AVANI TANDON VIEIRA
AS FAR AS I REMEMBER
2024
As Far as I Remember (10' 56") examines the failures of cartographic knowledge through a psycho-geographic exploration of the city of Gwangju.
​
Realised as part of the Gwangju Biennale Curators Academy 2024, in collaboration with curators Matthew
Lawson Garrett (USA) and Venus Tung-yan Lau (Hong Kong), the experimental documentary consists of the first interview of Noh Daehyun, a life long resident of Gwangju who has worked as a Taxi driver for 15 years and participated in the May 1980 democratic uprising.
​
FANTASTIC CITIES
2024
Fantastic Cities: Manifestos, City Making, and Imaginations of the Future (2024) was a screening,
talk, and workshop held at shhh project, Incheon.
​
Taking as an anchor director Seo Hyun-suk’s 2019 film Fantastic City, this three part event examined
speculative approaches to the urban in the 20th and 21st centuries. Considering key examples of urban
manifestos produced through State efforts, urban theory, and people’s interventions, it served as a
provocation and dialogue, enabling a collective articulation of what a more just plan for an urban future might
look like.
​
​
THE CITY IS NOT A LINE
_MMCA_Changdong2405_OpenStudio__169.jpg)
2024
The City is not a Line is a site-specific investigation of the relationship between art-making and urban crises in Seoul, South Korea. Conceptualised as part of the MMCA Seoul International Researcher residency, this multi-part, collective intervention comprises an installation (Where is the Heart of the City), a seminar and workshop, and a
publication. By attending to alternative visions of city-making across geographies, contexts, and temporalities,
The City is not a Line seeks to challenge the idea that urban space can be linearly organized, that the
trajectories of the lives in this space can be made singular, and that the future of our cities has only one shape.
BEGIN AT THE END OF THE MAP
2024
begin at the end of the map was an exhibition of works exploring alternative approaches to cartography in contemporary Indian creative practice.
Realised as part of the Gallerie Splash Curatorial Fellowship, New Delhi, the exhibition served as both dialogic exercise and physical site, producing a practice-based exploration of new, and equitable, ways of seeing and being in space.
PROTOCOL FOR A MAP FROM BELOW
2023
Protocol for a Map from Below was a creative-scholarly investigation exploring modes of participatory, archive-based mapping. Conceived in Douala, Cameroon as part of the RAW Academie Fellowship, 2023, the project
inaugurated a series of located investigations that consider cartographic practice as creative and personal
exercise. The Protocol is imagined as a series of open-ended prompts that take an archival object as a starting point to develop a sensory and localised mode of navigating space.
MUSEUM OF EPHEMERA
2020 - present
The Museum of Ephemera is a digital archive of ephemeral forms from the city of Bombay. The Museum narrativizes forgotten objects and builds an alternative history of the city. By doing so, it seeks to expand the way that Bombay is understood and tell the story of its many moments of resistance.
KITNI DOOR (HOW FAR)
2020 - 2021
Built around the ideas of distance and proximity, Kitni Door is a zine series that explores how we can make work, and make sense of the global health crisis, together. What does distance mean for artists held apart by a near-impenetrable border? Or by a disease that makes movement treacherous? Or just by the everyday limitations of lived experience? Aap yahan se kitni door hain?
ACTIVIST/AESTHETICS
2021 - present
activist/aesthetics is an interdisciplinary effort concerned with the intersections of material culture and political organizing in the 20th century. Now an international research group spanning three continents, activist/aesthetics is comparative, multi-disciplinary, and discussion based.
.jpg)
RESISTANCE
2017
This multi-disciplinary effort brings together ten artists from India and Pakistan to engage with the idea of Resistance. In collaboration with one another, the artists ask what it means to create art when to speak is a revolutionary act and to resist is to betray home and nation.
HOME
2016
This collaborative project connects young artists from India and Pakistan in pairings that cut across disciplinary and geographic boundaries. Exploring the idea of Home against the fraught political backdrop of the Indian subcontinent, these practitioners expand what home means in contemporary South Asia.