SELECTED WORKS BY Chitra Ganesh
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Chitra Ganesh
Tales of Amnesia
2002
21 C-prints
Dimensions variable |
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Chitra Ganesh
Tales of Amnesia detail (Godzilla)
2002-2007
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Chitra Ganesh
Tales of Amnesia detail (Dear X & My Heart)
2002-2007
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Chitra Ganesh
Tales of Amnesia detail (Mother Always Told Me, Real Life Crowds, This and Other Adventures)
2002-2007
21 C-prints
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Chitra Ganesh
Tales of Amnesia detail (What If/ As If, Jungle Beneath)
2002-2007
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Chitra Ganesh
Tales of Amnesia detail (Ghost, Telescope)
2002-2007
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Chitra Ganesh
Tales of Amnesia detail (Roxanne)
2002-2007
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Chitra Ganesh
Tales of Amnesia detail (After Years Of Sliding, Bike Accident, The Spell)
2002-2007
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Chitra Ganesh
Tales of Amnesia detail (Binoculars, Mother Always Told, Real Life Crowds, this and Other Adventures, Dear X, My Heart)
2002-2007
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Chitra Ganesh
Tales of Amnesia detail (Ghost, Telescope, Waterfall, The Fire The Fire, Roxanne)
2002-2007
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Chitra Ganesh
Secrets
2007
C-print
122 x 114 cm |
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Chitra Ganesh
Hidden
2007
Photographic triptych
61 x 63 .5 cm each |
 
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Chitra Ganesh
Twisted
2001
Digital C-print
76 x 52 cm |
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ARTIST INFORMATION
ARTICLES
seeing the disappeared: two visual artists seek out new ways of engaging with the post-9/11 disappearances in the US
by chitra ganesh and Mariam Ghani
Our work draws from an ongoing inquiry into the human costs of U.S. immigration policy. We explore two key features of disappearance: the mass detentions and deportations sweeping the U.S. since 9/11/01, and the relative absence of those caught in the system from mass media and the law. By proposing new terms to tell these stories of disappearance and loss, our works aim to intervene in how narratives of detention and deportation are presented on all sides of the immigration debate.
Media stereotypes and the abstract language of the law further obscure the struggles and conditions of people impacted by detention and deportation. As a result, the urgency of generating a collective history of individual disappearances lies at the heart of activist initiatives addressing the crisis.
As we were exploring this issue, we noticed that much of the advocacy work around detention and deportation occurs within the structures of the courtroom or nightly news broadcast, and so these narratives risk being subject to the very codes and language they seek to contest. For example, the recurring use of testimony, statistics, and expert witnesses in activist documentaries about detention and deportation recalls courtroom dynamics, and reiterates the pundit-driven rhythms of network news such as CNN and Fox.
Our work departs from this idea�that individuals are disappeared for a second time in the scarce and troubling visual representation offered as their history by mass media, political debates, and the law.
Seeing the Disappeared exists in continual tension between collaborating with the activist movement towards a collective history, and using a different visual language to reconsider the terms and depth of that collective history.
Read the entire article here
Source: samarmagazine.org
A Melange of Asian Roots and Shifting Identities
I like the title of the Asia Society�s latest, and possibly best, foray into contemporary art. �One Way or Another: Asian American Art Now� borrows a familiar colloquialism for go-it-alone ingenuity and persistence under pressure, not bad qualities for a young artist. The phrase is also the title of the 1978 punk standard by Blondie, and thus linked to a bouncy rant that Deborah Harry, the group�s slinky lead singer, delivered with a rebellious feminist snarl.
Which relates to a signal aspect of �One Way or Another�: 12 of the 17 artists are women. That is 71 percent, which some people may want to attribute to the show�s all-female curatorial team. Don�t bother. The quality of the work speaks for itself. Furthermore, the unusual gender imbalance seems to be merely the byproduct of the largely successful pursuit of another goal: to survey the diversity and fullness of Asian-American art today, a generation after the first waves of multiculturalism and identity politics broke across the art world in the wake of the liberation movements of the late 1960�s and early 70�s.
Read the entire article here
Source: nytimes.com
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