In the af­ter­math of an ex­plo­sion of thought, the Raqs Col­lec­tive swoops in to dis­sect the de­bris. ADITI SAX­TON stands by

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es­o­teric con­struct of sphota, an ex­plo­sion of mean­ing im­pelled by tri­an­gu­lated vec­tors of mak­ing a thought, speak­ing a thought, and grasp­ing a thought, as ar­tic­u­lated by the 5th cen­tury lin­guist, Bhart hari — who per Wikipedia is also the au­thor of Vākya­padīya —a happy corol­lary of any ex­am­i­na­tion of Raqs’ work.

They don’t seem par­tic­u­larly in­ter­ested in in­stalling them­selves in tur­rets and gar­rets, as the guards of ar­cane se­crets or cre­ators of priv­i­leged per­spec­tive. This is a Raqs does the dirty with texts and words and videos, sculp­tures and short films and sound in­stal­la­tions, al­go­rith­mic rep­re­sen­ta­tions of cross-com­puter con­ver­sa­tions, and in­tri­cate sten­cils in foil. To all the whinge­ing and hand wring­ing over mixed­me­dia and its mixed mes­sag­ing, Raqs is a ri­poste, the con­clu­sive quip that closes the con­ver­sa­tion like a dropped bomb.

At Gallery Na­ture Morte in Delhi till Jan­uary 12, 2013

• Break­ing down la­bels Works from the ex­hi­bi­tion

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