Publications

Publications

Knma endeavors to become a space for confluence and its publications are a corroboration of that vision for posterity. They underscore the drive of this department to come out with well researched books after each exhibition which act as reservoirs of in-depth information to scholars, students, and art lovers alike. Since its inception in 2010, the Knma publications department has published many titles including exhibition catalogues that uphold the creative energy of the publication program.

  • Nalini Malani: You Can’t keep acid in a Paper Bag

    The catalogue for Nalini Malani’s retrospective You can’t keep acid in a paper bag acts as a composite overview of her art practice stretched over a period of five decades. Her art has always originated from socio political and environmental issues brimming around her which she uses as subjects for her works.

    The catalogue delineates in some detail the three-part retrospective which captures her journey as a radical and experimental artist, always engrossed with using the most unconventional material, media and formats. It further includes images and short pieces of the artist’s three important works, the first titled Utopia, Malani’s first project based installation which addresses the incongruities of the utopian concept, the second titled Mother India which addresses sectarian violence and violence against women during 1946 and 2002, and the third titled Cassandra which redefines the archetypal roles of women in different cultures.  

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  • The self in making Amrita Sher-Gil

    The self in making, Amrita Sher-Gil delineates the way her maturity was tied up with deep self-awareness of her artistic persona as well as her identity as a modern woman. Through the rich selection of images chosen from her trajectory, a glimpse is offered into how this self-realization engendered her several self-portraits since the age of fourteen. 

    The publication illustrates how the ease with which she slipped into a traditional garb from a modern one or switched roles which were different from the ones she was used to, gives us a clue of the way her personal life influenced her creations. The curatorial note by Roobina Karode and the extensive essay by Rakhee Balram expound how in her self-portraits, she fused together varied moods and moments with a masterly skill and imbued them with meaning.

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  • Zones of Contact: Propositions on the Museum

    Zones of Contact: Prepositions on the Museum deliberates upon the museum as a site under construction, its contours still being defined and evaluated in the present day scenario. Brought out alongside the exhibition, this catalogue encloses images and write-ups on the artworks that were showcased, and through them reflects on museum as a site of confluence where varied cultures and communities come together along with their beliefs and ideologies to generate new vocabularies, memories and histories.

    By questioning the position of memory in this contested and activated public space, the catalogue brings together myriad themes concerned with fast paced changing socio political realities of the present times. The texts by the curators, Akansha Rastogi, Deeksha Nath and Vidya Shivdas along with contributions by artists assist in throwing light on how the artworks respond to each other and to the exhibition as a whole. 

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  • Cynical Love: Life in The Everyday

    Cynical Love: Life in The Everyday presents the theme of fast paced globalized world and the undeniable contribution of technology as well as its imperative need in it. Technology acts as a life-support for the democratic art forms and pushes them to newer inventions. Besides being a necessity, technology also challenges the aura that art confers upon an object. The artists in this exhibition responded to the museum space which is located within a technological hub. They made an attempt to register the different stages of technological advance since industrialization first ushered in the 19th century. The catalogue showcases artworks by artists who juxtapose and integrate these stages of inventions with contemporary views of design, architecture and film. The artworks act as a return call towards organic materials and simple living. The catalogue greets the reader with a title essay by the curator of the exhibition, Gayatri Sinha.  It contains works of 18 artists that were part of the exhibition. Each image of the artwork is accompanied by a text written by the artists, providing insights into the conception of the work, their ideologies, surrounding that leave an impression on the creations every time and their backgrounds that enrich the ideas. 

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