{"id":9771,"date":"2025-06-07T10:25:26","date_gmt":"2025-06-07T10:25:26","guid":{"rendered":"https:\/\/artindiamag.com\/?page_id=9771"},"modified":"2025-06-07T13:41:24","modified_gmt":"2025-06-07T13:41:24","slug":"history-memory-human-spirit","status":"publish","type":"page","link":"https:\/\/artindiamag.com\/index.php\/history-memory-human-spirit\/","title":{"rendered":"History ,Memory &amp; Human Spirit"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"9771\" class=\"elementor elementor-9771\" data-elementor-post-type=\"page\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a2c99bb e-flex e-con-boxed e-con e-parent\" data-id=\"a2c99bb\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-007f542 e-con-full e-flex e-con e-child\" data-id=\"007f542\" 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tabindex=\"-1\">SUBSCRIBE<\/a><\/li>\n<li class=\"menu-item menu-item-type-custom menu-item-object-custom menu-item-5657\"><a href=\"https:\/\/artindiamag.com\/initiative-form\/user-details.php\" class=\"elementor-item menu-link\" tabindex=\"-1\">ART INDIA CARE FUND<\/a><\/li>\n<li class=\"menu-item menu-item-type-custom menu-item-object-custom menu-item-15884\"><a href=\"https:\/\/artindiamag.com\/artindia-30-under-30\/application.php\" class=\"elementor-item menu-link\" tabindex=\"-1\">Looking Ahead: 30 under 30<\/a><\/li>\n<\/ul>\t\t\t<\/nav>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-fc0f101 e-con-full e-flex e-con e-parent\" data-id=\"fc0f101\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e2b624d elementor-widget elementor-widget-spacer\" data-id=\"e2b624d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-33395c2 e-flex e-con-boxed e-con e-child\" data-id=\"33395c2\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-350be6e elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"350be6e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"font-weight: 400;\">An exhibition like <em><i>Remembering \u2013 A <\/i><\/em><em><i>Cartography of Memory and Meaning <\/i><\/em>should have taken place long ago. That it took this long for a comprehensive institutional show on Arpita Singh\u2019s practice to come to fruition, particularly in the United Kingdom, is telling of the historical oversight of women artists from South Asia in the global art world. And yet, when it arrives, it does so with a resounding clarity and softness\u2014a resistance not through noise but through a slow, heavy unfolding of memory, symbolism and aesthetic defiance. Curated by Tamsin Hong at the Serpentine,London, <em><i>Remembering<\/i><\/em>\u2014on display until 27th of July 2025\u2014brings together over 160 works, 140 of which have travelled from India. The scale is ambitious, but what strikes me most is the intimacy the exhibition manages to retain despite its monumental nature. It moves like a stream of consciousness, layered with recollection, mythology and everyday chaos, anchored always in the personal. As Geeta Kapur posits in her essay in the accompanying catalogue, \u201cher works gain luminosity from philosophic and literary propositions.\u201d This is a show about storytelling, but not one that imposes. Singh doesn\u2019t offer explanations. She leaves gaps, lets symbols repeat, leaving the space for viewers to shape their own stories. Her visual vocabulary\u2014 full of repetition, coded symbols and quiet clues\u2014doesn\u2019t shout; it gently insists. The dualities in her work, the multiplicities, the mirrored forms and contradictions all reflect a personality that refuses to offer just one version of a story. She creates worlds that invite but do not demand reading. Her world is dense yet accessible. It is a world in which celebration and sorrow coexist\u2014a world that gives the viewer agency. One walks through a chronological trail, yet notices repetition of images: men in black jackets (a nod, perhaps, to colonial administrators) in <em><i>The Tamarind Tree <\/i><\/em>(2022), the aeroplanes in <em><i>Munna Apa\u2019s Garden <\/i><\/em>(1989), the naked female forms like in <em><i>Woman with a <\/i><\/em><em><i>Boat <\/i><\/em>(2002), the astrologically infused symbols in <em><i>My Lollipop City: Gemini Rising <\/i><\/em>(2005). These are not motifs to be decoded so much as felt. They are Singh\u2019s grammar of remembering. The nude figures are not eroticised but simply there\u2014comfortable, observational, and human as in her watercolour on paper work, <em><i>Rose Memories <\/i><\/em>(2003). The pink, used on walls and in several works like <em><i>The Listeners <\/i><\/em>(2010) and <em><i>My Lily Pond <\/i><\/em>(2009), carries both irony and irony\u2019s erasure\u2014it softens, distracts, highlights and conceals. Singh\u2019s works on paper\u2014so many of them\u2014tell of fragility, temporality and repetition. Her titles, like <em><i>Paperboats<\/i><\/em>, act as quiet provocations: how does one archive what is ephemeral? Additionally, Singh\u2019s feminist position is foundational but never didactic as in <em><i>Devi <\/i><\/em><em><i>Pistol Wali <\/i><\/em>(1990). This is not the feminism of declarations\u2014it is embedded, lived, inherited.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-492de2d e-flex e-con-boxed e-con e-parent\" data-id=\"492de2d\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-4c9fda2 elementor-align-center elementor-widget elementor-widget-button\" data-id=\"4c9fda2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/www.artindiamag.com\/subscription-form\/subs-form.php\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">Read More<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>An exhibition like Remembering \u2013 A Cartography of Memory and Meaning should have taken place long ago. That it took this long for a comprehensive institutional show on Arpita Singh\u2019s practice to come to fruition, particularly in the United Kingdom, is telling of the historical oversight of women artists from South Asia in the global [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"disabled","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-9771","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/artindiamag.com\/index.php\/wp-json\/wp\/v2\/pages\/9771","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artindiamag.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/artindiamag.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/artindiamag.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artindiamag.com\/index.php\/wp-json\/wp\/v2\/comments?post=9771"}],"version-history":[{"count":7,"href":"https:\/\/artindiamag.com\/index.php\/wp-json\/wp\/v2\/pages\/9771\/revisions"}],"predecessor-version":[{"id":9785,"href":"https:\/\/artindiamag.com\/index.php\/wp-json\/wp\/v2\/pages\/9771\/revisions\/9785"}],"wp:attachment":[{"href":"https:\/\/artindiamag.com\/index.php\/wp-json\/wp\/v2\/media?parent=9771"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}