herning museum of contemporary art
Raqs Media Collective
Jeebesh Bagchi, born 1965, New Delhi
Raqs Media Collective all live and work in Delhi, India
Raqs Media Collective was formed back in 1992 by three independent media artists: Jeebesh Bagchi, Shuddhabrata Sengupta, and Monica Narula. The artists’ collective was formed as a vehicle for pursuing their shared interest in documentary film. Since then, the group’s artistic practice has become multi-faceted. Raqs Media Collective can be described with equal accuracy as artists, curators, scholars, editors, and catalysts that facilitate cultural processes. They have presented their works at most major international shows – from Documenta to the Venice Biennial.
The works created by the collective typically employ a range of digital media, installations, graphic design, photography, and performances. One common feature of their works is that they can all be linked to how artists live in New Delhi. In addition to this, the Raqs Media Collective often work within a field occupying a position somewhere between historical research, philosophical musings, scholarship, and theory. “Raqs” is a word used for dance in Persian, Arabic, and Urdu. At the same time, “raqs” might also be an acronym of “rarely asked questions”.
In 2008 the Raqs Media Collective curated a video project entitled Steps Away from Oblivion. They invited eight Indian filmmakers to participate, while they themselves contributed the work Sleepwalker's Caravan (Prologue). The video work presents two stone sculptures shaped in the likeness of Yaksha and Yakshi. Within Hindu and Buddhist mythology, these characters are spirits guarding natural treasures hidden in the soil and in the roots of trees. Yaksha is the male aspect, while Yakshi is the female. In their capacity as mythic guardians they are better known as the Bodhisattva, those who have relinquished Nirvana in order to return to an earthly existence where they can help others. The two stone sculptures are originally from the Reserve Bank of India, where they were placed in 1950 to protect the welfare of the state. Raqs Media Collective recreate the sculptures in their video, setting them free from their pedestals. Now, the mythical stone figures occupy a contemporary landscape on the brinks of a muddy river. The figures almost appear to be walking back and forth while their blank, barren gazes flicker without coming to rest anywhere. The comings and goings of these wardens are portrayed and problematised; the question is whether the guardians are leaving the place or have come to stay.
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