What do we call South Asian futurisms? How does a curator study this subject carefully?
Throughout this scholarship, I found myself returning to my favorite childhood hadiths: ربِّ زِدْنِي عِلْماً – – “Oh Lord, increase me in my knowledge.” Until recently, the majority of artists I was in conversation with were from a privileged class or caste and were in or around the New York area. How can I recognize my shortcomings while accommodating dark histories and the exclusion of subordinate narratives in the landscape of fine art – and with my own competence?
I reflected on the frustrations of artists who share experiences in which curators approached them with reductive exhibition proposals based solely on shared racial or gender identifiers. A few of the artists I interviewed for this fellowship also expressed reluctance to be included in the “South Asian Futurisms” category. I receive their comments with gratitude.
I seek a constructive, open and mutable framework of South Asian futurisms spacious enough to encompass the subaltern narratives of caste-oppressed and religiously marginalized communities. I don’t have all the answers, but I have more and more questions.
Thus, I present a working checklist for curators designing thematic exhibitions related to South Asian and subaltern futurisms that includes input from contemporary artists and scholars (indicated by name next to the proposed question). It is my intention that these questions guide myself and other curators, thinkers, and writers as we strive to avoid reproducing entrenched biases.
Curatorial Framework Checklist for South Asian Futurisms
Intent of terminology
What do Futurism and South Asia represent and what set of supremacies within these two ideas should we first recognize? — Himali Singh Care, artist
What does futurism look, feel, sound, smell and taste to me?
What does futurism look, feel, sound, smell and taste to the artist?
What are the limits of the English language to describe South Asia?
What are the terms of cultural identification with which the artist connects – or does not connect? Do they wish to be identified as such in writing? Are these terms necessary to include? Do they add substance to the scholarship?
What are the limits of the English language to describe the notions of time, space and geography? How do I frame and contextualize my choice of terminology?
Recognize and dismantle the hierarchy
Am I aware of my own relationship to caste and class?
Have I made active and genuine efforts to connect with artists outside of my own caste, class, gender, geographic proximity, and/or religious identity?
What are the caste identities of the artists I include?
Am I tokenizing?
Does curation overturn, maintain or render invisible the caste system? How can I implement Ambedkarite enlightened speech? — Prabhakar Kamble, curator, activist and artist
Am I maintaining or disrupting hierarchical class constructs?
Am I maintaining or disrupting linear Eurocentric notions of time, space and geography?
What is the role of historical consciousness in the conception of futurisms?
Artistic intention and process
What is the artist’s intention? What motivates their practice? — Subash Thebe Limbu, artist
Which artists, thinkers or movements influence the artist’s work and his understanding of futurism?
Who are the collaborators of the artists?
What natural environments shaped the artist’s work?
What archives and primary sources does the artist refer to in his research?
What religious iconography does the artist use? Is it critical and caste related?
Artist-curator relationship
How does the artist see his work fitting into the larger context of futurism and historical and contemporary social justice movements?
Am I creating a safe space for artists? For myself?
What are the contexts in which the artist would like his work to be seen – formally, materially and beyond? — Melissa Joseph, artist
How can I help this artist reach the maximum potential for their desired project? — Sa’adia Rehman, artist
What resources and technologies are available to the artist? How did this influence their practice?
How did the artist confront – and overcome – epistemic and systemic injustice?
How can I access and provide resources for artists to execute their ideas? Do I have the capacity and skills to do so?
Am I making thoughtful critiques and comments, or am I projecting my own desires?
Durability and Connectivity
Am I building a lasting, lasting, symbiotic relationship with the artist?
How do I consider climate precariousness and materials/waste in my curation? — Anjuli Raza Kolb, Associate Professor of Arts and Sciences at Dartmouth University
How do we maintain artistic integrity when curating in a commercial space? In an institutional space? On a digital platform?
How does this curation promote connectivity?
Editor’s Note: This is part of the 2022/23 campaign Emily Hall Tremaine Journalism Fellowship for Conservativesand the second of the three messages by the author, the third will be an online exhibit sent to all Hyperallergic subscribers. Register here for Sadaf Padder’s virtual event hosted by Editor-in-Chief Hrag Vartanian on Tuesday, March 28 at 6 p.m. (EDT).
