“On 2 March 2012, the precincts of the City Civil Court in Bangalore, erupted into mayhem as a pitched battle broke out between members of the judiciary and local media groups. These skirmishes quickly degenerated into acts of vandalism and the local police force waded in with a lathi-charge — or baton charge — to restore order. Three months before these events, the same judicial advocates had staged a boycott of the courts, following an unprovoked attack on one of their members by police. This attack was part of a pattern of intimidation and harassment that, as far as the judiciary were concerned, was impeding their ability to carry out their duties. Infuriated by police harassment and, at the time, the adverse media coverage of their strike (which they considered both legitimate and necessary), the judiciary turned their anger towards the media”.
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“Where to Now: Imminent Impermanence in the Work of Sheela Gowda”, is a catalogue essay published on the occasion of Sheela Gowda, Ikon Gallery, November 2017.
An edited version of this essay, also titled “Where to Now: Imminent Impermanence in the Work of Sheela Gowda”, was included in the exhibition catalogue for Sheela Gowda’s retrospective show, Remains, at Fondazione Pirelli HangarBicocca, Milan, April 4th to September 15th, 2019, with other critical essays by art historian Geeta Kapur and writer and curator Pablo Lafuente, a text on the show by the curators as well as well as contributions by Roger M. Buergel, Grant Watson, Abhishek Hazra, Jessica Morgan, Zehra Jumabhoy, Marta Kuzma and Tobias Ostrander.
In October 2019 an adapted version of this show will travel to Bombas Gens Centre d’Art, Valencia.