To begin with, I’d like to congratulate you on being shortlisted for Abraaj Group Art Prize 2015 at Art Dubai along with Setareh Shahbazi and Mounira Al Solh. Thank you, thank you very much. Is this kind of gratification
Could you begin by talking about how Dopehri came into being? Was this your first attempt at writing fiction? No. I had written something before this as well. It’s a funny incident, frankly. If you want, you can write it;
On a midsummer morning in 2011, when I was fifteen, two national newspapers carried, on their front pages, full-length images of a woman with a matchstick build, dressed in a sleeveless frock. Her left arm was vigorously tattooed, out of
I love Kolkata and I am really looking forward to their reactions to my exhibition,” says Jayasri Burman, a little nervously. A sense of pride is visible in her playful eyes that hide behind thick-rimmed black glasses as she looks
As an expression of human behaviour that is simultaneously an exercise in physical agency and a manifestation of the metaphysical, dance may be interpreted as a socio-cultural and political gesture which locates itself in complex and ever-changing semiotic systems. As
The Internet has not been kind to Pahlaj Nihalani. As chief of the censor board, Nihalani has been at the center of controversy after controversy. First, it was his very appointment to that position, which was seen as one
I ready Skype in anticipation. I want this interview to go well. Anders Lustgarten has become somewhat of a hero for me, after I heard his Soho Theatre play, Lampedusa, on the radio. After a couple of initial glitches, I’m
Lying on my bed in the warm glow of the afternoon sunlight, which is now soft but sometimes still unbearable, I started watching, without my glasses, mango leaves move ever so slightly in a blur of deep green and light,
Oh, our Mother, the Earth, Oh, our Father, the Sky, Your children are we, and with tired backs We bring you the gifts that you love. Then weave for us a garment of brightness; May the wrap be the white
In 1986, the Italian philosopher Umberto Eco had this to say about Disneyland: “An allegory of the consumer society, a place of absolute iconism, Disneyland is also a place of total passivity.” In the same essay, he discussed at length