Author Archives: rit.premnath

Those Who Wait

Contemporary Art Gallery, Vancouver
October 11, 2019 – January 5, 2020
Curated by Kimberly Phillips

The word “knot” describes a fastening, a difficult problem, or an uncomfortable mass, tightness or tension. Sreshta Rit Premnath charts his artistic practice through the multiple definitions of this term: it is a making-visible of knots. Anchored to his work as a teacher, writer and collaborator, and entangling a number of philosophical and artistic inheritances, his installations—which incorporate sculpture, video and photography—posit the gallery as an open platform upon which to pose urgent political questions.

For the past six years, and through a number of linked projects, Premnath’s questions have focused on two interconnected concerns: the contradiction between the occupation and ownership of space, and the conditions of invisibility and misrecognition that define migrant experience. Across many of these projects, a particular sculptural form resurfaces: thin rubber and foam shapes that imply the scale of a human body, soaked in plaster, tar or clay. Incapable of holding their own weight, they slump over and lean against rigid steel scaffolds—material stand-ins for the architectural contexts that contain and detain human bodies. In each exhibition, Premnath’s abstracted “slumps” are placed in tension with photographic or filmic elements, which ground the installation in a particular context. One such example is the single-channel video Sleeping Dogs (2016), where the camera is steadily trained on stray animals in Kathmandu who make claims to the space of the city—street corners and sidewalks coursing with people—through the simplest and most basic act of slumber. In another instance, Una Doble Vida (2019), a video monitor propped upon the gallery floor records the horizon at sunset, cut against long views of milk-crates on a Brooklyn street corner that undocumented day labourers use as seats while they wait for work. The audio relays testimony of one such undocumented day labourer as he reflects upon the home he left behind in El Salvador, his desires for the future and the challenges he faces daily as he waits for work that may or may not come.

For his first solo exhibition in Canada, Premnath’s interest in the occupation of space extends deeper into an examination of the architecture of waiting. This substantial new installation at CAG considers the physical forms and ideological structures that impose temporal delay or stasis on bodies, separating some from others. Numerous cultural analysts have noted that political, climatological and economic changes around the world are forcing increasing numbers of people into situations of chronic waiting, where access to political freedoms, social support or economic resources is delayed, often indefinitely. Once again, Premnath’s artistic response is informed by his own observations: the artist’s studio in Brooklyn overlooks the mammoth Metropolitan Detention Center, currently being used as a space of incarceration for immigrants who await legal proceedings and possibly deportation from the US.

In Those Who Wait, the artist substitutes his usual representational elements for new and highly charged counterpoints: the arranged metal fencing that both supports and separates the “slumps” incorporates mirrored surfaces—emergency blankets stretched taut—which vividly reflect the bodies of exhibition visitors themselves. By both literally and metaphorically implicating us within the work, Premnath asks us to provide the context. High upon the walls, three text-based works, scaled to resemble exit signs, are hung so that terse pairs of words on either side—SEPARATE/SUPPORT, WAIT/WEIGHT and EXILE/EXHAUST—are made inextricable. Just as the heavy plaster-caked forms are at once separated and supported by their armatures, these tension-filled text pairings suggest the knot of recto/verso relations—and the impossibility of considering one thing without the other—that is threaded through the entire installation. As Premnath writes in a suite of accompanying poems, “to lean / is to be held.” In this way, Those Who Wait might propose that waiting can also be understood as waiting together, and that spaces of stasis and uncertainty also hold the potential for empathy, solidarity and the seeds of political mobilization.

A new monographic publication, with commissioned texts by US-based scholar Avram Alpert and Brazilian curator Tiago de Abreu Pinto, accompanies this exhibition, and will be launched at Emily Carr University of Art + Design on January 9, 2020.

Those Who Wait is generously supported by the Embassy of the United States, Ottawa, with additional support from Brigitte and Henning Freybe. The forthcoming publication is partially funded by a Faculty Research Grant from Parsons School of Design, The New School, New York. We acknowledge the support of Emily Carr University of Art + Design towards Premnath’s initial research visit.

Those Who Wait

From L’Intrus REDUX Curated by Natasha Marie Llorens
Westfälischer Kunstverein, Münster, Germany
June 15 – August 18 2019

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Below Blue Horizon

Sreshta Rit Premnath
Curated by Tiago de Abreu Pinto
Rodríguez Gallery, Poznań, Poland
January 10 – February 15 2019

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Audra Wolowiec + Sreshta Rit Premnath
March 16 – April 22, 2018
Present Company, Brooklyn

Images courtesy of Present Company. Photo: Ethan Browning

Only One Way

Socrates Annual at Socrates Sculpture Park, New York

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Art Dubai’s 10th Edition Represents Art’s Underreported Voices

in Forbes
By Grace Banks

‘There’s a discrepancy between
who made Dubai, and even who made the ground we’re standing on now.’ Said artist
Sreshta Rit Premnath on the show’s openinsula day, ‘and who we see around us. A
huge amount of this city was built and is being built by Indian workers who aren’t
part of the class of society they’re building for and it’s something we have to have
transparency on.’

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Ace Gallery, Los Angeles
Aug 15 – Sep 23, 2017

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Nomas Foundation, Rome, 2017

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Slump, Wedge and Index

from Cartography of Ghosts, The Drawing Center, New York, 2016
and We The Watchers Are Also Bodies, Hercules Art Studio Program, New York, 2017

After Midnight reviewed in New York Times

Indian Artists Look Westward, and Homeward, at the Queens Museum

–Holland Cotter
June 4, 2015

“More surprisingly, much subtler quasi-architectural pieces by the New York-based Conceptualist Sreshta Rit Premnath work here, too. One has life-size photographic images of sleeping migrant workers pressed behind sheets of industrial plastic; another is composed of aluminum tubing, measuring tapes and what look like carpets of molded sand. Both make smart use of an under-construction aesthetic to bring the museum itself into a larger story about globalism as a force at once accommodating and crushing.”

Full Review: PDF

After Midnight reviewed in Wall Street Journal

‘After Midnight: Indian Modernism to Contemporary India, 1947/1997’ Review


“The Queens Museum is perfectly positioned to reflect this development. Its location on the grounds of the 1939-40 and 1964-65 World’s Fairs next to the landmark Unisphere makes it a paradigm of globalism, past and present. Sreshta Rit Premnath highlights this issue in “Projections (1964/2014)” (2015), a photo mural that interweaves a view of the Indian Pavilion at the World’s Fair with an advertising billboard for a residential complex that boasts “New York Living in Bangalore.”

Full Review:PDF


Queens Museum of Art, New York
Logan Center for the Arts, Chicago

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The Capricious Sky / Group Zero (1964)

Organized by Whitney-Lauder Curatorial Fellow Liz Park
The original text appeared here.

It is with great sadness that we hear of the passing of Otto Piene on July 17, 2014. We are grateful to have had the recent opportunity to interview Mr. Piene about the historic exhibition that he organized at ICA fifty years ago.

ICA@50 ends with a reverse countdown to the organization’s very beginnings: the “zero zone” described by Otto Piene as a “zone of silence and pure possibilities for a new beginning.” A film by Korean artist Jeamin Cha accompanies this archival reflection on ICA’s Group ZERO exhibition.

A small catalogue and a few photographs are all that remain in the files for the historic Group ZERO exhibition at ICA. In an effort to rebuild the institute’s archive, I visited Otto Piene (b. 1928, Baad Laasphe, Germany; lives Groton, Massachusetts) at his residence to speak with him about his experience of organizing the show fifty years ago at the fledgling art museum. This interview is available for viewing in the gallery and on ICA’s website where select clips act as prompts for a collaborative text written with the artist Sreshta Rit Premnath (b. 1979, Bangalore, India; lives New York). Artist and editor of Shifter magazine, Premnath recently presented a solo exhibition Knot Not Nought, which explored the concept of the zero knot in mathematical, poetic, and philosophical terms. On view in the following pages, the text explores how Group ZERO’s and Piene’s interests remain relevant today.


Without Ground

Otto Piene: One day in May, World War II—although no one wanted to believe it—was over… Most of my contemporaries didn’t think we would survive the war… My friends said artists should stay away from politics. After World War II, no more politics ever! Well, that’s not the way it goes.

Liz Park: Drawing from my own biography, it seems that war is a persistent state of mind. Coming from Korea, a divided state in armistice, I, like many other Koreans both in Korea itself and in diasporic communities throughout the world, have had to live with the threat of active conflict. Whether or not we directly engage with politics through activism or cultural expression, we always bear the war in our psyche.

Sreshta Rit Premnath: I don’t think that this state of perpetual war is purely psychological. Having lived in the US for over fifteen years now, I find myself in a country that is constantly at war elsewhere. In such a situation, inaction is tantamount to our complicity with war at a distance. These wars are fought because of American “interests” in other countries, and we cannot opt out of global politics. We are bound to the factory worker in China through our cellphones, the textile worker in Bangladesh through our clothes, and the oil-worker in Iraq through our cars. Inaction stems from two sources: the first is our inability to feel the violence of war at a distance; the second is a deep disenchantment with the democratic process that leaves the electorate feeling powerless and apathetic.

Visual art, and cultural production in general, may either function as a barometer of the psychological state of a society, or as the progressive force which serves as a harbinger of cultural transformation. Assuming that we are not satisfied with the former–reflected in contemporary art that simply guesses or follows fashions–how do we envision the artist’s political role?

LP: Let’s not forget the shifting scale of culture and politics. The introspection of a young soldier during World War II is an example of how world-scale conflicts and politics leave a real imprint on individuals on the ground. When it feels like that ground is pulled out from beneath us, we begin to question the arbitrary and unstable nature of the construction of our society, and of nation-states in general. One of the ways we can ground ourselves again is to construct a space of our own (real or virtual) in which to take refuge, even if only temporarily. Maybe that is the impulse behind the work of Otto Piene’s generation of artists.

If we look beyond the immediate safety of our home here in the United States, the world is not any less violent today than during World War II. We have sophisticated means of distancing ourselves from the violence; and disenchantment with the democratic process, as you say, is rampant. The overwhelming sense of despair, however, should not automatically lead to apathy. When it feels like we’re being dwarfed by something entirely out of our control, like the large expanse of the sky, should we not shift our gaze towards the grains of sand at our feet?

Artists are tricksters of perception. They can make us look hard: here, there, and elsewhere. The practice of looking itself should be coupled with the practice of questioning our own perception, so we can look at the details and zoom out simultaneously. Maybe then we will be able to appreciate the immensity of the ground and the sky without feeling paralyzed.

Without Sky

OP: If you’re a young 15-year-old flack soldier, you spend a lot of time staring at the sky… As the sky became the field of dread and threat, it also revealed its incredible beauty… The sky is so beautiful that it’s overpowering even in the dread and the threat of war…

SRP: Liz, your feeling that Otto Piene and his contemporaries had to reinvent a ground from which to work pinpoints the importance of the sky for them. The sublime experience that Piene recounts, of looking at the sky, would provide a way out of the political particularity of where–or on whose ground–one is standing. By surrendering oneself to light and to the sky stretching over land and water, oblivious of the boundaries of nation-states, the artist finds a zero point from which to begin. However, it seems to have been important to Piene, and it certainly is for me, that this sublime invocation of zero not elide or conceal politics.  

I am echoing your desire to practice looking while also being mindful of how one looks. Piene’s absorption in the sky is always disturbed by the threat of bombers. What I wonder is how to use the sky to mobilize my political sentiments. Is it possible to feel the threat of drones while sitting in New York City?

LP: I am skeptical of the mobilization of the sky in global politics. Recalling past conversations I have had with you and many others about the commodification of air space in New York City, and’s attempts to make drone delivery a reality in the near future, it seems, by no stretch of imagination, that the sky is the new frontier in late capitalism, and that economic interests will motivate intense political battles over air space. The sublime and transcendent beauty of the sky can be so easily instrumentalized by people on any side of the political spectrum, so the question of how to use the sky to mobilize your political sentiments, which I assume are much aligned with mine, feels urgent.

SRP: We have already grown accustomed to aerial advertisements interrupting our enchantment with the sky. Proposals for moon publicity may some day become a reality, at which time even our “heavenly bodies” would be reduced to surfaces that promote our profit-driven world.  

What if we think of the sky not as the space above our heads but, instead, as that which lies beyond? The sky is the literal emptiness that fills the universe, stretching between stars and within atoms. Our recognition of the sky in this sense would give rise to the fundamental question of metaphysics, stated by Heidegger as: “Why are there beings instead of nothing?” Could an engagement with the world that transcends worldly problems establish a new politics of consciousness and attention? Or, are metaphysical considerations incompatible with political life?

LP: I would like to hold fast to the idea that metaphysical reflections ought to make us question the fundamental nature of being, not so we can equate transcendence with escapism, but so that we can become better grounded in our own reality. If we think of the sky as that which lies beyond, then the ground is that which is within. One cannot exist without the other, and both are equally expansive spaces of exploration and questioning.

Without Form

LP: Many of Piene’s works such as the light ballet performances and sky art events evoke the space somewhere between the ground and the sky, making use of that space as a medium of suspension.

OP: The balloon as a border-defying, innocent, lightweight, lighter-than-air thing took on a slightly political role in all of this.

SRP: I would like to think of the balloon as empty space given a temporary form. The border that Piene speaks about could then refer to both the terrestrial boundary that this floating orb adamantly ignores, and also the subtle skin that separates the inside and the outside of the balloon.

LP: As a symbolic object, the balloon epitomizes the transcendence of man-made borders. Perhaps like a message in a bottle, it’s a proposition to an unknown receiver. It can be so rife with symbolism and interpretation that I think at a certain point we also need to acknowledge that a balloon is just a balloon.

As a physical form, the balloon is the thin membrane as well as the spaces within and without. Therefore besides being a discrete object, it points to an ecology of invisible forces that hold and embrace it. These forces sway us this way and that, much as they sway the balloon.

This discussion makes me mindful of the porosity of my skin and the perviousness of my being. We can look at this permeability of boundaries politically. Circling back to the beginning of our conversation, we are connected to those far away from us to whom we owe our material comfort–our computers, phones, clothes, cars, etc.

SRP: Perhaps it’s the sensitivity of the membrane that mediates the inside and the outside that counts. The co-constitutive zones of the personal and the political must be nurtured by remaining receptive, like a weather balloon, to relations with distant others. However, I don’t think we need to dispense with the metaphysical connotations of the balloon in order to engage with its political metaphors. While the balloon is a literal means of dispersing information, whether it be political fliers or advertisements, it is also a metaphor for the social forces that shape us. And finally, the balloon as a work of art allows us to consider being itself, floating untethered by material and social constraints.

Knot Not Nought

Kansas Gallery, New York, 2014

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The Bindery Projects, St Paul

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Preview in Time Out Bengaluru

by Akhila Seetharaman
July 05 2013

Photo by Selvaprakash L

Sreshta Rit Premnath’s art is dense with cues, both visual and verbal, finds Time Out

It all began with a phrase, “let sleeping dogs lie” and so, on a walk home late one night in Sanjay Nagar, artist Sreshta Rit Premnath found himself filming sleeping dogs. At the time, Premnath was engaged in another project. One that took as its point of departure the late industrialist MS Ramaiah’s belief that he could defy death by constant construction. “I didn’t know what to do with them but there was something about them that interested me,” said Premnath, who lives in New York city but returns to Bangalore, the city he grew up in, intermittently. The videos of dogs didn’t make it to the exhibition titled The Last Image held in Chicago in 2012 but they stayed with him nevertheless.

Premnath found himself pondering the fact that Ramaiah had thought of building as his activity when in fact labourers were doing the building. “In the imagery of development, whose labour is symbolically subsumed and by whom? How do we, the citizens – who think of Bangalore as developing, as opposed to the people building the city – make the body of the labourer disappear?” asked Premnath. He hadn’t forgotten the sleeping dogs either, which to him were potent images. “They have no claim, no space, except for the space they occupy in the moment. The moment is both peaceful and full of threat. Anybody can throw a rock any time.” Mesmerising videos of the dogs occupying just the space taken up by their bodies are part of his latest show, titled Plot, that opens at GALLERYSKE this fortnight.Premnath’s creative process usually begins with a word or title and proceeds with both the words and the work unravelling simultaneously, informing each other along the way. “For me the word ‘plot’ has different registers of meaning. It’s a plot of land you build on or private property, plot or a narrative, but also the plot as the body, as in the case of the sleeping dog. And finally, the plot where one is buried or burnt. Everything is reduced to the boundary of the body.”

In his previous show, Folding Rulers, held at the Contemporary Arts Museum in St Louis last year, Premnath used images of sandboxes to depict shifting forms of portraits, reminiscent of fallen dictators in the Middle East. “The sandbox and measuring rulers leaves traces, almost like memories,” said Premnath, a quality that led him to employ sandboxes again in Plot, but this time in 6ft-long boxes resembling coffins. Rulers leave markings on the sand – traces, measurements, indicating experience and the absence of what was once there.Premnath’s works are a result of the commingling of three distinct threads of interest. Preceding everything for him is the question of his own political position in the world, as an artist and as a human being. Then follows the question of form, how an image is made and the history of image-making. As an undergraduate art student in the US in the early 2000s, Premnath found himself questioning the hegemony of a western art history, a line of inquiry that led him to question everything including canvas and oil paints. “Everything felt like a political decision because I was identifying with a certain history of making,” he said. He deliberately chose non-art materials such as soap, spices and pages torn from an atlas, a practice he continues. His new show uses flex, a material used on advertising billboards. Premnath’s work is built on a philosophical line of questioning triggered by Ludwig Wittgenstein’s analytical forays into language and experience. In his book Remarks on Colour, Wittgenstein asks whether there’s a point at which the colour red becomes orange, or orange becomes yellow, or whether this happens only in moments of relationship. “The word and the concept aren’t separate. You can’t even say that you have a perception and then you try and find a concept for it because it happens simultaneously and always in relation to other things,” said Premnath, who tries to think about other concepts like absence or freedom in the same way. “For me the idea of absence in the case of death, for instance, feels more like a moment in a series, rather than a finality.”

Premnath’s solo show opens at GALLERYSKE on Sat July 13.

“Folding Rulers” at CAM St Louis

Nov 29, 2012 – Dec 30, 2012

For this Front Room exhibition, Sreshta Rit Premnath presents a new project that reflects his ongoing interest in the visual representations of power. The exhibition’s title, Folding Rulers, is also the name given to a series of eight printed vinyl banners featuring silhouettes of a human figure. Premnath created the images by placing folding rulers—a construction tool used for measuring angles and distance—in a sandbox and photographing the resulting composition. Despite their resemblance to commemorative portraits or busts found in private homes and public spaces, the content of the works remains abstract and unresolved.

Premnath’s invocation of the “sandbox” is motivated by an interest both in the American military’s use of the word to refer to the Middle East and in the use of the actual object as constructive psychotherapeutic tool to reveal an individual’s memory or past trauma. This association is established in the Folding Rulers portraits and in Sandbox (2012)—used military combat boots filled and overflowing with sand that become stand-ins for soldiers themselves, confronting anonymous portraits of power drawn in the sand. Together, these works, along with several others in the gallery, not only point to the seismic shifts currently underway in our contemporary geopolitical landscape but also actively imagine a future yet to be written.

Sreshta Rit Premnath: Folding Rulers is organized by the Contemporary Art Museum St. Louis and curated by Kelly Shindler, Assistant Curator.

Contemporary Art Museum St. Louis
3750 Washington Boulevard
St. Louis, MO 63108
(314) 535-4660

Wednesday 11-6
Thursday 11-9
Friday 11-9
Saturday 10-5
Sunday 10-5

Contested Territories curated by Miguel Amado

DORSKY GALLERY Curatorial Programs is pleased to announce the continuation of its program of independently-curated exhibitions: Contested Territories, curated by Miguel Amado, will open on Sunday, September 23rd, from 2:00-5:00 p.m. and remain on view through January 6, 2013. A color brochure with an essay by the curator has been published to accompany the exhibition.

The exhibition brings together a diverse group of artists from across the globe. Participants are Inbal Abergil, Danielle Adair, Francis Alÿs, Tania Candiani, caraballo-farman, Mounir Fatmi, Takashi Horisaki, João Louro, Carlos Motta, Celestino Mudaulane, Sreshta Rit Premnath, Nada Prlja, Rosana Ricalde, and Alejandro Vidal. Their output is informed by or is a response to discord, both historical and contemporary. Continue reading

Temporary School – Portico di Piazza Gramsci, Milano

Temporary School – A Collective Work – 23/29 maggio 2012, Portico di Piazza Gramsci, Milano

Workshop di Sreshta Rit Premnath in collaborazione con Sintetico curated by Maria Rosa Sossai (ALA)

Over a period of a week “Temporary School” at Piazza Antonio Gramsci in Milan aims to reflect on and create a space for artistic collaboration and education. Taking our cue from Antonio Gramsci’s concept of a “philosophy of praxis”, we believe that all individuals have the ability to critically engage with the world through their particular practice – be it art, architecture or anything else – and produce a positive social change.

By beginning with the particular social backgrounds and intellectual interests of each participant and physically transforming their “private archives” – those materials and objects that are relevant to their individual lives and social history – together we hope to create a new kind of social space within Piazza Gramsci. Our aim will therefore be to provide the environment and impetus necessary for participants in the Temporary School to create something new with materials and ideas that are already intimately meaningful in their lives.

We will also draw from Edward Said’s suggestion of the importance of “amateurism” – an activity that results from spontaneous enthusiasm without any professional goals, awards or higher authority to answer to. Temporary School does away with the hierarchy between “artist” and “non-artist” as well as teacher and student, and in its place creates an environment of sharing and creating rather than teaching. The artist Sreshta Rit Premnath and curator Maria Rosa Sossai both from ALA Group will serve the role of instigators who guide and provoke the participants rather than teachers or judges.

By making the walls of the school that usually separate the private space of theoretical education and the public space of practical social activity as thin as possible we hope to bring these two intertwined aspects of our social existence and artistic practice closer together. With this aim in mind we will use the walls that contain the Temporary School to voice personal questions of the participants to the general public. We hope that in a simple way this will allow the theoretical debates within the school to resonate outwards and effect those who pass through the space.

“A Socially Engaged Drink” at Via Farini, Milan

Moscow / Garibaldi Via Procaccini 4, 20154 Milan

May 28, 2012 28
18:00 to 20:00

Speakers Maria Rosa Sossai Sreshta Rit Premnath and Francesca De Luca

This round of the cycle A Socially Engaged Drinks is dedicated to NEXTFLOOR , social and urban redevelopment project of the Association in collaboration with ALA and Synthetic Boîte. The project aims at the conversion of urban spaces obtained through creativity and organization of participatory moments and the direct involvement of the inhabitants. The pilot project consists of two stages: Temporary School is a laboratory in which new uses are developed in the Portico of Piazza Gramsci Open Call is a call for redesign and redevelopment of semi Portico. (Excerpt from press release)

“The Last Image” at Tony Wight Gallery, Chicago

TONY WIGHT GALLERY is pleased to present two concurrent solo exhibitions:
Friday, 20 April, 6-8pm


The Last Image

845 West Washington Boulevard
Chicago IL USA 60607
Tues – Sat 11am-5pm

Co-editors of the magazine SHIFTER, Metzger and Premnath will be releasing issue 18: Intention at the opening.

Metzger and Premnath are also collaborating on a 25 print limited edition project in conjunction with the exhibitions.

New Selections: South Asia @ Thomas Erben Gallery

Vinod Balak, Faiza Butt, Hasan Elahi, Anoka Faruqee, Koshal Hamal, Ehsan ul Haq – Sreshta Rit Premnath, Schandra Singh

January 10 – February 11, 2012
Opening Reception: Tuesday, January 10, 6-8:30 pm

Thomas Erben Gallery is pleased to present work by a selection of artists related to the larger South Asian field, whose wide variety of concerns, media, and practices have recently garnered our attention.

Thomas Erben Gallery
526 West 26th Street, floor 4
New York, NY 10001

5 Questions for Contemporary Practice on Art 21

By Thom Donovan.

Sreshta Rit Premnath. “Blue Book, Moon Rock,” 2009. Multiple media. Dimensions variable.

Sreshta Rit Premnath’s over-arching project involves an investigation of scientific, philosophical, and aesthetic discourses in terms of the ways these discourses construct and dissemble our sense of the real. In Blue Book, Moon Rock, for instance, are arrayed multiple systems of measure and representation. One sees a sheet of paper on which is depicted a photograph of a moon-rock. Above the moon-rock is a measuring stick. In another document from the installation, one encounters a page from Wittgenstein’s “Blue Book” (one of the many philosophical journals the philosopher kept) entirely blacked-out except for the sentence: “We ought to talk further on about the meaning of ‘forgetting the meaning of the word.’” Following Wittgenstein, Premnath’s aesthetic universe provides his viewer with a vantage of the world from multiple “language games” (Wittgenstein’s term for particular modes of discourse), foregrounding the contradictions and dilemmas produced through this shifting vantage. (The journal Premnath has edited since 2006 appropriately enough is called Shifter, taking its name from linguist Roman Jakobson’s term for grammatical elements that help to establish a context for utterance, such as personal pronouns).
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Catherine Sullivan interviewed by the Project for an Archive of the Future Anterior

The Project for an Archive of the Future Anterior

Interview with Catherine Sullivan

Friday, December 9th, 6:30 – 8:30pm

CUE Art Foundation
511 West 25th Street
New York, New York 10001

The evening will begin with a presentation by Chicago based artist Catherine Sullivan, of excerpts from her video works (with a focus on The Last Days of British Honduras, her 2010 collaboration with Farhad Shamini) and documentation of her performances. Following her presentation she will be interviewed by Thom Donovan and Sreshta Rit Premnath of the Project for an Archive of the Future Anterior.

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Galerie Nordenhake at Art Basel Miami Beach

Art | Basel | Miami Beach | 1-4 Dec | 2011

works by
Mirosław Bałka
Gerard Byrne
Jimmie Durham
Spencer Finch
Hreinn Fridfinnsson
Donald Judd
Gunilla Klingberg
Esko Männikkö
Helen Mirra
Walter Niedermayr
Scott Olson
Marjetica Potrč
Sreshta Rit Premnath
Harvey Quaytman
Michael Schmidt
Günter Umberg

“The Matter Within: New Contemporary Art of India” at YBCA San Francisco

October 15, 2011 – January 29, 2012

Yerba Buena Center for the Arts
701 Mission Street (at 3rd Street)
San Francisco, CA 94103-3138

Ayisha Abraham, Rina Banerjee, CAMP, Nikhil Chopra, Anita Dube, Gauri Gill, Shilpa Gupta, Sunil Gupta, Siddhartha Kararwal, Dhruv Malhotra, The Otolith Group, Sreshta Rit Premnath, Pushpamala N., Raqs Media Collective, Tejal Shah, Sudarhan Shetty, Bharat Sikka, Anup Mathew Thomas, and Thukral and Tagra.

Mask, Sreshta Rit Premnath, 2011, 45″X54″X7″, Burnt photocopies, plexiglas, metal clamps
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Mosaics of the East From the Met to San Francisco


Published: September 15, 2011

“Several young Indian artists will be appearing in a California show called “The Matter Within: New Contemporary Art of India,” opening Oct. 15 at Yerba Buena Center for the Arts in San Francisco.

From the sound of it the show should give a fair sense of what’s cooking in the extremely lively and diffuse South Asian and South-Asian-abroad scene. Although several established artists are included, others — Nikhil Chopra, Siddhartha Kararwal, Dhruv Malhotra, Sreshta Rit Premnath, Tejal Shah, the duo Jiten Thukral and Sumir Tagra, and the Otolith Group — are on their way to being international names.”

Heres a link to the whole article.

Art Matters Foundation Grant

Art Matters, the non-profit foundation, is pleased to announce 23 grants ranging in amounts of 3,000 USD to 10,000 USD to artists focusing on communication and collaboration across national borders:

Mary Walling Blackburn, Andrea Bowers, Juan Willam Chávez, Laura Chipley, Sonya Clark, Tony Cruz, Hasan Elahi, Lola Flash, William Gaynor, Robert Gero. Hope Ginsburg, David Kagan, Helen Lessick, Cynthia Madansky, Wardell Milan, Lorraine O’Grady, Yoshua Okón, Sheila Pepe, Sreshta Rit Premnath, Jessica Segall, Susan Silton, Sonali Sridhar, Wu Tsang and Alexandro Segade

For more information on Art Matters, please visit

La “Ricerca” di Sreshta Rit Premnath on Exibart

published July 15 2011

English Version:

Tell us your history. How you started?

I was born in Bangalore, India in 1979. My mother is an ecologist, my father is an acoustic engineer and I studied in a school founded by the philosopher J. Krishnamurti. I think this particular combination has contributed to an analytical bent in my art practice.
In 1998, after high-school I moved to the US to study art. I moved to New York City about six year ago to complete my Master’s degree at Bard College and attend the Whitney Independent Study Program.

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Future Anterior interviews Simon Leung at CUE Art Foundation

Simon Leung in conversation with Project for an Archive of the Future Anterior (Thom Donovan and Sreshta Rit Premnath)

Saturday, March 26th, 4 :00-5:30pm

Please join us for a conversation between Project for an Archive of the Future Anterior and Simon Leung on the occasion of Leung’s solo exhibition, War After War, at the CUE Art Foundation.

We will discuss Simon Leung’s new video in the context on his ongoing collaboration with Warren Niesluchowski, which began with the work Warren Piece (in the ’70s) almost 20 years ago. We will discuss Leung’s meditations on the residual effects of the Vietnam War and his notion that war inhabits all of us.

Initiated by Thom Donovan and Sreshta Rit Premnath, Project for an Archive of the Future Anterior is envisioned as an ongoing gathering of video interviews in which artists, writers, scientists and colleagues from various disciplines discuss unrealized social and/or personal projects. The interviews will present futures which never came to pass, but may still hold the potential to be realized in the present. By producing an archive of futures, which have yet to come to pass the project hopes to alter the course of the future, as well as change the way we narrate and remember the past.

The Inhabitant of the Floor Above


A project by Veronica Valentini

texts by

Audrey Cottin / Julia Gorostidi / Daniel Jacoby / Tamara Kuselman / Gabriel Péricas / Sreshta Rit Premnath / Ryan Rivadeneyra / Oriol Vilanova

produced by Homesession, youtube

“The Inhabitant of the Floor Above” is a project that intends to explore, through the use of the narrative techniques of literature and theater, how the narrative process is used by contemporary artists. Eight artists have created texts of fiction in response to the curatorial proposal. The texts collected in the publication become, thanks to their common thread, a script for a performative event during which they will be interpreted by the authors with the audience.

“Water Water Every Where” at BRIC Rotunda Gallery

Curated by Elizabeth Ferrer
March 16 – April 30, 2011

BRIC Arts | Media | Bklyn presents Water Water Every Where, a group exhibition examining water’s ubiquity – its presence in our everyday life, in geopolitical reality, and in transcendent moments of existence. “The condition of the New Yorker is to be surrounded by water and yet to be little aware of it,” says the exhibition’s curator and Director of Contemporary Art at BRIC, Elizabeth Ferrer. “We are largely island dwellers, residing in a city whose geography features rivers, creeks, channels, estuaries, tidal straits, a grand harbor, and the Atlantic Ocean. And yet we tend to look inward (and indeed, upwards), when imagining the contours of the city.”
Water Water Every Where opens with a reception Wednesday, March 16, 2011 at BRIC Rotunda Gallery and will be on view through Saturday, April 30, 2011.

Water Water Every Where includes the work of seven artists, six based in New York, and one in Mexico City – Marie Lorenz, Mary Mattingly, Anne Percoco, Sreshta Rit Premnath, Joni Sternbach, Aleksei Stevens, and Kurt Hollander. Their work encompasses photography, video, installation, sculpture, work on paper, and sound projects, varied means that examine water’s inextricable presence in our lives.

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“Ambiguities of The Symbol” in The Deccan Herald

Ambiguities of the symbol

Marta Jakimowicz

Sreshta Rit Premnath’s exhibition “Leo (procedures in search of an original index)” (Galleryske, November 22 to December 4) focuses on metamorphoses of the lion as a symbol of power through its varied recurrence in historical and cultural contexts, its direct examination revealing a confusing, contradictory propensity to support as well as undermine its intention.

The show oscillates between visual evocativeness and sensation as much as conceptual occasionally hermetic, strategies, some necessitating explanation if one is not familiar with American circumstances or technical references.
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“Lions in Bangalore” by Janice Pariat


by Janice Pariat

As Shobha De so succinctly put it in a recent article in the Bombay Times, “Symbols are not instant coffee.” While this glam queen was referring to the new – and improved? – Indian Rupee symbol, we can safely say that in general, symbols take time to evolve, whether nationally or cross-culturally. Sreshta Rit Premnath ‘s show titled “LEO” explores and at the same time deconstructs the symbol of the lion – that grand old animal that forever lives (and falsely so) in our imagination as the king of the jungle.

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Leo previewed in Time Out Bengaluru


A new show investigates how the lion has slipped into our general consciousness and perhaps lost its majestic associations, says Jaideep Sen.

While researching the lion, and its use as a symbol of power and authority, Sreshta Rit Premnath stumbled upon some intriguing trivia. For instance, “In the early maps by Romans, areas that were unmapped would be indicated with the symbol of a dragon,” he recounted. “When the British started mapping the colonial world, they replaced those unmapped spaces with the words, ‘There be lions’.”

For his new solo show – titled LEO – at GALLERYSKE, the 30-year-old New York-based artist began to look at the many associations that the lion has come to assume over the years. As the numbers of the big cat in the world – of both of its two largest populations: the Asiatic and the sub-Saharan species – have dwindled to a few hundred, Premnath sought to explore the manner in which it has come to assume a solemn, and silent, presence in urban society, as elements in design and architecture that may well seem commonplace.

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Aspect Blindness: Arnold Kemp and Sreshta Rit Premnath by Thom Donovan

September 7th, 2010 by Thom Donovan on the Art:21 Blog

This past week I received two packages in the mail. The first was from Arnold Kemp, who is an artist, curator, and teacher and currently directs the Visual Studies Program at Pacific Northwest College of Art in Portland. The second was from Sreshta Rit Premnath, an artist, writer, and curator, with whom I have been collaborating to construct an archive of video materials dedicated to the future anterior (the French conditional tense for what “will have been”). In both packages, I saw an affinity among the printed materials, all of which have to do with certain aporias of historical representation, cultural encounter, and aesthetic mediation.

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Spectral Evidence – critic’s pick on

Spectral Evidence
by Doretta Lau

Unit 14,Cattle Depot Artists Village,, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon,
July 15–September 5

View of “Spectral Evidence,” 2010.

“Spectral Evidence,” the first of two exhibitions curated by Steven Lam at 1a Space, features works by Lin + Lam, Sreshta Rit Premnath, and Simon Leung. The pieces in the exhibition use the media, materials, and language of documentation to create narratives that provoke us to question how we perceive the world. Premnath’s Horizon (all works cited 2010) is a group of photographs depicting various monuments to Christopher Columbus, but the statues themselves have been removed from the images, leaving only the pedestals. Alongside these altered pictures is a faux granite tablet bearing a line from the explorer’s journal that highlights the oft-present gulf between belief and reality: WE WENT SOUTH WEST UNTIL WE LEARNED THAT WHAT WE HAD THOUGHT WAS LAND WAS ONLY THE SKY.
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Spectral Evidence on ArtSlant

Spectral Narrative in Hong Kong by Robin Peckham

Spectral Evidence
1a Space
Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Rd., To Kwa Wan, Kowloon, Hong Kong, China
July 15, 2010 – September 5, 2010

For its inaugural curatorial residency, 1a Space has invited Steven Lam, New York-based artist, curator, and educator affiliated with with both Cooper Union and the School of Visual Arts, to produce the first of two exhibitions: “Spectral Evidence,” which takes as its theoretical foundation the titular odd legal category first utilized in the seventeenth-century Salem witch trials and later picked up in theoretical texts on the Derridean concepts of haunting and the trace and Avery Gordon’s concept of ghostly presence. The idea certainly resonates in Hong Kong, where evidence of haunting due to violent death constitutes legal grounds for breaking property leases and where a major local artist, Adrian Wong, once turned a lengthy process of exorcism into an extensive project in the wake of a series of supernatural mishaps. Fortunately, Lam does not set out with such a literal interpretation of the context, instead working with two artists and an artist collective to construct narratives of forced migration, disappearing histories, and colonial power.
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“Love Letters To A Surrogate” at Torrence Art Museum

July 10, 2010
12PM – 5PM

Torrence Art Museum
3320 Civic Center Drive
Torrance, CA 90503

Curator: Warren Neidich

Artist collaborators:

Lindsay August-Salazar / Micol Hebron, Elena Bajo / Sreshta Rit Premnath, Vanessa Conte / Christian Xatrec, Zoe Crosher / Linda Quinlan, Krysten Cunningham / Elena Bajo, Ania Diakoff / Eric Angles, Filip Gilissen / Gretchen Reyes, Jeff Hassey / Tova Carlin, Marcus Herse / Christian Jendreiko, Ichiro Irie / Alison Knowles, Analeis Lorig / Andrew Berardini / David Levine, Jules Lindon-Thyssen / Praxis (Delia Bajo and Brainard Carey), Emily Mast / Jerome Bel, Joshua Selman / Warren Neidic, Michael Rashkow / Falk Bühne, Ana Prvacki / Delia and Milenko Prvacki, Tif Sigfrids / David Maroto, Cody Trepte / Tyler Coburn, Lee Welch / Jessica Higgins, Jenny Yurshanski / Mira O’Brien
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“The spectacle of power” in Bangalore Mirror

Nalini S Malaviya
Posted On Sunday, June 06, 2010 at 06:17:56 PM

The international art fair for modern and contemporary works, Art 41 Basel kicks off on June 16, and Galleryske from Bangalore will be making its debut there with Zero Knot, an installation and publication by artist Sreshta Premnath. The first Indian gallery to be accepted at Frieze Art Fair, London, Galleryske has established itself firmly amongst the top few art galleries in the country. Sunitha Kumar Emmart from Galleryske explains, “what we want is to nurture and develop art practices that are rigorous, and taking part in a fair like Art Basel creates a platform for us to further share the works of the artists we represent.”

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“Other Than Beauty” at Friedman Benda

May 28 – July 30, 2010

Ai Weiwei / Janine Antoni / Hans Bellmer / Joseph Beuys / Louise Bourgeois / John Cage / John Chamberlain / Chitra Ganesh / Robert Gober / Zhang Huan / Kim Jones / Titus Kaphar / Jannis Kounellis / Ana Mendieta / Bruce Nauman / Yoko Ono / John Outterbridge / Nam June Paik / Sreshta Rit Premnath / Robert Rauschenberg / Sterling Ruby / Tavares Strachen / Pascale Marthine Tayou / Mierle Laderman Ukeles / Nari Ward / Lawrence Weiner / The Yes Men

Friedman Benda
515 West 26th Street
New York, NY 10001

“36 Dramatic Situations” at Louis V. E.S.P.

May 28- June 11
Opening Reception: May 28, 7-10PM
Organized by Scott Kiernan

Alisa Barymboym / Amelia Saul / Ania Diakoff / Anne Yalon / Cigdem Kaya / Colby Bird / Deric Carner / Derek Larson / Elena Bajo / Eric Angles / Ethan Miller / Georgia Sagri / Gregory Edwards / J Parker Valentine / Jakob Schillinger / Jen Liu / Joshua Smith / Justin Craun / Justin Samson / Katrina Lamb / Lily Benson / Lisa Oppenheim / Maya Kishi-Andersen / Nuno Ramalho / Peter Coffin / R . Venticinque / Scott Kiernan / Shinsuke Aso / Sreshta Premnath / Thomas Torres Cordova / Tova Carlin

140 Jackson St #4D
Brooklyn NY 11211

“Between Dog and Wolf” at The Guild

Structures Within an Intervention
Curated by Meenakshi Thirukode

The Guild Art Gallery, New York
45 W 21st Street, 2nd Floor
Buzzer #39, New York 10010
Artists: Rajkamal Kahlon / Swati Khurana / Vandana Jain / Michael Buhler Rose / Afruz Amighi, Mariam Ghani / Fawad Khan / Redo Pakistan (Fatima Hussain and Hamja Ahsan) / Divya Mehra / Aninditta Dutta / Nidhi Jalan

Intervenors: Town Hall Meeting / Ad Hoc Vox / Shifter / Gresham’s Ghost / Parlour

Intervention 3 by  Shifter: Between Dog and Wolf
May 25th, 12 – 8:30 pm
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Good Looking: Vision and Society in Contemporary Art

Artists: Vandana Jain, Fawad Khan, Hasnat Mehmood, Yamini Nayar, Sreshta Rit Premnath, Sad’ia Rehman, Lala Rukh, Mahbub Shah

Curated by Atteqa Ali

Dec. 6 2009 – Jan. 10 2010

Grey Noise
8, A II, Valencia Housing Society,
Lahore 54000, Pakistan
+92 42 5189111

Visual art is so much about looking. As viewers of art, we might believe that all we need to perceive are eyes. Yet looking and seeing are not as simple as they seem. When we look at something, we make sense of it through an extended web of circumstances that effect our perception. It is an accepted belief today that all of us do not see in the same way because of our different experiences. In fact, the physiological process of visual perception itself is considered to be an act of interpretation. Our eyes interpret the information attained through coming into contact with visible light.

“Good looking” presents artworks that play with our vision in order to help us understand how we percieve the world around us. The works in this exhibition consider how people see and do not see, both literally and metaphorically. By pointing out the complexity of perception, the artists in this exhibition tell viewers that they have to consider the environment and conditions from which they emerge to appreciate how they comprehend what they see.

Forté issue 01

Contributors: Sarah Dziedzic, Sreshta Rit Premnath, Arlen Austin, Christine Rath Selhi, Tyler Coburn, Douglas Boatwright, Cara Benedetto, Sissy Doutsiou, Jeffrey Perkins, Josef Strau, Jennifer Piejko, Amy Owen and Elizabeth Hirsch.

Additional Assistance: Justin Luke, Andrea Lopez

Editors: Jacqueline Carpenter, Catherine Czacki, Georgia Sagri

Website and Audio Editing by Lev Kalman, Deep Vision Media

The Third Side (studies in radical nostalgia)

Interpretations in dance, theater and music/sound headlined by two NYC-based artists: choreographer and installation artist Rebecca Davis, and interdisciplinary artist and independent researcher, Sreshta Rit Premnath. A coterie of Portland performance artists respond with their own revisions of recollecting.

programmed by Bethany Ides
December 4 & 5
8 pm

Performance Works NorthWest

4625 SE 67th Ave.
Portland, OR

Tickets: $10 – $15
Reserve at 503-777-1907
or buy advance tickets at

Alembic is an ongoing series of performative events at Performance Works NorthWest curated by guest artists from the worlds of dance, theater, visual and media arts.

THE THIRD SIDE of the tape occurs when the magnetic tape is twisted from exhaustion and outstrips its memory.

This program collects interpretations in dance, theater and music/sound — each internalized and processed before reemerging and taking new form. Rebecca Davis, a choreographer and installation artist based in Brooklyn, will premier “I’ll Crane for You,” the result of her participation in Deborah Hay’s 2008 Solo Commissioning Project. Interdisciplinary artist and independent researcher Sreshta Rit Premnath’s (NYC) score has instigated a group of local performers in dynamically rehashing a playlist of sappy 70’s folk songs. The songs once filled the halls of Premnath’s now-demolished art school as if a prelude to its demise. Culled from its ruins, these reinterpreted melodies configure a new site – half memorial, half razed ground..

Rebecca Davis (dance)
*premiere: solo adaptation of Deborah Hay’s “I’ll Crane For You”

Sreshta Rit Premnath (sound)
Ben Asriel (movement)
Jaime Lee Christiana (voice)
Emma Lipp (dissimulation)
Alicia McDaid (memorization)
Kaya Oneida (constellation, unearthed)

Moment as Monument (A Selection from Travancore)

Artists: Chitra Ganesh, Matthias Müller, Yamini Nayar, Srestha Rit Premnath, Mahbub Shah, Kiran Subbaiah, Haeri Yoo

Please join us for a viewing of works from our exhibition Moment as Monument in New Delhi. The selection will be on display at the gallery from November 12 – December 19, 2009.

Opening Reception: Thursday, November 12, 6-8:30 pm

Thomas Erben Gallery
526 West 26th Street, floor 4
New York, NY 10001

Beyond the Instance of an Ending

November 10th – December 10th, 2009

Herter Art Gallery
125a Herter Hall
Amherst, MA 01003

As art editors of the journal Rethinking Marxism, Susan Jahoda and Jesal Kapadia have put together Beyond the Instance of an Ending–a group exhibition that envisions education as a social movement, as theorized by Antonio Gramsci, W.E.B. Du Bois, and Gayatri Chakravorty Spivak. The artists in the exhibition offer alternative approaches to discourse and the re-structuring of affect. Their works engage a politics of becoming; a process of rereading, recombining and revisioning–what are the potentialities of these engagements?

Participating Artists:
Eric Anglès & John Martin Widger, Sarah Beddington, Alexis Bhagat, Robert Blake, Pradeep Dalal, Yevgeniy Fiks, Benj Gerdes & Jennifer Hayashida, Susan Jahoda, Jesal Kapadia, Young Min Moon, Sreshta Rit Premnath, Harout Simonian, and Claudia Sohrens.

“We Must Indeed All Hang Together” @ SAIC

AUGUST 22 – SEPTEMBER 26, 2009
Tuesday – Saturday 11:00 – 6:00
SAIC Sullivan Galleries
Sullivan. 36 S. Wabash, Chicago, IL 60603

Featuring work by:

Elijah Burgher
Rachelle Cohen
Daniel Everett
Sharon Hayes
Jesse Jagtiani
Rachel Mason
Jesse Mclean
Sreshta Rit Premnath
Luke Stettner
and Stephanie Syjuco
curated by Beth Capper, Paige Johnson, Ariel Pittman and Kelly Shindler
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“Moment as Monument” reviewed in The Hindu, New Delhi

Capturing The Present Moment Through Art
-Madhur Tankha
Aug 19, 2009

…The concept of “moment” implies sequentially, before and after. The criterion of isolating one moment from another is marked by intensity — of a political nature, for example, in Rit Premnath’s “Surrender,” a photograph of Somali pirates buzzed by a U.S. Navy helicopter. Cropped and re-framed as a triptych, the singularity of the scene assumes the quality of a cinematic event…
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Moment as Monument

Hemali Bhuta
Ajit Chauhan
Siamak Filizadeh
Chitra Ganesh
Barbad Golshiri
Matthias Müller
Yamini Nayar
Vijai Patchineelam
Srestha Rit Premnath
Mahbub Shah
Kiran Subbaiah
Jaret Vadera
Haeri Yoo

August 18-25, 2009
Opening Reception: August 17, 6-9 pm

Travancore Palace – New Delhi
Kasturba Gandhi Marg, Connaught Place, near Bharti Vidya School
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“Blue Book, Moon Rock” in Art India

Premnath’s Blue Book, Moon Rock, featured a photograph of a shadowy moon rock, a chalkboard, a screen print of the moon and a light projector. Propped on a wall, each object reavealed a different aspect of man’s relationship with the moon. The dusty blackboard reminded us of science projects at primary school, while the fraying photograph recalled old magazine articles celebrating America’s triumph in getting the first man onto the moon. These rational readings give way to more mysterious ones as we approached the shifting light cast by the projector onto softly gleaming silver-sprayed acetate. Was Premnath recreating the bewitching effects of moonlight?
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Noah Marcel Sudarsky on “Blue Book, Moon Rock”

Artscape Magazine – Issue 01, June ’09
by Noah Marcel Sudarsky

“Finally, I’d like to suggest that while the symbolic and dialectical mounting stratgies identified by Rancière are still the two dominant con ceptual vectors in fine art, there is a third possible editing strategy, the elliptical. Sreshta Rit Premnath’s Blue Book, Moon Rock (2009) in stallation at Thomas Erben Gallery is a testament to that third path, which is perhaps the most distinctly contemporary, or even avant- garde, of the three. Referencing Wittgenstein, Premnath juxtaposes various materials and mediums representing an aspect of the lunar landings, which don’t collate in a symbolic vein to create meaning or clash in any heterogeneous dialectical sense. He thus combines a photograph of a moon rock, a chalk board, a screen print, and the light from a reeling projector on to silver sprayed acetate which evokes a kind of shimmering, unknow able cosmological constant. The rock is re- imagined by the versatile parade of overlapping media, suggest ing both the original, heroic impulse which brought us to defy our stratospheric limitations and reach into space, and the prosaic reality of the inevitably disappointing mineral manifestation which was returned to us. But really, Premnath isn’t making any point at all, merely hinting at the inherent, cosmic paradox that is life.”

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GNOSOS at Printed Matter

Sreshta Rit Premnath
New York, NY: S. Premnath. 2008

Gnosis (from the Latin gnosos meaning “knowledge” and nosos meaning “disease”) is an intriguing meditation on the subjectivity of perception. Composed by artist Sreshta Rit Premnath, it consists of eight collaged silhouettes accompanied by two found texts: a 19th century clinical description of the neurological condition anosognosia and a list of CIA counterintelligence categories used in the interrogation of suspects.


Review in ‘Canadian Art’

“Bangalore-born, New York–based artist Sreshta Premnath offers a different way of working with images in his series Freedom of the Seas. Four digital prints show cruise ships, often sinking ones, from multiple perspectives. Premnath’s choice to work with the cruise ships is a wise one—it evokes a site of mobile physical geography but static social geography, a context relevant to migrating workers and holidaying tourists worldwide.”
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On Certainty

Curated by Sreshta Rit Premnath
March 13 – April 18, 2009.

Opening (and SHIFTER14 release): Friday, March 13 from 6pm – 8 pm

Lindsay Benedict

Joshua Hart

Abhishek Hazra

Pat Palermo

Sreshta Rit Premnath

Kiran Subbaiah

Bose Pacia Gallery
508 West 26th Street on the 11th Floor,
New York, NY 10003Gallery Hours: Tuesday – Saturday, 11am – 6 pm and by appointment.
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Curated by: Michael J. G. Olsen

FEATURING Brian Belott, Richie Budd, Louis Cameron, Blalla Hallmann, Yamini Nayar, Tanyth Berkeley, Richard Tinkler, Kathy Grayson, Jason Gringler, YunNa Kim, Lynn Hershman Leeson, Ellen K Levy, Neckface, Michael Perrone, Rit Premnath, Matthew Rodriguez, and Jim Wright.

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Back, Forth and Round About

By David Rothenberg.

Published at Evil Monito

“Sreshta Rit Premnath’s (b. 1979, Bangalore) fastidiously intricate, yet low-fi installation Blue Book, Moon Rock incorporates variations of a photograph of a “Moon Rock” that shifts meaning through competing forces within his installation. A reproduction of a page from Wittgenstein’s Blue Book is displayed, with lined out text that frames the only remaining passage “We ought to talk further on about the meaning of ‘forgetting the meaning of a word’”. The quote threads the installation in which a meticulous, looping narrative of (and about) constructs of meaning unfolds.”
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