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Stargazing - Rossi & Rossi


Jaishri Abichandani


Anita Dube

Chitra Ganesh

Mithu Sen

curated by

Jaishri Abichandani

Jaishri Abichandani



Fibreglass, metal, wire, plastic, leather whips, paint, Swarovski crystals

91.5 x 30.5 cm (36 x 12 in)


Chitra Ganesh

Melancholia (Mask of Red Death) (detail)


Lambda Lightjet Print

Edition 1/5 plus 1 artist’s poof)

178 x 124.5 cm (70 x 49 in)



Jaishri Abichandani

Stargazing’ is understood as the absorption in chimerical or

impractical ideas as well as the act of watching the night

sky. What is needed in either case is extended contemplation

and a willingness to allow for magic. Making art

requires a process of shaping daydreams into existence,

as artworks appear to us fully formed in some instances,

and have to be found through a process of deduction in

others. The exhibition Stargazing at Rossi & Rossi presents

Jaishri Abichandani, Nida Abidi, Anita Dube, Chitra

Ganesh and Mithu Sen—five Indian artists who approach

their work with a sensual and subversive femininity akin

to the energy of the dark goddess Kali. Their work carries

a hint of black magic, a fearlessness that conjures visions of

a mocking, restrained power with the potential to destroy

the (assumptions of) creator and viewer alike. Stargazing

is the final installment in a trilogy of feminist exhibitions

exploring themes in science fiction held at Rossi & Rossi.

Extending the metaphor of ‘other’ as ‘alien’ is logical to

examine the works of women artists who primarily reside

in the diaspora. Prior exhibitions in this trilogy include

Anomalies: From Nature to the Future in 2009, which

presented the work of thirteen emerging and established

South Asian artists, and Shapeshifters and Aliens in 2010,

which included four Iranian women.

Abichandani, Dube, Ganesh and Sen are accomplished,

provocative artists, each working in a variety of media

and influenced as much by Indian aesthetic traditions as

tropes in contemporary art. To grasp their work based on

Hindu philosophical principles of tantra would require

the application of the left-handed path of illumination,

which includes breaking taboos and examining the profane

as if it were commonplace. This model also applies to


Abidi’s use of a sexualised female figure covered by a

mutating hijab that transforms into a levitating superheroine

with a beacon emanating from her headdress,

illuminating the world. The youngest of the artists included

in Stargazing, Abidi’s work is based in her playful

explorations of her Muslim American identity; however,

the following sentence as easily suggests her animation

as any of the other works within this show: “In tantric

rituals she is described as garbed in space (Digambari).

In her nakedness she is free from all veils of illusion” (Ajit

Mookerjee, 1998, Ritual Art of India, p. 128, Bear & Co.).

The artist’s strategy of rendering a clearly Muslim and

female figure with the palette and markers of adolescent

femininity is deceptive; the lightness of her work belies

her ability to shake us out of complacency by its imaginative


As is the case with most successful art, attempts to convey

the experience of the artwork or to understand all of its

intentions through written words and theories are somehow

inadequate. Perhaps the piece that encapsulates this

intangibility in its philosophical underpinnings is Dube’s

work Neti Neti (Not This, Not This Either) (2009). ‘Neti

Neti’ is a chant (mantra), and an ideology that refers to

the concept of Brahman (the Universal Energy that pervades

the manifested and unmanifested universe) as being

beyond articulation—understood only by what it wasn’t—

not this or that, really more than everything humanly

perceivable or imaginable. The installation is fabricated

from enamelled eyes (meant for deities) mounted against

a reddish-brown wall in an ambiguous pattern, one that

dissolves just as it’s about to reveal its logic. The multitude

of eyes employed to fabricate the work evokes obscure

constellations in an alien sky. Instead, the artist states:


Nida Abidi

Weatherproof (detail)


Edition 2/5 plus two Artist’s Proofs


anita dube

Intimations of Mortality


Found votive glass eyes

(enamel on copper sheet)

Dimensions variable

“Three drawing fragments are superimposed one on top

of the other: first, a ‘kollam’ floor pattern; second, a grid

map of Alaknanda, the area in Delhi where I reside; and

third, a random doodle on a blank piece of paper.

Conceptually, this tussle between different structuring

principles—the past (tradition), the present (location)

and the future (dynamic and random)—creates the conditions

for transforming that which is oppressive toward new


The notion of transformation articulated by Dube finds

resonance in other works included in the show: through

Ganesh’s painting of Grace Jones performing in futuristic

costume during the 1980s and in Abichandani’s makeover

of a found Buddha head into the goddess Kali in the

sculpture Detour (2011), as well as in her self-portraits

as a male Klingon, a male Borg and the Borg Queen

anita dube

Neti Neti (Not This, Not This Either) 1/3, (detail)


Edition 1/3

found votive glass eyes (enamel on copper sheet) on painted wall

250 x 250 cm (98 ½ x 98 ½ in)


Jaishri Abichandani

Borg Queen as Self



28 x 35.5 cm (11 x 14 in)

from the popular late 1990s television show Star Trek:

Voyager. Sen’s diptych You Owe Me (2010) presents hermaphroditic

male bodies pregnant with impossibilities,

while Abidi’s figure propels herself upward by the force

of her powerful hijab in the animation Weatherproof

(2011) Ganesh and Sen create bodies combusting into

other organisms: limbs, hair, breasts, phalluses spilling

just slightly pornographically and indecently off surfaces

with calculated abandon. Open orifices, satirised bodies,

visual puns rendered by spontaneous mark-making

characterise their oeuvres, agitating viewers into a simultaneous

state of seduction and repulsion.

Jaishri Abichandani

Borg as Self



35.5 x 28 cm (14 x 11 in)

Like Dube, Abichandani often refers to the body, employing

poetic and conceptual approaches to materials

through the use of eyes or leather (skin). The emotions

in their works are restrained, tempered by a deliberated

ambivalence and allusion to social histories. Wrapping

objects in fabric, paint or jewels, Dube and Abichandani

have both used sex toys in their work. Dube cleverly

alludes to tantric rituals with her suite of works entitled

‘Theatre de Sade’ (1998/9) while Abichandani has made

Shiva lingams out of latex dildos and wall drawings from

leather whips. Distilling ideas into the realm between

representation and abstraction, Dube and Abichandani

probe the human condition with more gravitas than the

unsettling black humour of Sen and Ganesh. Intimations

of Mortality, (1996/7) is another installation by Dube:

votive enamelled eyes are set high up in a corner where

two walls touch the ceiling—‘the architectural meeting

of three planes at a point’—where the artist presents her

first thoughts about negative space and death.

16 17

For Stargazing, Abichandani presents lightboxes and a

sculpture entitled Detour, which is constructed from a

found Buddha head painted iridescent turquoise with a

protruding tongue referring to traditional renderings of

the goddess Kali. The hair is fashioned from whips while

the entire sculpture is adorned with jewellery and crystals.

The title refers to ‘detours’ on one’s spiritual path—while

one may strive to attain a state of constant peace, as does

the Buddha, one may instead need to manifest the power

of Kali/Shiva to slay personal and societal demons. The

act of adorning the Buddha’s head simultaneously mimics

the beautification of idols of Kali for worship and the

restoration of faded facades of ancient stone temples

to their former painted glory. The act of presenting the

Buddha in drag, or transforming male into female, is not

transgressive when considering the incarnation of Shiva

as Ardhnarishwara—half male and half female—symbolising

the presence of masculine and feminine principles in

every individual.

The transformation of male to female occurs again in

Abichandani’s lightboxes, which include images entitled

Borg as Self (2012) and Klingon as Self (2012). Abichandani

previously explored the notion of ‘alien’ as a metaphor

for race, class and gender in the exhibition Shapeshifters

and Aliens on view at Rossi & Rossi in 2011, and was

initially drawn to Star Trek: Voyager because of its vision

of a post-racial, post-feminist society through its depictions

of strong women, including the captain (Janeway),

the Borg/Human (Seven of Nine) and the Latina (Klingon

B’elanna Torres). Abichandani chooses to reject the hypersexualised

identities of the aforementioned female characters,

instead assuming the authority inherent in male bodies

Jaishri Abichandani

Klingon as Self



28 x 35.5 cm (11 x 14 in)

18 19

even as anonymous characters, thereby mirroring the desexualisation

of women as they age. Combining self-portraits

with found images of various characters, the artist reflects

on her loss of individuality and identity, as she becomes

a mother. Selecting characters such as a (male) Klingon

warrior and a Borg Drone, she explores the sublimation

of desires (leading to the infamous Klingon aggression)

and the reduction of the self to one’s societal functions.

Borg Queen as Self (2012) is a reference to Abichandani’s

position as a catalyst and activator of feminist collectives,

of her functions as a connector of artists and builder of

relationships and structures, and herself as the matriarch

of her household. The Borg Queen on the TV series is

portrayed as a powerful, villainous disembodied head

with an exposed spine that can control all the Borgs; her

death means the death of the collective.

Sen’s diptych You Owe Me is part of a larger series entitled

Black Candy (iforgotmypenisathome) that was awarded

the Skoda Prize for Indian Contemporary Art in 2010. It

approaches a similar conflation of masculine and feminine

principles as in Abichandani’s work by including an

image of a man on each panel: the first gazes down on

his pregnant belly swelling above his penis while the

second abashedly covers his face as he defecates. The

figures are painted with a delicate stroke that varies from

firm to ephemeral, with text inscribed within them. The

pregnant man releases a thought bubble from his behind

that says, ‘I always had a desire to write poetry’, as his

foot, with its bones exposed, flexes over a single

roller skate into the pointed position of a ballerina’s or

a Barbie doll’s. The figure is suspended in the space of

the diptych’s first frame flanked by an enormous thorny

bush that grows into the second frame. The second figure


mithu Sen

You Owe Me! (detail)


Mixed media on custom-handmade acid-free paper

211 x 107 cm (each 83 x 42 in)

laments the loss of his spit gland while his faeces are

accentuated by what look like little exclamation points.

Loss and sorrow seem to permeate the figures of two

men, while the frames holding them are adorned with

flowers that further emasculate them. Sen states: “Dealing

with sexuality, intimacy and identity, here I turn to the

male psyche and gaze, depicting playful and serious images

of the intimate lives of men though my perspective is

necessarily feminine. The male protagonist as a misogynist

and a victim of his own desire, highlighting his cursing,

killing, castration anxiety, sadomasochism, sexual phobia,

infidelity, engagement with homosexual activities and a desire

to become maternal man. It is thus not the male psyche that

excites us, but the vulnerability and anxiety of it.”

chitra ganesh

Performing in Paradise


Acrylic, tempera and ink on canvas

173 x 122 cm (68 x 48 in)

Ganesh, a recipient of the Guggenheim Fellowship in

2012, further scrambles narratives of race and gender by

presenting a painting of Grace Jones performing at the

Paradise Garage in full costume. Better known as a singer,

actress, muse, model and performer, Jones (b. 1948) is

also a pioneering performance artist who interrogates

racial and sexual stereotypes associated with the black

female body. Ganesh’s video I’m Not Perfect (1986) presents

her body painted by Keith Haring who in turn was inspired by

the body painting of the African Masai. Rupturing primitivist

fantasies by swinging between polarities of hypersexualisation

and severely masculine dress and hair,

Jones often refers to photographs of Josephine Baker in

her performances, appearing alternatively in gorilla suits,

tiger suits and business suits among many other guises.

She collaborated with Haring as well as David Spade in creating

the costume depicted within Ganesh’s painting. The

costume is a combination of body art and an elaborate

22 23

sculptural assemblage of pieces of rubber, plastic sheen

and metal. Her breasts are obscured by metal coils, a

reference to an iron-wire sculpture of Baker by Alexander

Calder, while a futuristic headdress completes the transformation

to a powerful, mythic, Borg-like being. Ganesh

presents a large-scale painting of Jones rendered in fluid

strokes as she is, she states: “interested in the collision of

painting, performance and science fictive elements within

the racialised subject”. The viewer is left gazing upon a

beautiful painting from a photograph of a performance

by a painted body that refers to other painted bodies.

Two more works by Ganesh are included in Stargazing.

The prints explode with a multitude of violated and sexualised

female figures and icons for which the artist has

become well known. The stars in the work Melancholia:

Mask of Red Death (2011) have been transformed into a

Milky Way of skeletons while three sorrowful mutating

women gaze away from the spectator. As in Sen’s work,

text is integral to Ganesh’s pieces, not to explain them

but rather to further complicate the narrative.

The artist states: “How We Do at the End of the World

[2011]…merges iconography I’ve developed via working

with mythic narratives of Hindu, Buddhist and Greek origin

with science-fictional signifiers. I’m interested in how science

fiction has become our preeminent contemporary

mythology, probing eternal questions of how we form

ideas of identity, civilisation, past and future.”

chitra ganesh

Melancholia (Mask of Red Death)


Lambda Lightjet Print

Edition 1/5 plus 1 artist’s poof)

178 x 124.5 cm (70 x 49 in)

A dark humour that is evident in the works on view by

Abichandani, Ganesh and Sen finds a lighter note in Abidi’s

Weatherproof. The animation lasts less than a minute and

offers the viewer a veiled young woman who navigates

24 25

various urban landscapes. Her veil continuously morphs

with the weather, developing rotor wings like a helicopter

until she finally levitates into deep space. Her hijab

then functions as a UFO with a beacon shining into the

void. The artist states that she “presents a repeating idea

of transformation. Using materials such as markers and

coloured pencils that dominate pubescent middle school

art, each frame is individually drawn, resulting in the lines

continuously changing and transforming. The idea of transformation

is further echoed through the character’s veil

since the practice of veiling coincides with puberty and

the changing female body…. as the ephemeral headdress

mirrors changes in the weather while both protecting and

possessing the wearer.” Abidi says that she is interested

in conceptual strategies to challenge our perceptions of

cultural codes and symbols. She is very successful in

presenting a delightful and surprising vision of the veil,

a trope previously explored by numerous women artists.

Born in Mumbai, India, Jaishri Abichandani founded

the South Asian Women’s Creative Collective in 1997

and received her MFA from Goldsmiths College in

2005. She has exhibited internationally at P.S.1/MOMA,

the Queens Museum, and the Guangzhou Triennial.

Abichandani has served as the Founding Director of

Public Events at the Queens Museum of Art in New York,

curating several exhibitions including Fatal Love: South

Asian American Art Now. Other curatorial projects

have included Sultana’s Dream at Exit Art, Exploding

the Lotus and Artists in Exile amongst others. Her work

is included in the Burger Collection, the Florian Peters

Messers Collection and the Saatchi Collection.

Stargazing largely interrogates the location of the body

in various narratives of performance, television and

popular culture. Although most of the included works

are representational and figurative, Dube’s installations

provide a needed abstract counterpoint. They simultaneously

serve as a map to understand the multiple layers of references

that all artists bring to the discussion. Through the

fruit of their labour and imagination, by conflating gender

and racial tropes, and by inserting coded bodies into the

landscape of science fiction, these artists present a powerful

vision of vulnerable bodies and realised selves.

26 27

previous pages:

anita dube

Neti Neti (Not This, Not This Either) 1/3


Found votive glass eyes (enamel on copper sheet) on painted wall

250 x 250 cm (98 ½ x 98 ½ in)


Nida abidi



Edition 2/5 plus two Artist’s Proofs



mithu Sen

You Owe Me!


Mixed media on custom-handmade acid-free paper

211 x 107 cm (each 83 x 42 in)


chitra ganesh

How We Do at the End of the World


Digital C Print

Edition 1/5 plus 1 Artist’s Proof

127 x 172.7 cm (50 x 68 in)

following page:

Jaishri Abichandani

Detour (detail)


Fibreglass, metal, wire, plastic, leather whips, paint, Swarovski crystals

91.5 x 30.5 cm (36 x 12 in)



Jaishri Abichandani

Jaishri Abichandani was born in Bombay,

India, in 1969. She lives and works in

Brooklyn, New York, USA.


Masters in Visual Arts, Goldsmiths College,

University of London, UK, 2005

Postgraduate Diploma, Goldsmiths College,

University of London, UK, 2003

BA, Queens College, City University of New

York, USA, 1991



Dirty Jewels, Rossi & Rossi, London, UK


Reconciliations, Gallery Sumukha, Bangalore, India


Bijli: Heart of a Drag Queen, Kran Film

Collective Space, Brussels, Belgium

Reconciliations, Queens Museum of Art,

New York, USA

Signs of the Times, Williams College, Massachusetts,



Enchanted Life of…, Nature Morte Gallery,

New Delhi, India


Mind’s Desire, Gallery Chemould, Mumbai, India

Mind’s Desire, NYU Asian Pacific American

Studies Institute Gallery, New York, USA

Under Western Skies, Castle of Good Hope,

Cape Town, South Africa



After Forever, Other Gallery, Beijing, China

Stargazing, Rossi & Rossi, London, UK

Art Basel, Fabian and Claude Walter Gallerie,

Basel, Switzerland

En Foco/In Focus: Selected Works from the

Permanent Collection, Art Museum of the

Americas, Washington D.C.; Aljira Center for

the Arts, New Jersey, USA

India Art Fair, Fabian and Claude Walter Gallerie,

New Delhi, India


Fragility, Art Alive Gallery, New Delhi, India, 2011

What’s So Funny about Peace, Love and

Understanding?, Rossi & Rossi, London, UK

Fluidity, Layering and Veiling, Gallery of

Contemporary Art at Sacred Heart University,

Connecticut, USA

Open/Close, Chuchifritos Gallery, New York, USA

Picturing Parralax, San Francisco State

University Gallery, California, USA

Generation in Transition, Zacheta National

Gallery of Art, Warsaw, Poland; Contemporary

Art Centre Vilnius, Lithuania

The Pill, Latitude 28 Gallery, New Delhi, India


Frictive Familiarities, Biografteatern Rio,

Stockholm, Sweden

Of Filmi Love and Other Demons, Asian Arts

Initiative, Philadelphia, USA

Boys and Girls Come Out to Play, Rossi &

Rossi, London, UK

Malleable Memory, AICON Gallery, New

York, USA

The Waste Land, White Box Gallery, New

York, USA

ART HK, Rossi & Rossi, Hong Kong

Bring Me a Lion, Hunt Gallery, St. Louis, USA

Untitled Project: Thingamajigs, Gallery OED,

Kochi, India

The Empire Strikes Back, Saatchi Gallery,

London, UK


Have We Moved Away from What’s Hotter

Than Curry Yet?, Gallery Open Eyed Dreams,

Kochi, India

Conflicting Tales, Burger Collection, Berlin,


Gen Next IV, Aakriti Art Gallery, Kolkata, India

Transitional Aesthetics, Beijing 798 Biennale,

Dashanzi Arts District, Beijing, China

Anomalies, Rossi & Rossi, London, UK

Frontiers of Time, IVAM, Valencia, Spain

Shifting Shapes, Unstable Signs, Yale School

of Art, Connecticut, USA

Re-Imagining Asia, New Art Gallery Walsall,

Walsall, UK

Indian Popular Culture, and Beyond: The

Untold (the Rise of) Schisms, Sala Alcalá,

Madrid, Spain

Gender and Performativity, Alexandria Contemporary

Arts Forum, Alexandria, Egypt, 2009

Through Customs, Bose Pacia Modern Gallery,

New York, USA


Moving Beyond the Frame, Gallery Espace,

New Delhi, India

Real Fiction, Asian Contemporary Art Fair,

New York, USA

Kunst 08, Avanthay Contemporary, Zurich,


Critical Studio, Macy Gallery, Columbia

University, New York, USA


As if I Had Seen It with My Own Eyes and

Said It with My Own Voice, Impakt Festival

Utrecht, the Netherlands

Femme Fantastique, Volitant Gallery, Austin, USA

Hobby Horse, Avanthay Contemporary,

Zürich, Switzerland

Photoimagen 07, French Embassy Gallery,

Santo Domingo, Dominican Republic

Sultana’s Dream, Exit Art, New York, USA

Arte Nuevo Interactiva 07, Galleria del Teatro

Peon Contreras, Merida, Mexico

Emergency Room, MoMA/PS1, New York, USA


Dangling between the Real Thing and the Sign

in the Window, Dam Stuhltrager Gallery, New

York, USA

Deviant Bodies, CEPA Gallery, Buffalo, USA

Wild Girls, Exit Art, New York, USA

60 Seconds of Play, Saltworks Gallery &

Forum Gallery of Cranbrook Academy of

Arts, Georgia, USA

Monitor 2: Contemporary South Asian Film

and Video, National Film Board of Canada,

Toronto, Canada


Brooklyn Shakers, Wooster Arts Space, New

York, USA


The Crystal Land, Al Jira Center for Contemporary

Art, New Jersey, USA

Coming Soon…, Siskil Film Center, Art Institute

of Chicago, Chicago, USA

Masala: Diversity and Democracy in South Asian

Art, William Benton Museum of Art, University of

Connecticut, Connecticut, USA


Only Skin Deep: A National Survey, International

Center of Photography, New York, USA

BQE, White Box Gallery, New York, USA


Queens International, Queens Museum of

Art, New York, USA

Aar Paar, Public Art Exhibit in Mumbai, India

and Karachi, Pakistan

Mango, Talwar Gallery, New York, USA

Borderless Terrains, India Habitat Center,

New Dehli, India


Crossing the Line, Queens Museum of Art,

New York, USA

The Rebellion of Space, Dumbo Arts Centre,

New York, USA

Under the Western Sky, National Center for

Performing Arts, Mumbai, India



Urban Artist’s Initiative, New York, USA


Invited Artist, 2nd Biennial Capetown Month of

Photography, Cape Town, South Africa


En Foco 2000 New Works Photography

Award, New York, USA



The Emo Show, Elizabeth Foundation for the

Arts, New York, USA


Stargazing, Rossi & Rossi, London, UK


Shapeshifters and Aliens, Rossi & Rossi, London, UK


Anomalies, Rossi & Rossi, London, UK

Artists in Exile, Arario Gallery, New York, USA

Transitional Aesthetics, Beijing 798 Biennial,

Beijing, China


Exploding the Lotus, Arts and Culture Center

of Hollywood, Hollywood, Florida, USA

Fire Walkers, Stux Gallery, New York, USA


Sultana’s Dream, Exit Art, New York, USA


Queens International, Queens Museum of

Art, New York, USA


Fatal Love: South Asian American Art Now,

Queens Museum of Art, New York, USA



Yale University, New Haven, USA


Columbia University, New York, USA


New School University, New York, USA

Pratt University, New York, USA

College Art Association Annual Conference,

New York, USA

Brooklyn Museum, New York, USA


Cornell University, Ithaca, USA

Rubin Museum of Art, New York, USA


Asia Society, New York, USA

Rich Mix Cultural Foundation, London, UK


Lower Manhattan Cultural Council, New

York, USA


Barnard College, New York, USA


Center of Photography, New York, USA

New York University, APA Studies Institute,

New York, USA


Bronx Museum for the Arts, New York, USA

National Centre for Performing Arts, Mumbai, India



Shapeshifters and Aliens, Rossi & Rossi,

London, UK

One on One: Jaishri Abichandani on Samira

Abbassy, ArtAsiaPacific, No. 74, New York, USA


Anomalies: From Nature to the Future, Rossi

& Rossi, London, UK

Transitional Aesthetics, Constellations, Beijing

798 Biennale, Beijing, China


Sara Rahbar: Weaving the Flag, ArtAsiaPacific,

No. 57, March/April, New York, USA

Nueva Luz, Vol. 13, No. 1, New York USA


Sultana’s Dream: Collaborative Art by Women

Artists from South Asian and the Middle East,

Exit Art, New York, USA


Sristi, Tandem Books, New York, USA

Queens International 2006: Everything All at

Once, Queens Museum of Art, New York, USA


Fatal Love: South Asian American Art Now,

Queens Museum of Art, New York, USA


Adhnarishwara: The Androgene Probing the Gender

Within, Dr. Alka Pande, Rupa & Co., India


Catamaran, South Asian American Writing,

Vol. 1, No. 1., Massachusetts, USA


International Gallerie, Vol. 4, No. 1, Mumbai, India

A Patchwork Shawl: Chronicles of South


Asian Women in America, Rutgers University

Press, New Jersey, USA


Contours of the Heart: South Asians Map

North America, Asian American Writers

Workshop, New York, USA



Neha Bajpai, Toying with Art, The Week,

New Delhi, India

Aric Chen, Globespotters: Another Biennial?

Yes, But in Beijing, The New York Times (11

August), USA

Tom Finkelpearl, What’s Sauce for the Gander,

Art News Magazine of India, Vol. XIV

Benjamin Genoccio, For a Fresh Gallery

Space, Contemporary Indian Art, The New

York Times: Art in Review

Carissa Mann, In Conversation: Jaishri

Abichandani and Carissa Mann, Art Map

(September) Beijing, China

Shaheen Merali, Diaspora Avenue, Art News

Magazine of India, Vol. 14, No. 1, Quarter 1,

Mumbai, India

Sharmistha Ray,Way in the World, Art News

Magazine of India, Vol. XIV

Meenakshi Thirukode, Artists in Exile, ArtAsia-

Pacific, No. 64, New York, USA


Neha Bhatt, In Search of Power and Roots,

Business Standard, New Delhi, India

Natasha Bissonauth, SAWCC: A Grassroots

Sisterhood, ArtIndia, Vol. XIII, Issue II, Bombay, India

Maymanah Farhat, Sultana’s Dream, ArtAsiaPacific,

No. 57, New York, USA

Marta Jakimowicz, Disquieting Similarities,

Deccan Herald, Bangalore, India

Pariat Janice, Moving Beyond the Frame: A

Space for Alternative Readings, Time Out

Delhi, New Delhi, India

Michael Mills, East Wind A’blowin, New

Times, Florida, USA

Jaideep Sen, Despise Route: Interview with

Jaishri Abichandani, Time Out Bengaluru,

Bangalore, India


Maxwell Heller, Sultana’s Dream and the

SAWCC, Brooklyn Rail, New York, USA


RC Baker, Best in Show, Village Voice, New

York, USA

Anjali Kamat, Million Mutinies, The Hindu (9

September) New Delhi, India, 2006

Martha Schwendener, Art from Everywhere,

All from Queens, The New York Times, New

York, USA


Holland Cotter, Taking a Magical Flight

through India, The New York Times, New

York, USA

Amy Finnerty, South Asia as Ethnic Foreground,

Artistic Background, The Wall Street

Journal, New York, USA


Sasha Altaf, Inscriptions of the Feminine,

International Gallerie, Vol. 7, Issue 1, Mumbai,


Benjamin Genoccio, Images on a Transcultural

Highway, The New York Times: Art in

Review (12 December), New Jersey, USA


Holland Cotter, Mango, The New York Times,

New York, USA

Merrily Kerr, Queens International, Flash Art

(November/December), USA

A. Mandalas-Sudhakar, A Global Take, Art

News magazine of India, Vol. 7, Issue 1,

Mumbai, India

Lavina Melwani, Celebrating Similarities,

Newsday (9 August), New York, USA

Judith Staines, Mumbai Mix, (an) Magazine, UK

Sue Williamson, Eye-Catching Moments in the

Month of Photography,, Cape

Town, South Africa


Saatchi Collection, London, UK

Florian Peters Messers Collection, Berlin, Germany

Burger Collection, Hong Kong

Devi Art Foundation, New Delhi, India

Anupam Poddar Collection, New Delhi, India

Momenta Art Video Library, New York, USA

Asia Art Archive, Hong Kong

Nida Abidi



MFA, School of Visual Art, New York, USA


BA, Rutgers University, New Jersey, USA



Stargazing, Rossi & Rossi, London, UK,

Campaign, C24 Gallery, New York, USA


Pixelating: Black in New Dimensions, MoCADA

Museum, Brooklyn, New York, USA

SAWCC 5th Annual Art Auction, Saffronart,

New York, USA

Open/Close, Cuchifritos Gallery, New York, USA

fragmentation, Cuchifritos Gallery, New

York, USA

Briefly on View, Cuchifritos Gallery, New

York, USA

Implied Virtue, Visual Arts Gallery, New York, USA


Duck and Decorated Shed, NURTUREart,

New York, USA



Campaign, David Everitt Howe, ArtReview,

Issue 58, April

Intersectionality and Beyond: Complicating

Racial Identity Through Mixed and New Media

Art, Isissa Komada-John, PIXELATING: Black

in New Dimensions

Women Pop Artists and ‘Campaign’, John

Haber, Harber’s Art Reviews


Is Ornament a Crime?, Daniel Larkin, Hyperallergic

Blog, October

ART SPRINGS ETERNAL, Anna Ortt, artnet, May



Visiting Artist, Asian American Writers’

Workshop, New York, USA

Visiting Artist, MoCADA, Brooklyn, New

York, USA


Anita Dube was born in Lucknow, India, in

1958. She lives and works in New Delhi.



Involved in the activities of the Indian Radical

Painters and Sculptors Association


MA (fine) Art Criticism, Faculty of Fine Arts,

M.S. University, Baroda, India


BA (honours) History, University of Delhi,

Delhi, India



Anita Dube, Gallery Marabini, Bologna, Italy


Babel, Galerie Dominique Fiat, Paris, France


Kal, Lakeeren Art Gallery, Mumbai, India


Recent Works, Bose Pacia, New York, USA


Inside Out, Bombay Art Gallery, Mumbai, India

Phantoms of Liberty, Gallerie Almine Rech,

Paris, France


Illegal, Nature Morte, New Delhi, India;

Bose Pacia, New York, USA; Gallery Ske,

Bangalore, India


The Sleep of Reason, Sakshi Gallery, Mumbai;

Nature Morte, New Delhi, India


Via Negativa, Nature Morte, New Delhi, India


You Tell What You Know Down Here, Girl,

Sakshi Gallery, Mumbai, India


Desire Garden, Community Hall, Tara Apts,

New Delhi, India



Paris-Delhi-Bombay, Centre Pompidou,

Paris, France

Prague Biennale 5, India Pavillion, Prague,

Czech Republic

The Other and the Mother, Lakeeren Art Gallery,

Mumbai, India

Fragility, Art Alive, Gurgaon, India


Indian Highway, Herning Museum, Herning,


Punctum 1, Lakeeren Art Gallery, Mumbai,


Spiral Jetty, Nature Morte, New Delhi, India

Indian (Sub)Way, Grosvenor Vadhera, London, UK

Looking Glass: The Existence of Difference,

Religare Art, New Delhi, India


Against Exclusion-3 Moscow Biennale of

Contemporary Art, Moscow, Russia

Mythologies, Haunch of Venison, London, UK

Beyond Globalization, Beyond Art Space,

Beijing, China

The Audience and the Eavesdropper: New Art

from India and Pakistan, Phillips de Pury &

Company, London, UK, and New York, USA

Santhal Family (Positions around One

Indian Sculpture), MuKha, Antwerp, the



Urban Manners (15 Contemporary Artists

from India), Hangar Bicocca, Milan, Italy

New Delhi New Wave, Marella Gallery, Milan, Italy

India-Public Places/ Private Spaces (Contemporary

Photography and Video Art), The Newark

Museum, Newark, USA

Horn Please, Kunstmuseum Bern, Switzerland

New Narratives-Contemporary Art from India,

Chicago Cultural Center, Chicago, USA

India: New Installations, Part II, Mattress

Factory, Pittsburgh, USA


Bombay Maximum City, Lille 3000, Lille, France

Anita Dube, Bharti Kher, Mithu Sen, Nature

Morte, New Delhi, India

India of the Senses, Espace Louis Vuitton,

Paris, France


Indian Summer (La jeune scene artistique

indienne), Ecole Nationale Superieure des

Beaux-Arts, Paris, France

iCon: India Contemporary, at the Venice Biennale

(collateral event), Venice, Italy


Resonance: Anita Dube and Subodh Gupta,

International Centre for Contemporary Asian

Art, Vancouver, Canada

After Dark, Sakshi Gallery, Mumbai, India

Androgyne, Visual Arts Gallery, India Habitat

Center New Delhi, India

Vanitas Vanitatum, Sakshi Gallery, Mumbai, India


How Latitudes Become Forms: Art in a Global

Age, The Walker Art Center, Minneapolis,

USA; Fondazione Sandretto Re Rebaudenjo

per l’Arte, Turin, Italy; Contemporary Art

Museum, Houston, USA; Museo Rufino

Tamayo, Mexico City, Mexico

The Tree from the Seed, Henie Onstad Kunstsenter,

Oslo, Norway


Rest in Space, Kunstnernes Hus, Oslo, Norway,

and Künstlerhaus Bethanien, Berlin, Germany

Home-Street-Shrine-Bazaar-Museum: Contemporary

Art from India, City Art Gallery,

Manchester, UK

Alchemy, The Stephen Lawrence Gallery,

University of Greenwich, UK

Trans-figuration, Sakshi Gallery, Mumbai,


Photo Transcendant, Bose Pacia Gallery,

New York, USA

Wayside Deities, Art Inc. Gallery, New Delhi,



Kalam to Computer/Room for Improvement,

Crafts Museum, New Delhi, India

ARS 01, Kiasma Museum, Helsinki, Finland

The Mega Wave: Yokohama Triennale, Yokohama,


Context as Content/Museum as Metaphor,

Museum of Fine Arts, Punjab University,

Chandigarh, India

A Threshold of Spirit, The Cathedral of St.

John the Divine, New York, USA


Vilas, Birla Academy, Mumbai, India

Seventh Havana Biennial, Havana, Cuba

Boundlessly Various and Everything Simultaneously,

Bose-Pacia Gallery, New York, USA


Edge of the Century, Nature Morte, New

Delhi, India

Surendran Nair/ Jeffery Schiff/ Anita Dube/ Peter

Nagy, Nature Morte, New Delhi, India


The Bridge: Construction in Process VI,

Melbourne, Australia


Telling Times, The British Council, New

Delhi and Bath Festivals Trust’s Contemporary

Art, Programme, Bath, UK

Nirguna/Saguna, Nature Morte, New Delhi,



Founding and board member of KHOJ

Writes critical texts and catalogues on Contemporary

Indian Art, including Questions

and Dialogue, a manifesto written for the

Radical Group




MFA in Visual Arts, Columbia University,

New York, USA


Skowhegan School of Painting and Sculpture,

Madison, Maine, USA


BA in Art-semiotics and Comparative Literature,

magna cum laude, Phi Beta Kappa, Brown

University, Providence, USA



Transformations & Transgressions, Michael

Berger Gallery, Pittsburgh, USA

Solo Show, Jack Tilton Gallery, New York, USA

Solo Exhibition, Frey Norris Contemporary,

San Francisco, USA

She, the Question, Gotenburg Kunsthalle, Sweden


The Strangling Power of Dust and Stars,

Nature Morte, Berlin, Germany

Word of God(ess): Chitra Ganesh, The Andy

Warhol Museum, Pittsburgh, USA


The Ocean Beneath, Chatterjee and Lal,

Mumbai, India

On Site 2: The Sulhoutette Returns, MoMA

PS1, New York, USA

FIAC Solo Presentation, with Haas & Fischer,

Paris, France


Upon Her Precipice, Thomas Erben, New

York, USA

Solo Show, Haas & Fischer, Zurich, Switzerland


1 x 1, Artist Commissions, Jersey City Museum,

New Jersey, USA

Written on Wind and Water, Goliath Visual

Space, Brooklyn, USA


Her Secret Missions, Momenta Art, Brooklyn, USA




Exit Art, P28 Public Billboard Project, Lisbon

and Porto, Portugal

Super Human, Central Utah Arts Center, USA, 2012

At a Loss for Words, Art Musings Gallery,

Mumbai, India

India Art Summit, with Gallery Espace, New

Delhi, India

You Don’t Know Where Her Mouth Has Been

& LIFT 21, The Kitchen, New York, USA

Cologne Art Fair, with Nature Morte Berlin,


Stargazing, Rossi & Rossi, London, UK


Printed Histories: 16 Years of Print Portfolios,

Exit Art, New York, USA

And the Falchion Passed through His

Neck…., Latitude 28, New Delhi, India

India is Now…., Kunstverein Göttingen, Germany

Surreptitious Fondness, NARS Foundation,

Brooklyn, USA

Experimental Shorts, Coney Island Film

Festival, Brooklyn, USA

Alpha’s Bet Not Over Yet, New Museum, New

York, USA

Chitra Ganesh, Nalini Malani, Nilima

Sheikh, David Winton Bell Gallery List Arts

Center, Providence, USA

Future of the Past, Gayatri Sinha, Quddus

Mirza, Prince of Wales Museum, Mumbai, India

Samtidigt, Contemporary Art from India, Art

Museum Tennis Palace, Helsinki, Finland

La route de la soie (The Silk Road), Tri

Postal, Lille, France

Roots in the Air, Branches Below, San Jose

Museum of Art, San Jose, USA


Divine Horsemen: Chitra Ganesh & Simone

Leigh, Mason Gross Gallery, USA, 2010

Malleable Memory, Aicon Gallery, New York, USA

50 Artists Photograph the Future, Higher

Pictures, New York, USA

Other Than Beauty, Friedman Benda Gallery,

New York, USA

Bunny Redux, Warhol Museum, Pittsburgh, USA

Brucennial, project in conjunction with

Whitney Biennial Recess Space, New York, USA

Hair Tactics, Jersey City Museum, Jersey

City, USA

Empire Strikes Back, Saatchi Gallery, London, UK

The Art of War, CEPA, Buffalo, New York, USA

No More Bad Girls? UNpossessing Femininity,

Kunsthalle Exnergasse, Vienna, traveling to

Stiftelsen Bryggen, Norway

This Modern World?, billboard project, Historic

Bund, Shanghai, China

Bring Me a Lion, Webster University Art

Museum, St. Louis, USA

Wild Gander, Rotunda Gallery, Brooklyn,



Harlem Postcards, Studio Museum in Harlem,

New York, USA

Commune, Black & White Gallery, New York, USA

India Xianzai, Museum of Contemporary

Art, Shanghai, China

Anomalies, Rossi & Rossi, London, UK

India Moderna, IVAM Museum, Valencia, Spain

Hotter Than Curry?, Gallery OEd, Cochin, India

Transitional Aesthetics, Beijing 798 Biennial,

Longmarch Space, Beijing, China

Shifting Shapes, Unstable Signs, Yale University

Art Gallery, New Haven, USA

Beyond Appearances, Lehman College Art

Gallery, New York, USA

There Goes My Hero, Center for Book Ars,

New York, USA

Moment to Monument, Indian Art Summit,

Travancore Palace, New Delhi, India


Everywhere Is War (and Rumours of War),

Bodhi Art, Mumbai, India

Democracy in America, Creative Time, Armory,

New York, USA

7 Beauties, Contrasts Gallery, Shanghai and

Beijing, China

The Other Mainstream II, Arizona State

University Art Museum, USA

Pandora’s Box, Dunlop Art Gallery, Regina,

Saskatchewan, Canada; Plug In ICA, Winnipeg,

Canada; Kitchener-Waterloo Art Gallery,

Ontario, Canada

Firewalkers, Stefan Stux Gallery, New York, USA

The Furious Gaze, Montehermoso Cultural

Center,Vitoria-Gasteiz, Spain

Of This Tale I Cannot Guarantee a Word…,

Royal College of Art, London, UK


Contemporary Indian Art Between Continuity and

Transformation, Spazio Oberdan, Milan, Italy

25 Years Later…, Art in General 25th Anniversary

Exhibition, at UBS Galleries, New York, USA

Sex in the City, Dumbo Arts Center, New

York, USA

Thermocline of Art, ZKM Gallery, Karlsruhe,


Spectral Evidence, Rotunda Gallery, Brooklyn, USA

One Way or Another, Blaffer Gallery, Art

Museum of the University of Houston, USA;

Berkeley Museum, University of California,

USA; Japanese American National Museum,

Los Angeles, USA; Honolulu Academy of

Fine Arts, USA


What War?, White Box, New York, USA

One Way or Another, Asia Society New York, USA

Subcontingent: The Subcontinent in Contemporary

Art, Fondazione Sandretto Re

Rebaudengo, Turin, Italy

Papering, Deutsche Bank Galleries, New

York, USA

Nicola Durvasula, Chitra Ganesh, Tejal

Shah, Thomas Erben Gallery, New York, USA


Time’s Arrow, Rotunda Gallery, Brooklyn, USA

The Gift: Building a Collection, Queens Museum

of Art, New York, USA

739 Feet Running Wall, Gwangju Contemporary

Art Museum, Gwangju, Korea

Fatal Love, Queens Museum of Art, New York, USA


Pilot 01, Limehouse Town Hall, London, UK

NextNextArt, Brooklyn Academy of Music,

New York, USA

Six Feet Under, White Box, New York, USA

Color Theory, Vitamin Arte, Turin, Italy

Summer Selections: Playpen, The Drawing

Center, New York, USA

Treasure Maps, Apex Art, New York, USA,

and ArtSpace, New Haven, USA

East of the Sun West of the Moon, White

Columns, New York, USA

Open House, Brooklyn Museum of Art,

Brooklyn, USA


Theory of Relative Power, Abrons Art Gallery,

New York, USA

637 Feet of Running Wall, Queens Museum

of Art, New York, USA


Charlie, MoMA PS1, New York, USA

Mango, Talwar Gallery, New York, USA



Art Matters Foundation Grant

Lower East Side Printshop Special Editions



Hermitage Artist Center Residency


New York Foundation for the Arts Artist’s



Brodsky Center for Innovative Editions

Smack Mellon Studio Residency


Art Omi International Artists’ Residency


New York Community Trust


Emerge 7, Aljira Center for Arts

Artists’ Alliance Rotating Studio Program

New York Foundation for the Arts Artist’s

Fellowship, Gregory Millard Fellow

Headlands Center for the Arts


Lower Manhattan Cultural Council Workspace


Astraea Visual Arts Award


Bronx Museum Artist in the Marketplace

Program, Henry Street Settlement Abrons

Arts Residency


College Art Association Professional Development



Columbia University Dean’s Fellowship


Roberta Jocelyn Award for Excellence in Art

Rosalie Colie Award for Outstanding Work in

Comparative Literature



Kurt Shaw, Artist Chitra Ganesh Uses Comics

to Convey Weighty Issues, Pittsburgh Tribune


Mary Thomas, Ganesh & the Goddesses, Pittsburgh

Post Gazette

Introduction to an Index, Radical History Review,

Issue 111, Duke University Press

Chitra Ganesh, Svati Shah, Feminist Studies

Rethinking Art & Contemporary Multicultural

Education, Routledge Books

Archive, Affect, and the Everyday: Queer

Diasporic Revision, in Policail Amotions:

New Agendas for Communication, Routledge



Achim Drucks, Chitra Ganesh: Subversive

Myths, ArtMag 61 Deutsche Bank Feature

Sophia Powers, Interview with Chitra


Mark Hudson, It’s Modern India but Not All

Indian, The Mail on Sunday, 2/7

JJ Charlesworth, Indian Art Today: The Empire

Strikes Back, Time Out London, 2/4

Adrian Searle, The Empire Strikes Back: Indian

Art Today, The Guardian, 2/2

The Empire Strikes Back at the Saatchi Gallery,

BBC News

The Empire Strikes Back: Indian Art Today,

MurmurART 42/4

Rajesh Punj,The Revolution Continues, Asian

Art Newspaper, 1/10


Chitra Ganesh, Eros in Myth, Toro Magazine,


Critics Pick, Time Out New York, October

Studio Visit, Tokion Magazine, June

Benjamin Gennochio, For a Fresh Gallery

Space, Contemporary Indian Art, The New

York Times, February

Michael Wilson, Apocalyptic Pop, Time Out

New York, January 21

Deppanjana Pal, Storylines, Time Out Mumbai,

January 8

Georgina Maddox, Big in New York, Express

India, January


Sahar Khan, India’s Hottest artists, Vogue

India, December

Contradictions and Complexities, L.A. Times,

June 19

Julie Riggott, Asian Art, by way of Blondie,

Downtown News L.A., February 25, 2008

Barbara Pollack, Sex in the City, ARTNews,


Bettina Korgmann, Kunstmarkt: Metzelnde

Heldinnen, Die Welt, p. 30, February 23

Artists’ Dictionary: A Survey of Contemporary

Indian Art, Flash Art, January/February


Olivia Sand, Profile: Artist Chitra Ganesh,

The Asian Art Newspaper, December

Holland Cotter, Sex in the City, The New York

Times: Art in Review, November 23

Marlyne Sahakian, Chitra Ganesh, Artkrush,

Issue 68, October

Benjamin Genocchio, 25 Years Later:

Welcome to Art in General, The New York

Times, August 31

Queer Arts, NY Arts Magazine, September/



Vibhuti Patel, Asian Art: Insiders Looking Out,

Newsweek International, October 2

Holland Cotter, E7, The New York Times,

September 15

Roberta Smith, Asian Roots, Shifting Identities,

The New York Times, September 8

Karin Miller Lewis, ‘Women on Top’, Art

India, Vol. XI, Issue II ,Quarter II

Dan Bischoff, Artists on the Rise, The Star

Ledger, July 30

Mondo Oggi, Marie Claire Italy, July

Holland Cotter, No More Drama, The Saga

Continues, The New York Times, June 16


Christine Lagorio, Artists Seek to Fill 9/11

Voids,, September 12

Benjamin Genocchio, This Mural Devours Its

Viewers, The New York Times, July 24

Courtney Martin, Fatal Love, Flash Art, May/June


Holland Cotter, Magical Flight Through Modern

India, The New York Times, March 4

Andrea Scott, Brave New World, Time Out

New York, March 17–23

Karin Zizewitz, Mapping South Asian Art, Art

India, Vol. 9, Issue 2, Summer

D. Dominick Lombardi, From the Romantic to

the Edgy, Works that Compel, The New York

Times: Art in Review, Westchester, July 25

Holland Cotter, Masala, The New York

Times: Art in Review, April 9

Laura Auriccho, Treasure Maps, Time Out

New York, March

Peter Nagy, Through Customs, ArtAsiaPacific,



100 Gay Success Stories, OUT Magazine, December

Artist in Residence: Chitra Ganesh, Velvet Park

Magazine, Anniversary Issue


Phyllis Braff, Looking at Those Images, Again and

Again, The New York Times, November 24

Holland Cotter, Mango, The New York

Times: Art in Review, July 19



Visiting Critic, Fine Arts Work Center, Provincetown,


Visiting Lecturer, MASS Art, Boston, USA

Transnationalism and Women Artists in the

Diaspora, Sackler Center, Brooklyn Museum,

Brooklyn, USA

Radical Collaboration, with Simone Leigh, Andrew

W. Mellon Seminar, Center for Humanities, City

University of New York, USA

Post Baccalaureate Program, Maryland Institute

College of Art, USA


In Memoriam Wittig, Kessler Lecture Series,

CUNY Graduate Center, New York, USA

Archiving the Ephemeral: Index of the Disappeared,

with Mariam Ghani, Brown University,

Providence, USA

Chitra Ganesh & Gayatri Gopinath, Princeton

University, Princeton, USA

MICA, Visiting Critic

In Memory of Wittig, CUNY Graduate Center

for Lesbian and Gay Studies (CLAGS), New

York, USA

Artists Talk on Art, Rubin Museum of Art,

New York, USA

Keynote lecture, What About the Gaze?, Cornell

University, Graduate Symposium, Department

of Art & Art History, Ithaca, USA

Rutgers University Annual Lecture Series, USA


Tyler School of Art, Visiting Artist Lecture, USA

MICA Maryland College Institute of Art, Visiting

Artist Lecture, USA

Artist Talk, Webster University, St. Louis, USA

MoMA Teens Program, Artist Talk & Workshop,

Museum of Modern Art, New York, USA

Parsons School of Design, Visiting Artist,

New York, USA


Michigan State University, Visiting Artist

Lecture, USA

Chitra Ganesh & Mariam Ghani: Index of

the Disappeared, Hampshire College

Tell Me a Story, Center for Lesbian an Gay Studies,

CUNY graduate Center, New York, USA


(Un)Patriot Acts, Center for the Study of

Gender and Sexuality, New York University,

New York, USA

Law & Visual Resistance: Perspectives on

Contemporary Art and Politics, South Asian

Bar Association, New York, USA

Impossible Archives, Kevorkian Center for

Middle Eastern Studies, New York University,

New York, USA

riDYKEulous: The Odds Are Against Us,

MoMA PS1, New York, USA

Gelman Studio Lecture, Columbia University,

New York, USA

California College of Arts, Visiting Artist

Lecture, San Francisco, USA


Artists Speak on Art, Rubin Museum of

Himalayan Art, New York, USA

Exquisite Acts & Everyday Rebellions: Feminist

Art Symposium, CalArts, Los Angeles, USA

Visiting Artist Lecture, New York Studio

School, New York, USA

Visiting Artist Lecture, Pratt University, New

York, USA

Gods, Monsters, and Divas, Lesbian, Gay,

Bisexual, and Transgender Community Center,

New York, USA

Meeting Artists’ Needs: The Elevator Speech,

CUE Art Foundation, New York, USA

Visiting Artist Lecture, Columbia University,

Asian American Studies, New York, USA


Who Cares? Creative Time Artists’ Roundtable

Dialogue, New York, USA


AAPA History Month Speaker, Sexuality in

Art, Connecticut College, USA

Treasure Maps: A Roundtable, Yale University,

New Haven, USA


Brodsky Center for Innovative Editions

Brooklyn Museum

Burger Collection

Devi Art Foundation

Deutsche Bank Art Contemporary

Gwangju Contemporary Art Museum

Museum of Modern Art

Queens Museum of Art

Saatchi Collection

San Jose Museum of Art

Wake Forest University

Whitney Museum of Art

Mithu Sen

Mithu Sen was born in 1971 in West Bengal,

India. She lives and works in New Delhi.



PG Programme (Visiting) Glasgow School of

Art, Glasgow, Scotland, UK


MFA (Painting) Visva Bharati, Kala Bhavan,

Santiniketan, India


BFA (Painting) Visva Bharati, Kala Bhavan,

Santiniketan, India



In-House Adoption, Gallery Steph and Nature

Morte, Singapore




BLACK CANDY (iforgotmypenisathome),

Chemould Gallery, Mumbai, School of Art

and Aesthetics, JNU, New Delhi, India


BLACK CANDY (iforgotmypenisathome), Max

Mueller bhavan, New Delhi, India

Nothing Lost in Translation, Nature Morte,

Berlin, Germany


Me Two, Krinzinger Project, Vienna, Austria

Dropping Gold, Dropping Gold, Suzie Q,

Zurich, Switzerland

Freemithu, Khoj, New Delhi, India


I Dig, I Look Down, Albion Gallery, London, UK


Half Full: Part 1, Bose Pacia Gallery, New

York, USA

Half Full: Part 2, Nature Morte, New Delhi, India


It’s Good to Be Queen, Bose Pacia Artist

Space, New York, USA

Drawing Room, Nature Morte and British

Council, New Delhi, India

Drawing Room, Gallery Chemould, Mumbai, India


I Hate Pink, Lakeeren Art Gallery, Mumbai, India


Unbelongings, Machintosh Gallery, Glasgow,

Scotland, UK


Can We Really Look Beyond the Map?, Art

India Style, New Delhi, India



Terrestrial Bodies, 1x1 Art gallery, Dubai,


Slipping through the Cracks, Lattitude 28,

New Delhi, India

Cynical Love, Kiran Nadar Museum of Art,

Noida, India

Crossings, Kiran Nadar Museum of Art, New

Delhi, India

Narratives of Self, Gallery Espace, New

Delhi, India


Spheres 4, Gallery Continua, Le Moulin, France

Fragility, Art Alive, Gurgaon, India

Window in the Wall India and China:

Imaginary Conversations, Pearllam Fine Art,

Shanghai, China

Generation in Transition, New Art from India,

Zachęta National Gallery of Art, Warsaw

and CAC in Vilnius, Lithuania

Home Spun, Devi Art Foundation, New

Delhi, India

MEISSEN art CAMPUS, Leipzig, Germany

For(e)play, Idea of Fashion, Khoj, New Delhi,


Against All Odds, Lalit Kala Academy, New

Delhi, India

Myth-Reality, The Guild Art Gallery, Mumbai, India

Of Gods and Goddesses. Cinema. Cricket. The

New Cultural Icons of India, RPG (Jehangir

Art Gallery), Bombay, India


Spiral Jetty, Nature Morte, New Delhi, India, 2010

Public Enemy Number 1, Exhibit320, New

Delhi, India

Scratch, Shakshi Gallery at LKA, New Delhi, India

I Think Therefore Graffiti, The Guild, Mumbai,


Eye of India, Bartha & Senarclens Partners,


Writing Visuals, Harrington Street Art Center,

Kolkata, India

Continuum Transfunctioner, Exhibit320,

New Delhi, India

Nature Revisited, Sanskriti Gallery, Kolkata, India

Size Matter or Does It?, Latitude 28, New

Delhi, India

Evolve, Tao Art Gallery, Mumbai, India


Finding India, COEX, Seoul, South Korea

What the Body Remember, South Asian Video

Art Today, The Bhavan, London, UK

Abstract Cabinet, Eastside Project Space,

Birmingham, UK

Indian Xianzai, MOCA (Museum of Contemporary

Art), Shanghai, China

Emotional Drawing, SOMA, Seoul, South Korea

India Modern Exhibition, IVAM, Valencia, Spain

Art Against Terrorism, Akarprakar, Kolkata, India

Other India Story, Lakeeren, Mumbai, India

The Human Animal, Arts I, New Delhi, India

The Body Vessel, Art Alive, New Delhi, India


Where in the World, Devi Art Foundation,

New Delhi, India

Mutant Beauty, Anant Art Center, New

Delhi, India

Synonymous, Guild Art Gallery, Mumbai, India

Still Moving Image, Devi Art Foundation,

New Delhi, India

Emotional Drawing, MOMAT (Museum of

Modern Art), Tokyo, Japan

Link, Sakshi Gallery, Mumbai, India

Contradictions and Complexities: Contemporary

Art from India, D.E.N. Contemporary

Art, Los Angeles, USA

Comme des bêtes, Lausanne Museum, Berne,


Shifting Terrains/Altered Realities, The Art

House, Singapore

A-MAZ-ING, Jehangir Art Gallery, Mumbai, India


Horn Please, Kunst Museum, Bern, Switzerland

Incohen Korean Women’s Biennale, Seoul,

South Korea

Tiger by the Tail, Brandies University, Boston, USA

Here There Now, Gallery Soulflower, Bangkok,


Making/Unmaking, Vadhera Art Gallery,

New Delhi, India

Private/Corporate 4, Daimler Chrysler Collection,

Berlin, Germany


Being Anastacia, Goethe Institute, Salvador, Brazil

Inside Outside, Nature Morte, New Delhi, India

All That Glitters Melt into Air, IPF, London, UK

Avatars of the Object, Guild Art Gallery,

Mumbai, India

Shadow Lines, Vadhera Art Gallery, New

Delhi, India


Metrospective: Visual Representations of Metrosexuality,

Kitab Mahal, Mumbai, India

Golden Jubilee Show, Rabindra Bhawan, Lalit

Kala Akademie, New Delhi, India

Monsoon Show, Nature Morte, New Delhi, India

The New Wave in Bengal Art, Akar Prakar,

Calcutta, India

Are We Like This Only?, Vadhera Art Gallery,

New Delhi, India


Tableaux Vivant, Nature Morte at Sridharani

Gallery, New Delhi, India

The Found Project, Latrobe Regional Gallery,

Victoria, Australia

Fair and Furious—2, Jebiwool Art Museum,

South Korea

The Art Connection, British Council and Birla

Academy, Kolkata, India

Devotional Breach, Gallery Sumukha,

Bangalore, India

Kaleidoscope, Square One Gallery, New

York, USA

Fleshed Out and Lifting Off, Anant Gallery,

New Delhi, India

The Making of India, Sahamat, New Delhi,



Portrait of the Decades, CIMA, Kolkata, India

Flag for Peace, Karachi, Pakistan

Peep Show, Apparao Gallery, Chennai, India

Through Customs, Bose Pacia Gallery, New

York, USA

Fair and Furious, Visual Art Gallery, India

Habitat Centre, New Delhi, India

Sheesa, Sanskriti Foundation, New Delhi, India

A/P Artist Proof, Kala Ghoda Festival, Gallery

Chemould, Mumbai, India


Trans-Figuration, Visual Art Gallery, India

Borderless Terrain, Visual Art Gallery, Habitat

Centre, New Delhi, India

Young Contemporaries from Shantiniketan,

Gallery Espace, New Delhi, India

The Closet/Closets, Academy of Fine Arts and

Literature, New Delhi, India



Skoda Award for Indian Contemporary Art

Britto International Artist Workshop, Dhaka,


Awagami/MOMAT Residency, Tokyo, Japan


YFLO ( FICCI ) young achievers award, India


Bose Pacia Artist in Residence, New York, USA


UNESCO-Aschberg Bursaries for Brazil

(Sacatar Foundation)

Lijiang Studio Residency, Yunnan, China


Wasani International Artist Workshop, Kenya

Art Omi International Artist Residency, New

York, USA


Khoj International Artist Residency, New

Delhi, India


Charles Wallace India Trust, UK

Junior Fellowship, Government of India

mithu Sen

You Owe Me! (detail), 2009

Mixed media on custom-handmade acid-free paper, 211 x 107 cm (each 83 x 42 in)

chitra ganesh

How We Do at the End of the World (detail)


Digital C Print

Edition 1/5 plus 1 Artist’s Proof

127 x 172.7 cm (50 x 68 in)

first published as part of the exhibition:


22 June - 19 July

Coordination: Martin Clist

Assistance: Mauro Ribero

Edited by: Eti Bonn-Muller

Design: Ruth Höflich

© Rossi & Rossi Ltd. 2012

Text copyright © the author. Images courtesy of the artists

and Rossi & Rossi

All rights reserved. No part of this publication may be

transmitted in any form or by any means, electronic or

mechanical, including photocopy, recording or any storage

or retrieval system, without prior permission from the

copyright holders and publishers

ISBN 978 1 906576 30 1

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the

British Library

16 Clifford Street

Rossi London W1S 3RG

t +44 20 7734 6487



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