They abandoned their corporate ascent over a midnight phone call. Today, gallerists PRIYANKA and PRATEEK RAJA are changing the Indian art world with their vision, finds ROSALYN D’MELLO
It is December 2018. Priyanka Raja is at Experimenter Gallery. She adds me in on a conference call, and the bustle of Kolkata’s streets takes over. Her husband and co-gallerist Prateek apologises. He is on his way to catch a flight to London, where his presence is requested at the Turner Prize ceremony. It’s a moment of unexpected synchronicity. Ten years ago, the duo opened Experimenter Gallery. “Our first signed-up artist was Naeem Mohaiemen,” says Priyanka. On view at the Tate Modern until January were two acclaimed films by the UK-born Bangladeshi artist, Tripoli Cancelled and Two Meetings And A Funeral (both 2017). The films were part of the 2018 Turner Prize exhibition for which Mohaiemen was shortlisted. It was a watershed moment in art history considering few South Asian artists had had such a close brush with winning the prestigious prize. Mohaiemen’s shortlist predecessors include Anish Kapoor (he won the prize in 1991), Runa Islam, also of Bangladeshi descent, and Tino Sehgal, of Indo-German origin. Though the 2018 Prize was given to Charlotte Prodger, Prateek’s presence at the event as Mohaiemen’s co-gallerist of 10 years signalled how their careers had been so intricately linked.
A CALL TO ART
Diese Geschichte stammt aus der February 2019-Ausgabe von VOGUE India.
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Diese Geschichte stammt aus der February 2019-Ausgabe von VOGUE India.
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