baroda. While Mehta chose to defend what he believed were the timeless and traditional values of art, Bhatt proposed that Modern Art was no stranger to these values and in fact had much in common with them. Alongside the articles by Mehta and Bhatt, the publication also brings together responses to the debate from various readers who interjected in the 'Readers Write' column of the periodical, as well as notes from Kumar's editor, Bachubhai Ravat, who informally acted as a mediator. Offering a vantage point from which to view the entry of Modernism and its affiliated discourses into the art practices of the region, this volume proposes itself as a reader to these histories and revisits this crucial moment. A renowned painter, printmaker, and photographer, Jyoti Bhatt (b. 1934) lives and works in Vadodara, Gujarat. He was among the first batch of students to graduate from the Faculty of Fine Arts, The Maharaja Sayajirao University of Baroda (MSU) in 1956, where he studied painting and printmaking for six years. Bhatt began teaching at MSU in 1959 and continued to teach there until his retirement in 1992. He studied at the Accademia di Bella Arti in Naples (under a scholarship from the Italian Government) and at the Pratt Graphic Art Center in New York (under the Fulbright &amp; John D. Rockerfeller IIIrd Fund Fellowship) between 1961 to 1966. Apart from his art practice, he has also written frequently in Gujarati about art, design, photography, and printmaking, for Kumar and other publications. Pherozeshah Rustomji Mehta (1880-1971) was a writer and scholar from Karachi. Apart from his writing for periodicals like Kumar and Navchetan, he has published five books in Gujarati, including Chitrarasika (Kumar, 1962) which brought together his articles on visual and performing arts. He was also the editor of Karachi’s then-daily newspaper Parsi Sansar ane Lok Sevak for many years, and was amongst the earliest Gujarati scholars to introduce epigrams in his oration. <img width="1076" height="1434" width_o="1076" height_o="1434" data-src="https://freight.cargo.site/t/original/i/60a40cbfdd1fbf99c429801bcaa488dbd133dff6ce8a1792d4822a46d9f993b3/moderni.png" data-mid="219198410" border="0" src="https://freight.cargo.site/w/1000/i/60a40cbfdd1fbf99c429801bcaa488dbd133dff6ce8a1792d4822a46d9f993b3/moderni.png" /> Modernism/Murderism: The Modern Art Debate in Kumar Jyoti Bhatt, Pherozeshah Rustomji Mehta, and the readers of Kumar Translated by Vasvi Oza ₹ 950 / € 25 / $ 27 ISBN: 978-81-953472-1-6 Editors: Nihaal Faizal and Sarasija SubramanianResearchers: Sarasija Subramanian and Vasvi Oza Research Assistants: Kadamboor Neeraj and Stuti Bhavsar Translation Assistants: Dhaivat Shah and Kadamboor Neeraj Publication Design: Roshan Shakeel https://reliablecopy.org/Sculptor-s-Notebook Sat, 08 Oct 2022 09:20:02 +0000 Reliable Copy https://reliablecopy.org/Sculptor-s-Notebook 8.Sculptor’s Notebook Pushpamala N In 'Sculptor's Notebook', originally written in 1985, the artist Pushpamala N evaluates the artistic practice that she had been developing until then. Centred largely around themes of adolescence and womanhood, her sculptures had won her the Sixth Triennale Award and the National Award. While the sculptures take centre stage, in this dissertation can be found a longing to move further towards performance, humour, and play-acting—themes that the artist would go on to develop over the following decades. Both an artist's statement and a notebook-format prophecy, 'Sculptor's Notebook' charts the motivations, struggles, and desires of the artist's multi-medium practice.Published here for the first time, ‘Sculptor’s Notebook’ was written as part of Pushpamala N’s Master's in Sculpture at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda. The complete facsimile of this dissertation is accompanied by a recent interview with the artist by Nihaal Faizal and Sarasija Subramanian. Born in Bangalore in 1956, Pushpamala N has been called “the most entertaining artist-iconoclast of contemporary Indian art.” In her sharp and witty work as a photo- and video-performance artist, sculptor, writer, curator, and provocateur, and in her collaborations with writers, theatre directors, and filmmakers, she seeks to subvert the dominant cultural and intellectual discourse. She is known for her strongly feminist work, for her rejection of authenticity, and her embracing of multiple realities. Pushpamala exhibits widely in India and internationally, and speaks often at seminars and conferences. <img width="842" height="612" width_o="842" height_o="612" data-src="https://freight.cargo.site/t/original/i/54c6c1bc2c800d821652abce613df705bd71bbefaff57e94d2e3584f4cc63d6c/Sculptor-s-Notebook-by-Pushpamala-N-copy.png" data-mid="156580437" border="0" src="https://freight.cargo.site/w/842/i/54c6c1bc2c800d821652abce613df705bd71bbefaff57e94d2e3584f4cc63d6c/Sculptor-s-Notebook-by-Pushpamala-N-copy.png" /> Sculptor’s NotebookPushpamala N Dissertation #1&nbsp; (Fine) Arts Dissertations Series ₹ 1000 / € 28 / $ 30 ISBN:&nbsp;978-81-953472-2-3 Editors: Nihaal Faizal and Sarasija Subramanian Copy Editor:&nbsp;Stuti Bhavsar Publication Design: Nihaal Faizal Co-published with Sharjah Art Foundation https://reliablecopy.org/Urban-Kitsch Fri, 21 Oct 2022 11:41:19 +0000 Reliable Copy https://reliablecopy.org/Urban-Kitsch 9.Urban Kitsch Praneet Soi ‘Urban Kitsch’, originally written in 1996, explores the forms of vernacular visual culture that emerged in the city of Baroda following the liberalisation of the Indian economy. Plastic toys, celebrity mud flaps, and postmodern architecture collide into a new formal category—both celebrated and derided—as Praneet Soi traverses the city on his trusted Yamaha RX 100.Published here for the first time, ‘Urban Kitsch’ was written as part of Praneet Soi’s Master’s in Painting at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda. The complete facsimile of this dissertation is accompanied by a recent interview with the artist by Nihaal Faizal and Sarasija Subramanian. Praneet Soi was born in Kolkata in 1971. He moved to Amsterdam in 2002 to attend the Rijksakademie van Beeldende Kunsten, and currently divides his time between the two cities. This oscillatory movement impacts his practice. Over time, Soi identifies patterns that emerge from an investigation of his extended social and economic landscape, and explores these across a multidisciplinary practice. Recently Soi participated in the 12th Berlin Biennale and in 2021 was a resident at the Luceberthuis in Bergen, North Holland. Currently, Soi is participating in a long-term residency granted by the A.M. Qattan Foundation in Palestine which has him visiting the region annually for the coming three years. <img width="612" height="842" width_o="612" height_o="842" data-src="https://freight.cargo.site/t/original/i/798b4e607544afa3998fcb9a26fe6d6357ae5ff09aeb5e0508b82072b501737c/Urban-Kitsch-by-Praneet-Soi-copy.png" data-mid="156580647" border="0" src="https://freight.cargo.site/w/612/i/798b4e607544afa3998fcb9a26fe6d6357ae5ff09aeb5e0508b82072b501737c/Urban-Kitsch-by-Praneet-Soi-copy.png" /> Urban KitschPraneet Soi Dissertation #2&nbsp; (Fine) Arts Dissertations Series ₹ 1000 / € 28 / $ 30 ISBN: 978-81-953472-3-0 Editors: Nihaal Faizal and Sarasija Subramanian Copy Editor: Stuti Bhavsar Publication Design: Nihaal Faizal Co-published with Sharjah Art Foundation https://reliablecopy.org/High-Entertainment Thu, 03 Aug 2023 06:06:38 +0000 Reliable Copy https://reliablecopy.org/High-Entertainment 10.High Entertainment David Robbins ‘High Entertainment’ by David Robbins argues for a category of cultural production that combines the experimental ethos of art with the accessibility of entertainment. ‘High Entertainment’ eschews the specialised, exclusionary language on which art has increasingly come to depend, in favour of a communication model that extends and elevates the pop grammars to which we are exposed from our earliest years. Bringing together a selection of essays, an interview, and an artwork which explore the development of this framework, this book touches upon four decades of Robbins’ engagement with the idea of High Entertainment—starting from the 1980s, through its moment of clearest resolution with the advent of digital technology, all the way to the present. For four decades, in artworks and writing, David Robbins has promoted a frank, unapologetic recognition of the contemporary overlap between the art and entertainment contexts. After working at Andy Warhol's Factory, he educated himself by interviewing artists active in early 1980s New York, and soon began showing his own art at East Village galleries. After three dozen solo exhibitions, he withdrew from the art world to discover what his imagination did without continuous prompting from the profession, in the process of identifying and advancing other "art-adjacent" categories of imaginative endeavour in his books 'High Entertainment' (2009) and 'Concrete Comedy: An Alternative History of Twentieth-Century Comedy (2011)'. <img width="1554" height="2259" width_o="1554" height_o="2259" data-src="https://freight.cargo.site/t/original/i/7a181f6b45ad04b86c5e06d6d01147a85f7b6983d3e6436cea11519e8ec129b2/high.png" data-mid="219198430" border="0" src="https://freight.cargo.site/w/1000/i/7a181f6b45ad04b86c5e06d6d01147a85f7b6983d3e6436cea11519e8ec129b2/high.png" /> High EntertainmentDavid Robbins wiggle room #1 ₹ 600 / € 18 / $ 20 ISBN: 978-81-953472-4-7 Editors: Nihaal Faizal and Sarasija Subramanian Copy Editor: Stuti Bhavsar Publication Design: Nihaal Faizal