Premonitory Machines
by Philip Monk, April 2011
More than just triangulated between its tenses of past, present, and future, time itself is fractured. Premonition haunts time and disrupts its unbroken smooth flow forward. Progress is not (self)-assured. Time here rather is achronological. The future that beckons us with its fluctuating video glare from the far wall of the gallery is not what was past promised by the progress of history.
The Flights of the Pink Flamingo or Historiae Sub-Rosae of Capital and the Twentieth Century
by Kaushik Bhaumik, in 'Art India', Vol XV, Issue III, Quarter III, 2010
An essay responding to 'The Capital of Accumulation' by Raqs (2010)
How to Be a Collective in the Age of the Consumer Sovereign
by Pamela Lee, e-fliux, October 2009
Raqs’s members will tell you that the art world’s peculiar fetish for collectivism hews to a misty-eyed vision of a storied past, that images of paving stones tossed and barricades stormed fail to capture what is at once more mundane and more insidious about collectivism’s contemporary forms and the reimagining of the commons they have instigated.
Talking Cure
by HG Masters in Art Asia Pacific, Issue 64, August 2009
...documentary filmmakers, social theorists and artists drawing on urbanism, film studies, legal theory, history, the biological sciences, postmodern literary theory, criminology, ancient philosophical and religious literature, new-media technologies, psychology and sociology...
Raqs Media Collective: Building Sight
by Lucian Harris, in 'Art India', Vol XIII, Issue I, Quarter I, 2008
Working with an extended family of collaborators, Raqs Media Collective has produced some of the more interesting and least predictable art to come out of the Indian subcontinent in recent years.
Whirling Dervishes and Urban Design
by Francesco Manacorda, Frieze, June 2007
In the vision of Raqs Media Collective the discursive is a domain that works ecosystematically, endlessly adapting itself to questions and conversations.
Raqs Media Collective: Nomadism in Art Practice
by Elena Bernardini, in 'Global and Local Art Histories', edited by Celina Jeffrey and Gregory Minissale, Cambridge Scholars Publishing, Newcastle, 2007
Raqs's work speaks of an experience which cannot be circumscribed to a strictly local level... The dimensions 'local' and 'global' with reference to the works of practitioners like Raqs becomes inevitably 'enmeshed' with one another. Raqs's practice speaks of both mobility across and between locations and locatedness without setting one against the other, or privileging one above the other.
State of a Nation
DAM Magazine, Brussels, September 2007 | Text by Emma Firmin
Delhi's Raqs is just one of the participants in the Mattress Factory's two-part India: New Installations exhibition. Relocating the artists to work in residence at the Gallery in Pittsburgh is a fitting experience for a group of media practitioners who find the expression of 'unique Indian quality' meanignless and instead emphasise the agile, nomadic and sometimes volatile nature of contemporary culture.
Puzzling the World
by Cedric Vincent, September 2006
If nomadism remains one decisive element in Raqs’s conception of the world, their work is also characterised by the theme of irreducible mystery, which also originates, no doubt, in the will to disrupt the presuppositions of modernity.
On "They Called it the XXth Century (from The Impostor in the Waiting Room)"
Lecture by Christine Peters on the opening of 'They Called it the XX Century' by Raqs, Stuttgart, 2005
The Impostor in the Waiting Room by Raqs Media Collective, their figure of the trickster is one of a witty surviver, and a disguised nomad, who is "capable of altering an angle of perception, or a trajectory of thought capable of reconfiguring normative discourses. He performs the roles of thief, shape-shifter, agent provocateur or liar - a liar more in the sense of how Oscar Wilde defined him = as one who uses his imagination".
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