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The Impostor in the Waiting Room. Installation with video, photography, performance, text, sound and print. Bose Pacia Gallery, Chelsea, New York, 11 November 2004 – 23 December 2004.Gallery Pic
The Impostor in the Waiting Room is a consideration on what happens when modernity encounters its shadow.
The Impostor in the Waiting Room. Installation with video, photography, performance, text, sound and print. Bose Pacia Gallery, Chelsea, New York, 11 November 2004 – 23 December 2004.Gallery Pic
As a group of practitioners who navigate routes in and out of modernity, its past, present and future, on a daily basis in Delhi - the city where we live, and in the course of our travels elsewhere, we have come to realize that the world is densely encrusted with ‘waiting rooms’ - spaces for transients to catch their breath as they prepare for the arduous ascent to the high promontory of modernity.
The Impostor in the Waiting Room. Installation with video, photography, performance, text, sound and print. Bose Pacia Gallery, Chelsea, New York, 11 November 2004 – 23 December 2004.Gallery Pic
The image of the “waiting room” gestures towards the sense of incompleteness and elsewhereness that fills those spaces of the world about which the overriding judgment is that they are insufficiently modern – that they are merely patchy, inadequate copies of ‘somewhere else’. Such waiting rooms exist in the very heart of that ‘somewhere else’ – in New York and Los Angeles, in London and Singapore – but it is outside these islands that they have their truest extent. Most of the world, in fact, inhabits such antechambers of modernity. We know such antechambers well; we are at home in them, everywhere.
The Impostor in the Waiting Room. Installation with video, photography, performance, text, sound and print. Bose Pacia Gallery, Chelsea, New York, 11 November 2004 – 23 December 2004.Gallery Pic
Waiting Rooms everywhere are full of Impostors waiting to be auditioned, waiting to be verified, waiting to know and to see whether or not their ‘act’ passes muster, and whether they can cross the threshold and arrive on to the plane where ‘history is truly made’.
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