UNBOUND is a non-disciplinary multimedia journal of Discourse and Creative Practices,including art, design and other imaginative expressions. It aims to break out of traditional disciplinary territories and boundaries considered self-evident markers of knowledge by giving expression to ideas and everyday practices that operate simultaneously on contiguous and often overlapping domains. We believe, like thought & everyday practices, scholarly discourse too should be boundless and open. Hence, non disciplinarity will free scholars and practitioners from constraints, normative requirements and open possibilities for radical thought. The goal is not an avant-gardist rejection of all that is traditional, inherited or historical. Nor is the aim to renounce philosophers, theoreticians and scholars of past and present. Instead, the objective is to rescue and highlight non-disciplinary ideas, frameworks, practices and theories from ancients and moderns alike and to think anew about theory and practices in art, design, humanities and the social sciences.
Project 88 inhabits 4000 square feet of what was formerly a century old metal printing press in Colaba, Mumbai, restored and renovated by noted Rahul Mehrotra. It has a roster of some of the most thoughtful and exciting artists working in the Indian subcontinent today. From it’s inception in 2006 and under the adventurous directorship of Sree Banerjee Goswami, Project 88 have developed a context for the exhibition of experimental and ambitious work in all media by artists who’s practice have strong conceptual foundations. A second generation gallerist, Sree grew up with art in Kolkata where her mother Supriya Banerjee founded Galerie 88, Kolkata, in 1988, working with illustrious artists such as M.F. Hussain, Ram Kumar, Akbar Padamsee, Meera Mukherjee, Ganesh Pyne, Somnath Hore, K.G. Subramaniam, etc. Amitesh Shrivastava Amol K Patil Anupam Ashwini Bhat Baptist Coelho Chirodeep Chaudhuri Desire Machine Collective Goutam Ghosh Hemali Bhuta Huma Mulji Khageshwar Rout Mahesh Baliga Munem Wasif Neha Choks Pallavi Paul Prajakta Potnis Prasad Shetty & Rupali Gupte Raqs Media Collective Risham Syed Rohini Devasher Sandeep Mukherjee Sarnath Banerjee Shreyas Karle Shumo Tejal Shah The Otolith Group
Artcore is an international centre for contemporary art and creativity based in Derby, UK and home to Artcore Gallery, studios and work spaces as well as a shop and café. A vibrant hub for commissioning, production, presentation and debate, we offer opportunities for diverse audiences to engage directly with creative practices through participation and discussion. We believe that contemporary art and creativity are central to the development of people and places. We have an extensive exhibition and residency programme which helps support early, mid-career and established artists to create work which deals with pressing social, political and environmental issues. Each year we welcome over 4000 people from all sections of the diverse communities of Derby and beyond to experience inspiring, innovative and high-quality exhibitions and events. Over 25 years we have developed links all over the world, building a global creative community that helps us support aspiring artists in the contemporary art world. I met Zahir Shaikh, Artistic Director and Ruchita Shaikh.
Reliable Copy is a publishing house and curatorial practice dedicated to works, projects, and writing by artists. Reliable Copy publishes books and documents, curates exhibitions, undertakes research projects, and hosts a wide variety of public programming.
Reliable Copy is based in Bangalore, India, and was founded in 2018. It is represented by the artists Nihaal Faizal, Sarasija Subramanian, and Stuti Bhavsar.
The Baroda School is an artist group founded in 1956 by NS Bendre, comprising artists associated with the Faculty of Fine Arts, MS University, Baroda (now Vadodara). The School marked a move away from the Revivalist inclinations of groups such as the Bengal School as well as the academic realism practised by European schools.
The Faculty of Fine Arts was established in 1949 and developed a pedagogy that encouraged Modernist ideologies and individual self-expression among artists.
Developing simultaneously with Postmodernism in Western art, the Baroda artists were located at the crossroads of tradition and contemporaneity.
Members of the group changed over the years, with most members later teaching at the Faculty of Fine Arts while continuing their artistic practice. The Baroda School was a significant presence in Indian art history until the late 1990s, when the Indian art market began to expand and a wider array of artists, many trained by members of the School, began to shape the direction of Indian art in ways that extended beyond the practices at the Faculty. In 2007 Chandramohan’s arrest led to protests in the university, and students from various departments mounted an exhibition about nudity to prove it was part of “Indian culture”.
Conflictorium is a participatory museum that addresses the ideas, questions and structures of conflict. With emphasis on art, audience and archives, where intersectional and interdisciplinary approaches to peace and conflict are explored, the museum tries to acknowledge the phenomenon of “conflict” as a key move in imagining a peaceful society. The city of Ahmedabad is divided into two parts by the Sabarmati River - The Progressive West or the new city and The Historical East or the old city. The old city is also associated as a trigger for most conflicts that occur in Ahmedabad city. According to the designer of the Conflictorium Avni Sethi, who also had a first hand experience of such conflicts, the building was situated in a location which not only put it at the heart of such conflicts but also acted as bridge between the two contrasting sides of the city. The Conflictorium was thus formed by Avni Sethi in collaboration with Janvikas, Centre for Social Justice and Navsarjan.
Kasauli Art Centre was founded in 1976 by artist Vivan Sundaram in Kasauli, a hill station in North India. The Centre is known to have organised artists’ camps, international artist residency programmes, seminars and theatre workshops, all designed to explore common grounds between artists, filmmakers, critics, architects, playwrights and performers. This section is dedicated to all the workshops that took place between 1976 to 1985, with annotated photographs and the Centre’s timeline.
Theyyam is generally celebrated in the dry season of the year. Theyyam is popularly celebrated in the Northern Malabar region of Kerala. This festival has no specific place or time of celebration; it has a complete season of its own and is celebrated in more than 1200 temples in North Kerala.
Pirate Care is a research process - primarily based in the transnational European space - that maps the increasingly present forms of activism at the intersection of “care” and “piracy”, which in new and interesting ways are trying to intervene in one of the most important challenges of our time, that is, the ‘crisis of care’ in all its multiple and interconnected dimensions.
These practices are experimenting with self-organisation, alternative approaches to social reproduction and the commoning of tools, technologies and knowledges. Often they act disobediently in expressed non-compliance with laws, regulations and executive orders that ciriminalise the duty of care by imposing exclusions along the lines of class, gender, race or territory. They are not shying risk of persecution in providing unconditional solidarity to those who are the most exploited, discriminated against and condemned to the status of disposable populations.
The Pirate Care Syllabus we present here for the first time is a tool for supporting and activating collective processes of learning from these practices. We encourage everyone to freely use this syllabus to learn and organise processes of learning and to freely adapt, rewrite and expand it to reflect their own experience and serve their own pedagogies.
Pirate Care is a research process - primarily based in the transnational European space - that maps the increasingly present forms of activism at the intersection of “care” and “piracy”, which in new and interesting ways are trying to intervene in one of the most important challenges of our time, that is, the ‘crisis of care’ in all its multiple and interconnected dimensions.
These practices are experimenting with self-organisation, alternative approaches to social reproduction and the commoning of tools, technologies and knowledges. Often they act disobediently in expressed non-compliance with laws, regulations and executive orders that ciriminalise the duty of care by imposing exclusions along the lines of class, gender, race or territory. They are not shying risk of persecution in providing unconditional solidarity to those who are the most exploited, discriminated against and condemned to the status of disposable populations.
The Pirate Care Syllabus we present here for the first time is a tool for supporting and activating collective processes of learning from these practices. We encourage everyone to freely use this syllabus to learn and organise processes of learning and to freely adapt, rewrite and expand it to reflect their own experience and serve their own pedagogies.
Pirate Care is a research process - primarily based in the transnational European space - that maps the increasingly present forms of activism at the intersection of “care” and “piracy”, which in new and interesting ways are trying to intervene in one of the most important challenges of our time, that is, the ‘crisis of care’ in all its multiple and interconnected dimensions.
These practices are experimenting with self-organisation, alternative approaches to social reproduction and the commoning of tools, technologies and knowledges. Often they act disobediently in expressed non-compliance with laws, regulations and executive orders that ciriminalise the duty of care by imposing exclusions along the lines of class, gender, race or territory. They are not shying risk of persecution in providing unconditional solidarity to those who are the most exploited, discriminated against and condemned to the status of disposable populations.
The Pirate Care Syllabus we present here for the first time is a tool for supporting and activating collective processes of learning from these practices. We encourage everyone to freely use this syllabus to learn and organise processes of learning and to freely adapt, rewrite and expand it to reflect their own experience and serve their own pedagogies.