There’s also Vinita Mungi’s Zen Garden, built on site from miniature ceramic creations, found objects, wood and gravel, plus a portion of sand onto which audiences are invited to rake their own patterns. The work itself is a feminist reimagining of ritualistic labour, and by inviting audience participation, Mungi allows you to respond to an object of reverence with more than just quiet awe. Older works, like Shambhavi Singh’s sickle-shaped iron archway Doaar, first showcased in 2019, take on new meaning in this curation; Solanki plays the title quite literally by placing the work at the VIP entrance, where it acts as a hard-to-ignore reminder of land labour. “There is something very intimate about the works, and even if it’s large, there’s so much detail that you end up going back and forth with them.”
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