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Protest as Polyphony: An Interview with Raqs Media Collective
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Protest as Polyphony: An Interview with Raqs Media Collective
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Journal Article
Protest as Polyphony: An Interview with Raqs Media Collective
2018
Overview
An example of artwork that interrogates patriarchal systems as well as racial and historical legacies in the U.S. is Art in the Age of Collective Intelligence, which featured an indoor installation of photographs and books addressing the problematic issue of dealing with the history of wealth displacement in World's Fairs and, in particular, the reductive view of race they have tended to display as capitalist spectacles. In your opinion, how does protest demand new iterations of the way artists—as well as audiences, spectators, critics, institutions, and the art market—approach the very practice of art-making? RAQS MEDIA COLLECTIVE/ A tension between the aesthetic and the constituted political is not a novel phenomenon. To put it another way: how can a citizen produce counternarratives? RMC/ The tales of Layla and Majnun, and Heer-Ranjha, which address and remember the indifference of love to the realities of a cruel world, or the Marsiyas and Nohas that address the incident at Karbala, or Antigone's insistence on a proper burial, or the songs of Baul minstrels that radically question the form that the \"self\" takes, the astronomical observations of Louis-Auguste Blanqui on distant stars, Rosa Luxemburg's botanical notebooks, Karl Marx's fairy stories for his daughter Eleanor, the aphorisms in twilight language of Kabir, the weaver of Benares, and the riddles of Bodhidharma or Dogen all constitute the most subversive aesthetic inheritances that we lay claim to. MKL/ You've been working together since 1992, a significant year in Indian mass media with the foundation of Tamil Sun TV and the rise of private cable television, for instance.
Publisher
Johns Hopkins University Press
Subject
