Trickster City, the English translation of Behrupiya Shahar, a collection of writings on Delhi by young writers was launched on the 12th of February at Sarai. During the event the writers performed segments from their new work which is excerpted below for those who missed the event, or those who simply want to read the texts. The details of Trickster city is also provided below the text.
Translation of the writers’ text
They say in Delhi, there are no red lights; there are only the hands of strangers.
We, along with all our co-writers of Trickster City, who are among the audience, welcome you all. We would like to thank Ankur and Sarai, along with whom we have made, through Cybermohalla, a generative space. A space where we pose and think through our most challenging questions. We thank all our co-travellers, who argued and debated with us, challenged us further as we wrote and questioned. Continue reading Trickster City
Guest post by MOHD. SABIH AHMED
Of SubTerrains and Seismology: Notes on the Contemporaneous in India 
If the starting point of an enquiry is to investigate into the larger ambit of cultural production in which a notional unity of ‘contemporary art’ is one formation, the study of alternative systems/networks/formations would not suffice merely as mapping them as ‘alternative art’ in the same field. Instead, the demand would be to trace the contexts that give rise to a necessity for peculiar and disparate kinds of alternatives, and how certain cases instigate the field, maybe even risk rearranging the very conceptual and pragmatic constituents of that field.
This paper is a series of ponderings, questions, and a hesitant proposition regarding the above-mentioned, as much as it is an exposition on the state of affairs of that notional unity that is ‘Contemporary Art in India’. Continue reading Of SubTerrains and Seismology: Notes on the Contemporaneous in India