Anushka Rajendran is the curator of Prameya Art Foundation (New Delhi) and also works independently as a curator and writer. Her ongoing curatorial research traces how the notion of public has acquired alternative significance to contemporary art in recent years, as well as the aesthetics of engagement within exhibition frameworks. This is informed by her previous research on responses by artists living in India in the 1990s to political and cultural trauma which has since expanded to encompass the South Asia region. She was the Festival Curator for Language is Migrant, the 2022 edition of Colomboscope, the only interdisciplinary arts festival in Sri Lanka and was on the curatorial team for Kochi Muziris Biennale 2018. Other recent projects include, Like Cupping Water with their Hands, PRAF at Focal Point, Sharjah Art Foundation, 2022 (Sharjah, UAE); Language is Migrant, Warehouse421, 2022 (Abu Dhabi); Phantasmapolis: Looking Back to the Future, Asian Art Biennial 2021-22, National Taiwan Museum of Fine Arts, 2021 (Taiwan); And yet the air was still stirring, Fundación Sandretto Re Rebaudengo Madrid, 2021-22 (Spain); Anatomies of Tongues, Chobi Mela Shunno, 2021 (Dhaka); Speculations on a New World Order, Shrine Empire, 2020 (New Delhi); and Between the Lines, Aomori Contemporary Art Centre, 2019 (Japan). She has published essays in several publications including anthologies, academic journals and artists' monographs and is currently editing a monograph on Anoli Perera's life and work.
Office for Contemporary Art
Nedre gate 7
Public Talk with Anushka Rajendran, Curator at Prameya Art Foundation
As part of our ongoing International Visitor Programme (IVP), we are pleased to host curator of Prameya Art Foundation (New Delhi), Anushka Rajendran and invite you to a public talk at OCA on 26th October. During the talk, Rajendran will take audiences through a few recent projects in South Asia and beyond to discuss various curatorial methodologies and exhibition frameworks that have tried to address the question of diverse publics for art in South Asia, while remaining agile and responsive to the turns within the political context as well as contemporary art circuits in the region.