VIKRAM DIVECHAIn Response: Leonard Cohen May 5, 2019
The Jewish Museum, New York
Sunday, 5 May from 6.30pm to 9pm
We are pleased to share that Vikram Divecha will participate in a performance programme hosted at The Jewish Museum alongside Columbia University Visual Arts MFA candidates and recent alumni as they present new video, sound, performance, and installation-based artworks in response to the exhibition Leonard Cohen: A Crack in Everything.
VIKRAM DIVECHAVisual Arts MFA Thesis Exhibition 2019 May 5, 2019
Wallach Art Gallery, Lenfest Center for the Arts, Columbia University, New York
Curated by Regine Basha
28 April - 26 May 2019
MFA degree candidates in the Columbia University School of the Arts Visual Arts program present their thesis projects culminating two years of intensive artistic development. For Vikram Divecha’s inclusion, the artist presents both an ambitious and immersive installation within the exhibition space entitled Gallery 354, 2019, considering the many objects housed from Melanesia at the Metropolitan Museum of Art, New York. Taking the subdued lighting at Gallery 354 as a departure point, this work is a mediation on exposure, failure, time, loss and darkness.
Vikram DivechaBeej April 7, 2019
Intervention at roundabout, Al Naba’ah, Sharjah
Originally conceived and commissioned on occasion of Sharjah Biennial 2017, Vikram Divecha’s long-term project Beej, the Urdu word for seed, activates the potential for agricultural farming within the municipal workforce of Sharjah, predominantly labourers from Pakistan, who tend to Sharjah’s urban landscaping. In doing so, the artist had requested two gardeners to travel home to bring vegetable and grain seeds from their family farms in Lahore and Punjab. Along with others in the community, they sowed the seeds within a roundabout, a site of convening and dispersal hosting the cycles of sowing and harvesting, in the Al Naba’ah residential neighbourhood of Sharjah. This project is supported by Sharjah Municipality and Maraya Art Centre.
Vikram DivechaLiving Room: UIT (Use it together) February 12, 2019
International Studio & Curatorial Program, New York Curated by Amanda Abi Khalil
12 February - 10 May 2019
Preview: 12 February from 6 - 9 pm
We are pleased to share that Vikram Divecha will take part in a group exhibition at The International Studio & Curatorial Program (ISCP), New York, entitled Living Room: UIT (Use it together) a collective sitespecific proposition by resident curator Amanda Abi Khalil.
This exhibition includes a television channel with videos that comment on the aesthetics of participatory approaches in social art practices. Inspired by artist Hélio Oiticica’s discussions of Eden and theorist Stephen Wright’s concept of Arte Útil, Living Room takes over an exhibition space that usually triggers modes of spectatorship. Turning ISCP’s Project Space into a room for living, a shared space—by altering its function to a space of usership, created, used and activated (together) by the people who inhabit it—transforms its capacity to frame what is displayed inside it as art.
Vikram DivechaAesthetics of Extraction February 7, 2019
GSAPP Incubator at NEW INC, 231 Bowery, New York
Thursday, 7 February 2019
We’re thrilled to bring to your attention that Vikram Divecha will participate in the next edition of Columbia University's Works in Progress artist event series, entitled Aesthetics of Extraction, taking place at 6pm on 7th February at GSAPP Incubator at NEW INC, New York.
This edition of Works in Progress brings together artists and researchers who deal with the visual cultures of extraction from material harvesting to data extraction industries, from regimes of spatial imaging technologies to instruments of financial exaction. Aesthetics of Extraction hopes to offer new ways of “looking” at environmental, sociopolitical, and economic sites of extraction, the abstractions and realities they coproduce, and render visible latent or actual pressures, paradoxes and fissures imbricated in such fabrics.
Vikram Divecha is an artist whose diverse practice addresses time, value and labor. His projects often developed around 'found processes’—those forces and capacities at work within social and economic systems.
VIKRAM DIVECHAAsia Contemporary Art Week (ACAW) September 9, 2018
Various locations in New York
5 September - 2 November
Studio visit: Monday, October 29, 6:30 - 8:30pm
Vikram Divecha’s engagements with institutions, urban processes and commercial operations leave behind a repository of material at his studio. His strategies of intervention and collaboration are evidenced throughout these various art objects and Divecha takes his visitors through each investigative journey: Gare Saint Lazare station, Paris; an inconspicuous venture at Frieze Art Fair, New York; participation from Manhattan’s Road Marking crew; and his growing interest about how light descends upon objects from Melanesia at the Metropolitan Museum of Modern Art, New York.
VIKRAM DIVECHAWho Are We Now? June 10, 2018
Land Art Mongolia 360°, Khentii Province
Curated by Lewis Biggs
30 July - 8 August
Vikram Divecha collaborates with a local coal supplier as part of his residency to create works for the 5th edition of Land Art Mongolia (LAM). The exhibition asks pertinent questions such as how do we situate art, and specifically art made in the Mongolian context, in relation to Humanism and the Anthropocene Age. LAM focuses on Land Art as a form of spatial visualisation of the relations between nature, culture and social policies. It promotes freedom of expression in joining people and institutions from all sectors of Mongolian society by meshing their respective backgrounds and perspectives through collaboration and networking actions of regional and global scope.
VIKRAM DIVECHA AND MOHAMMED KAZEMUncommon Dubai + June 10, 2018
Edited by Sharmeen Inayat
Published in April 2018
Vikram Divecha and Mohammed Kazem contribute to Uncommon Dubai +, a publication that offers a sliver of quotidian and artistic reflections on spaces of change and exchange, imbued with meaning and memory for individuals, communities and diasporas that enrich the city and its neighbouring emirates. Against the backdrop of the morphing coastline and the alluring locus of the creek, explore memoirs, investigations and poetic landscapes of the mind that are meant to engage with the contrasts of the city and offer collective aspirations for its past, present and possible futures.
VIKRAM DIVECHAFirst Year MFA Exhibition April 3, 2018
Wallach Art Gallery, New York
Curated by Natalie Bell
Until 8 April
As part of his first-year exhibition at Columbia University, Vikram Divecha presents a single partition panel that is acquired from the contractors of Frieze art fair. The panel will be returned to the contractor to be installed as a functional partition panel at Gallery Isabelle van den Eynde's booth during Frieze New York in May. Panel (2018), is an ongoing project and examines how objects and practices accrue value, as they circulate via galleries, institutions, fairs and exhibitions. Divecha intends to keep fluctuating the role of the panel post the art fair.
Vikram DivechaBeej, 2017 March 4, 2018
Al Naba'ah, Sharjah
With support from Shurooq and Sharjah Art Foundation, an underground water tank and pump were recently installed in a roundabout in Al Naba'ah residential area to meet the harvest season from February - April and November - January for Vikram's project for Sharjah Biennial 13.
In June 2017, Divecha created a site-specific installation by activating a potential for farming in a roundabout in Al Naba'ah residential area. He invited municipal workforce, who look after Sharjah's landscaping, to bring vegetable and grain seeds of their choice from their family farms in Lahore and Punjab. They sowed these seeds in the roundabout, which now becomes host to span several cycles of sowing and harvesting. Beej calls into question the position of the gardeners' in relation to the land that they cultivate, both in Pakistan and in the UAE. The unregistered seeds highlight the movement, presence and status of those who tend them. Participating gardeners are Sajad Hussain Bughio, Muhammad Saleem Manzoor Ahmed and Muhammad Shabbir Ahmad Din.
Vikram DivechaUntold Stories Retold March 4, 2018
Warehouse421, Abu Dhabi
7 March - 24 June
Warehouse421 restages UAE's participation at two recent national exhibitions from the Venice Biennale's International Art Exhibition (2017) and International Architecture Exhibition (2016). Curated by Hammad Nasar, Rock, Paper, Scissors: Positions in Play features works by Vikram Divecha, Nujoom Alghanem, Sara Al Haddad, Lantian Xie and Dr Mohamed Yousif, and explores a strand of artistic practice in the UAE through the analogy of play.
Commissioned by the UAE Pavilion, the Haerizadeh brothers and Hesam Rahmanian fashioned a playground in book form, which is included in the accompanying catalogue and serves both as an additional site of the exhibition and as its speculative expansion featuring works over 40 pages by the artists.
Vikram DivechaCo-Lab: contemporary art and savoir-faire March 4, 2018
Louvre Abu Dhabi
Curated by Alia Zaal Lootah
Until 25 March
As part of the French-Emirati Cultural Programme, in collaboration with the Louvre Abu Dhabi, this exhibition is based on the collaboration between four artists living in the UAE and four well-known historical French manufacturers. Responding to the role of railways in the standardisation of time during the Industrial Revolution, Divecha introduces an intervention within the French Railway schedule as part of his collaboration with MTX - Broderie Architecturale. Through Saint-Lazare train station, a train journey from Paris to Rouen is captured by Claude Monet and revisited by Divecha in an attempt to question our perception of time.
ART DUBAI 2017March 15, 2017
Madinat Jumeirah, Dubai
15 - 18 March
We are pleased to participate in the 11th edition of Art Dubai with works by Hassan Sharif, Mohammed Kazem, Abdelkader Benchamma, Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian.
VIKRAM DIVECHA AND ABDELKADER BENCHAMMASharjah Biennial 13 February 12, 2017
Curated by Christine Tohme
10 March - 12 June
We are pleased to announce Vikram Divecha and Abdelkader Benchamma's participation in Sharjah Biennial 13, which unfolds in five parts from October 2016 through October 2017. Tamawuj, a noun in Arabic which is defined as a rising and falling in waves, but also a flowing, swelling, surging, fluctuation or a wavy undulating appearance outline or form, is reflective of SB13's aims to cultivate collaborations, infrastructures and strategies within Sharjah and the project localities. Divecha and Benchamma will create site-specific commissions for the Biennial, which poses questions around, and proposes answers to the conditions for the possibility of an art world.
VIKRAM DIVECHARock, Paper, Scissors: Positions in Play January 18, 2017
National Pavilion United Arab Emirates
57th Venice Biennale
Curated by Hammad Nasar
13 May - 26 November
The National Pavilion of United Arab Emirates at the 57th Venice Biennale presents works by five diverse artists including Vikram Divecha, Nujoom Alghanem, Lantian Xie, Sara Al Haddad and Mohamed Yousif. The exhibition will explore a strand of artistic practice in the UAE through the analogy of play. Featuring existing works, re-fabrication of 'lost' works and new commissions, the exhibition will stage a set of nested questions: Where does 'playfulness' in artistic practice come from? How and where is 'play' nurtured? What does 'play' do?
VIKRAM DIVECHABinary States, India - UAE January 1, 2017
Until 29 March
As part of Kochi-Muziris Biennale, the satellite exhibition Binary States, India - UAE explores the bilateral relations between India and UAE across multiple disciplines, where Vikram Divecha presents Veedu (Malayalam for house), a film highlighting aspects of the strong community from Kerala living and working in the UAE. Building a house in their native city holds a lot of importance for these expats. These houses take many shapes, and are at times influenced by architecture from the Gulf. The remittances that are directed towards these houses take many forms - from aesthetics to arab-ness, from longing to pride. Following the design process of two house plans, this film will be shaped by exchanges between UAE-based clients and a Kerala-based architectural firm. Besides highlighting Emirati-Indian ties through various media and topics, the exhibition also celebrates the overlapping elements in Emirati-Indian cultures, which date back to decades of social, urban, and economic ties.
VIKRAM DIVECHASweeping January 1, 2017
March Project 2016
Sharjah Art Foundation
Until 19 February
Vikram Divecha participates in the third edition of March Project 2016 exhibition, which features site-specific works developed by five artists during an educational residency programme. Divecha presents a new body of work, entitled Sweeping (2016) where he remaps the routes of five sweepers to converge towards the Sharjah Art Museum building. Every day a team of sweepers clean the streets of Al Shuwaihean neighbourhood that surrounds the museum building. Each sweeper is assigned a specific route, which they silently map while collecting the refuse in green trash bags and depositing them on the sidewalk to create a temporary public sculpture in sight of the museum building. The work disorders the waste management process and frames an encounter between the quotidian neighbourhood and the public institution that sits within it, enacted by the sweepers' routines and the detritus they sweep.
Vikram DivechaSeptember 28, 2016
We are very pleased to announce that Vikram Divecha has joined the gallery's roster of artists.
Vikram Divecha (born 1977, Beirut) is a Mumbai-raised artist based in the UAE. He has developed a research-based, pedestrian practice in Dubai, where he is constantly negotiating for existing space, material and labour, to work with what he terms 'found processes' - forces and capacities that prevail in a society. Divecha works with urban processes and systems within state, social and industrial spheres and situates his practice in these operations to examine, intervene and extract the various layers of a given situation. In doing so, he withdraws himself from the final result to let the 'found processes' take over the works, which are not necessarily for the hermetic world of white cubes, but out in the streets and populated places. After introducing a set of parameters, Divecha engages in slow processes that would then evolve in an autonomous manner. Through his engagement with members of the community such as municipal gardeners, rock-blasting engineers, street sweepers and other diverse faculties, he creates idiosyncratic situations that translate into public art, permanent fixtures, sculptural installations and video works.
Vikram DivechaPortrait Sessions September 7, 2016
7 September - 13 October
During the year-long Critical Practice Programme 2015-16 at Tashkeel, Vikram Divecha closely collaborated with Debra Levine to present a project that questions positions of value through the context of time and money. Portrait Sessions invites a spectrum of self-identified 'non-professional painters' to become 'the artist' and to paint Divecha's portrait. The duration of each portrait session is determined by how much time AED 150 can buy according to each 'artist's' professional rate. Providing participants with a 65 x 50 cm primed canvas paper, acrylic paints and brushes, Divecha will be the only model during the sessions until the end of the exhibition on 13 October.