Brainard Carey

Neha Choksi (b. 1973, USA) works in Inglewood, California and in Bombay, India. Choksi received her BA in art and Greek from University of California, Los Angeles, in 1997, and MA in classics from Columbia University, in 2000.

Choksi works in multiple media, across disciplines and at times collaboratively and in unconventional settings to explore how we seek, experience and acknowledge losses and transformations in material, temporal and psychological terms.  Increasingly her work includes her own intellectual, cultural and social contexts.  She works by setting up simple situations and memorable interventions in the lives of everything–from a stone to a plant, from animal to self, from friends to institutions–disrupting logic to open a space for poetry, absurdity, humor, surprise and existential insight.

Her work has been exhibited or performed at Dhaka Art Summit (solo, 2018; group 2016); Manchester Art Gallery (solo, 2017); LAMOA at Occidental College, Los Angeles (solo, 2017); Commonwealth and Council, Los Angeles (solo, 2017); Los Angeles Municipal Art Gallery (2017); Project 88, Mumbai (solos 2016, 2013, 2010, 2009, 2007); 20th Sydney Biennale (commission, 2016); Hayward Gallery Project Space, London (solo, 2015); Kochi-Muziris Biennale (2014); Armory Center for the Arts, Pasadena, California (2013); Whitechapel Gallery, London (2013); John Hansard Gallery, Southampton, UK (3-person, 2012); Asia Pacific Triennial, QAGOMA, Brisbane (2012); Shanghai Biennale (2012); Wanås Foundation and Kristianstads Konsthall, Sweden (2012; the 10th Venice Architecture Biennale (2006); among others. She has upcoming exhibitions at Hammer Museum (biennial, 2018); 18th Street Arts Center (commission, 2018); University Art Museum, CSU Long Beach (solo, 2019). She was awarded the India Today Best New Media Artist of the Year Award (2017) and the designation of Cultural Trailblazer by the City of Los Angeles DCA (2017/2018). She is on the editorial board of the Los Angeles-based arts journal, X-TRA. Her work is represented by Project 88, Mumbai.

The Book and letter Joshua Whitehead wrote that was mentioned in the interview.

Igor Eškinja (Croatia, 1975.) live and work in Rijeka, Croatia. Eškinja constructs his architectonics of perception as ensembles of modesty and elegance. The artist “performs” the objects and situations, catching them in their intimate and silent transition from two-dimensional to three-dimensional formal appearance. Using simple, inexpensive materials, such as adhesive tape or electric cables and unraveling them with extreme precision and mathematical exactitude within strict spatial parameters, Eskinja defines another quality that goes beyond physical aspects and enters the registers of the imaginative and the imperceptible.

Eškinja’s participated in various group exhibitions: Manifesta 7, Rovereto (2008); Complicity, Rena Bransten gallery, San Francisco (2009); 28 Grafični Biennale, Ljubljana (2009); Dirt, Wellcome foundation, London, (2011), Rearview Mirror, Power plant, Toronto, (2011); Inhabitants of generic places, Kunstforum, Vienna, Museum of Contemporary Art-Zagreb (2011), Ash and Gold – a world tour, Marta Herford, (2012); 2^nd Ural Industrial Biennale, Ekaterinburg, (2012); 8 ways to overcome space and time, Muzej savremene umetnosti, Belgrade, (2013), T-ht nagrada, MSU, Zagreb (2016.), Every time a ear di soun – Dokumenta 14 program, Savvy contemporary, Berlin (2017), as well as solo exhibitons in: Project for unssuccesful gathering, Casino LuxembourgForum d’art contemporain, Luxembourg (2009.), Inhabitants of generic places, Kunstforum, Vienna, Museum of Contemporary Art-Zagreb (2011), The Day After, Federico Luger gallery, Milano, (2011); Interieur Captivant, MAC/VAL Museum, Vitry, (2012); Quixote, MUWA, Graz, (2014).

The book mentioned during the interview was Blameless, by Claudio Magris and Fox, from Dubravka Ugrešić