Ranjit Hoskote is a poet, cultural theorist and independent curator. He is the author of 19 books. These include five collections of poetry, most recently Vanishing Acts: New & Selected Poems 1985-2005 (New Delhi: Penguin, 2006) and Die Ankunft der Vögel (München: Carl Hanser Verlag, 2006). Hoskote has authored nine monographs on art and artists; most recently, Zinny & Maidagan: Compartment/ Das Abteil (Frankfurt: Museum für Moderne Kunst/ Verlag der Buchhandlung Walther König, 2010). Hoskote has co-authored, with the German novelist and essayist Ilija Trojanow, a critical history of cultural confluence, Kampfabsage (München: Random House/ Blessing Verlag, 2007).
Hoskote’s essays have appeared in numerous books and anthologies; most recently: ‘Biennials of Resistance’, in Elena Filipovic, Marieke van Hal and Solveig Øvstebo eds., The Biennial Reader (Bergen & Ostfildern-Ruit: Bergen Kunsthall & Hatje Cantz, 2010); ‘Preliminaries towards a Manifesto: The Future of the Museum in India’, in Hans Ulrich Obrist ed., Art Basel Miami Transcripts (Basel & Ostfildern-Ruit: Art Basel & Hatje Cantz, 2008); and ‘Versions of a Postcolonial Metropolis: Competing Discourses on Bombay’s Image’, in Klaus Segbers ed., The Making of Global City Regions (Baltimore: Johns Hopkins University Press, 2007).
Hoskote has curated 21 exhibitions of contemporary Indian and international art, including a mid-career survey of Atul Dodiya (Japan Foundation, Tokyo, 2001) and a lifetime retrospective of Jehangir Sabavala (National Gallery of Modern Art, Bombay and New Delhi, 2005-2006). He was co-curator of the trans-Asian collaborative curatorial project, ‘Under Construction’ (Japan Foundation, Tokyo and other Asian venues, 2001-2002). Hoskote and Hyunjin Kim co-curated, with Artistic Director Okwui Enwezor, the 7th Gwangju Biennial (Korea, 2008). He has just been appointed as Commissioner for India’s first-ever national pavilion for the 54th Venice Biennale (2011).
Hoskote is currently a research scholar at BAK/Basis voor actuele kunst, Utrecht.
To our generation of cultural producers, location has long ago liberated itself from geography. We map our location on a transregional lattice of shifting nodes representing intense occasions of collegiality, temporary platforms of convocation, and transcultural collaborations. As we move along the shifting nodes of this lattice, we produce outcomes along a scale of forms ranging across informal conversations, formal symposia, self-renewing caucuses, periodic publications, anthologies, traveling exhibitions, film festivals, biennials, residencies, and research projects. This global system of cultural production takes its cue from the laboratory: as in all laboratories, the emphasis is on experiment and its precipitates. However, to the extent that this system is relayed across a structure of global circulations, it also possesses a dimension of theatre: a rather large proportion of its activity is in the nature of rehearsal and restaging.read more »