ARTISTS & INFRA-PROJECTS
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Akram Zaatari (b. 1966 in Sidon, Lebanon) is a filmmaker, photographer, archival artist and curator. He has played a critical role in developing the intellectual, and institutional infrastructure of Beirut's contemporary art scene. As a co-founder of the Arab Image Foundation, a groundbreaking, artist-driven organization devoted to the research and study of photography in the Arab world, he has made invaluable contributions to the wider discourse on archival practice. As one of the young artists who emerged from the short-lived era of experimentation in Lebanon's television industry, Akram Zaatari has produced more than fifty films, videos, a dozen books, and countless installations of photographic material. All these works share an interest in histories related to excavation, political resistance, civil war and the play of letters that have been lost, found, buried, discovered, or otherwise delayed in reaching their destinations. He lives and works in Beirut, Lebanon. Akram Zaatari has been exploring issues pertinent to post-war Lebanon. He investigates the way television mediates territorial conflicts and wars, and is particularly interested in logic of religious and national resistance movements, and the circulation and production of images in the context of today's geographic division in the Middle East. Akram Zaatari had been selected to represent Lebanon at the 2013 Venice Biennale by Sam Bardaouil and Till Fellrath, curators for the Lebanese Pavilion. His work has been widely exhibited worldwide in Biennales and venues such as the Centre Pompidou.
ANJALI MONTEIRO + KP JAYASANKAR
Anjali Monteiro and K.P. Jayasankar are Professors at the School of Media and Cultural Studies (www. smcs.tiss.edu), Tata Institute of Social Sciences, Mumbai. They are involved in media production, teaching and research. They have played a key role in setting up the School of Media and Cultural Studies, TISS and the MA programme in Media and Cultural Studies. Their documentary films, which have been screened across the world, have won 32 national and international awards Their most recent awards are the Best film award at the International Folk Film Festival, Kathmandu and the Basil Wright Prize for So Heddan So Hoddan (Like Here Like There) at the 13th RAI International Festival of Ethnographic Film 2013. Retrospectives of their work include Vibgyor Film Festival, Kerala, 2006; Bangalore Film Society, 2010; Madurai International Film Festival, 2012, Parramasala Sydney, 2013, Thrissur International Film Festival 2018 and India International Centre 2018. An adaptation of their film Saacha (The Loom) was a part of the art exhibition ‘Project Space: Word. Sound. Power.’ at the Tate Modern, London, in 2013; and at Khoj, New Delhi in 2014. They have served as jury and as festival consultants and directors to several film festivals in India. They have mentored many student and fellowship documentary film projects as commissioning editors. They have a recent book entitled A Fly in the Curry, on independent Indian documentary, (Sage, 2016) which won a Special Mention in the National Film Awards, 2016. They are recipients of several fellowships, including the Howard Thomas Memorial Fellowship in Media Studies, the Fulbright visiting lecturer fellowship, and the Erasmus Mundus scholarship, among others. They have been visiting faculty at several leading media and design institutions and lectured at universities in the USA, Australia, Europe, and in Asian countries. They are active in campaigns for freedom of expression.
Arunkumar HG (b. 1968, Karnataka) was brought up within a farming family in the Western Ghats. He studied at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda, and went on to work in the toy industry in the metropolitan cities of Delhi and Gurugram. Caught between contradictory landscapes, the artist attempts to address this tension through his practice. He maps the complex relationship between ecological issues and the wasteful urban industrial mode of thinking and living. In 2014, he set up the 'Centre for Knowledge and Environment' in his hometown under the organisation SARA (Sustainable Alternatives for Rural Accord), to share and learn from local and global sustainable life practices.
Arunkumar's solo shows include: In-site, Aicon Gallery New York (2018); Seed of Reckoning Mumbai Art Room, Mumbai (2012); Tract, Nature Morte, New Delhi (2010); Feed, Nature Morte, New Delhi, Sakshi Gallery, Mumbai (2006).
He has also participated in numerous group exhibitions in India and abroad, most importantly: 'Embrace Our Rivers' Goethe-Institute / Max Mueller Bhavan, Chennai (2018); Sculpture by The Sea, Sculpture Biennial Aarhus Denmark (2015); The Eye and The Mind: New Interventions in Contemporary Indian Art, Festival of India, China (2015), sponsored by the National Gallery of Modern Art; Beyond Limits, San Diego Art Institute, San Diego (2014); Aesthetic Bind Citizen Artist: Forms of Address, Chemould, Mumbai (2013); Crossing Space, Kunsthalle Faust, Hannover, Germany (2013); Art and Activism in India Since 1989, The SAHMAT Collective, Smart Museum of Art, The University of Chicago (2013); Zones of Contact, Kiran Nadar Museum of Art, Noida, India (2013); Cosmopolitan Stranger, Open University of Diversity, Hasselt, Belgium (2012).
ANNU PALAKUNNATHU MATTHEW
Barthélémy Toguo was born in 1967 in Cameroon and lives between Paris and Bandjoun. He trained at the École Nationale Supérieure des Beaux-Arts in Abidjan, Ivory Coast; the École Supérieure d'Art in Grenoble, France; and the Kunstakademie, Düsseldorf, Germany. He founded Bandjoun Station, a centre for artistic exchange between local and international artists featuring residencies, an exhibition space, a library and plantations in Bandjoun, Cameroon, in 2007.
Solo shows have taken place at institutions including the Parish Art Museum, New York; Uppsala Art Museum, Sweden; Musée d'art contemporain de Sainte Etiennne, France; La Verrière by Hermès, Brussels, Belgium; Fundaçao Gulbenkian, Lisbon; and Palais de Tokyo, Paris. Notable group shows includethe 7th Echigo-Tsumari Art Triennale, Japan (2018); Homo Planta at Fondation Blachère (2018); The Red Hour, the 13th Dakar Biennale (2018); Art/ Afrique, le nouvel atelier at Fondation Louis Vuitton (2017); All The World's Futures at the Venice Biennale (2015); Body Language at the Studio Museum in Harlem, New York (2013); La Triennale: Intense Proximity, Palais de Tokyo, Paris (2012); the 11th Havana Biennial (2012); A terrible beauty is born, 11th Biennale de Lyon, France; the 18th Sydney Biennale (2011); and Laughing in a Foreign Language, Hayward Gallery, London (2008).
In 2011, Toguo was made a Knight of the Order of Arts and Literature in France. He was shortlisted for the Prix Marcel Duchamp in 2016.
B V SURESH
Chitra Ganesh (b. 1975, New York, USA) holds a BA from Brown University in Comparative Literature and Art Semiotics, a Masters in Fine Arts from Columbia University and attended the Skowhegan School for Painting and Sculpture. Her drawing based practice brings to light narrative representations of femininity, sexuality, and power typically absent from canons of literature and art. Her installations, comics, animations, and mixed media works on paper often take historical and mythic texts as inspiration and points of departure to complicate received ideas of iconic female forms. Ganesh’s studies in literature, semiotics, and social theory have been critical to a steady engagement with narrative and deconstruction that animates her work. She lives and works in Brooklyn, NY.
Her work as been has been widely exhibited in the United States and internationally at venues including the Walker Art Center, Minneapolis, MN; the Asia Society, New York, NY; Queens Museum of Art, NY; the Baltimore Museum of Art, MD; Philadelphia Museum of Art, PA; Berkeley Art Museum, CA, San Jose Museum, CA; ZKM Center for Art and Media, Karlsruhe, Germany; Fondazione Sandretto re Rebaudengo, Turin, Italy; the Saatchi Museum, London, United Kingdom; Museum of Contemporary Art, Shanghai, China; Gwangju Contemporary Arts Centre, Gwangju, Korea; National Museum for the Arts, Taiwan; Kunstverein, Göttingen, Germany; Kunstalle Exnergrasse, Vienna; the Prince of Wales Museum, Mumbai; Instituto Valenciano de Arte Moderno, Spain; and most recently the Bhau Daji Lad Museum, Mumbai. She has had solo presentations at PS 1/MOMA, Brooklyn Museum, Goteborgs Konsthalle, Andy Warhol Museum, and Rubin Museum. http://www.chitraganesh.com/ Image Credit: Svati Shah
E B ITSO
All of us retain the experiences of the foods we’ve eaten, and they become a part of our being—an edible archive we carry around in our bodies, memories and minds. One of the most integral elements of traditional Indian food culture has been vanishing rapidly since the 1960s, as the thousands of varieties of indigenous rice are inexorably being replaced by new, hybrid varieties. The Edible Archives team has been travelling to source these rice varieties in all their diversity: of taste, texture and colour; of starchiness and nutritive value; of traditional knowledge and techniques; of cultural and religious importance; a diversity, in short, of possible ways of life. By documenting these, we hope to capture in some ways that what is fleeting, so all is not lost.
Each meal we cook becomes an entry into the individual edible archives of the people eating it, as they experience the journey of the rice, and the splendid versatility of the ingredients accompanying it. Thus, we transfer/transform our edible archives into a collective sensory catalogue that belongs to all the people involved in growing, sourcing, cooking and eating the meal. Blog: theediblearchives.wordpress.com | Instagram: @ediblearchives | Facebook:theediblearchives
The Guerrilla Girls are feminist activist artists. Their anonymity keeps the focus on the issues, and away from who they might be. They wear gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. They believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. They undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. They have done over 100 street projects, posters and stickers all over the world, including New York, Los Angeles, Minneapolis, Mexico City, Istanbul, London, Bilbao, Rotterdam, and Hong Kong, to name just a few. They also do projects and exhibitions at museums, attacking them for their bad behavior and discriminatory practices right on their own walls, including our 2015 stealth projection about income inequality and the super-rich hijacking art on the façade of the Whitney Museum in New York. Their retrospectives in Bilbao; Madrid; Sao Paolo; and their US traveling exhibition Guerrilla Girls: Not Ready To Make Nice; have attracted thousands. Recently, they have done new street and museum projects at Tate Modern and Whitechapel Gallery, London; Paris; Cologne; Bologna; New York; Philadelphia; and more! They could be anyone. They are everywhere.
HASSAN KHAN + ANDEEL
Heri Dono (b. 1960 in Jakarta, Indonesia) is a leading Yogyakarta-based contemporary artist, and the first Indonesian to break into the global art scene during the early 1990s. He is a member of the generation of Indonesian artists that began their careers in the 1980s. Since his early career, he has traveled around the world to exhibit and respond to workshop invitations from various countries.
Dono is well known in the international contemporary arts community for his installation works, many of which were inspired by his experiments with wayang, the complex shadow puppet theater of Java. Wayang performances are comprised of a number of artistic and non-artistic elements: visual arts, singing, music, storytelling, social criticism, humor and for the mythological promotion of a philosophy of life. These components are merged into the artwork’s narrative to give a generic interpretation to which elements of multimedia are added. Coupled with the setting of a wayang performance event, this provides a space for social interactions among the audience. These creative artworks express Dono’s interest in revitalizing arts that are deeply rooted in Indonesian traditions.
Dono is the only contemporary Indonesian artist who has been invited to the Venice Biennial curated exhibition (2003). His awards include the Dutch Prince Claus Award for Culture and Development (1998), the UNESCO Prize (2000), and the Anugerah Adhikarya Rupa (Visual Arts Award) from the Indonesian government (2014). He has participated in more than 300 exhibitions and 33 international biennales including Bangkok Art Biennale (2018), the 50th Venice Biennale in the Arsenale's Zone of Urgency (2003), Guangzhou Triennial (2011); Gwangju Biennale (2006 and 1995); Sharjah Biennial (2005); Taipei Biennial (2004); Venice Biennale (2003); Asia Pacific Triennial (2002 and 1993); Yokohama Triennial (2001); Havana Biennial (2000); Shanghai Biennale (2000); Sydney Biennale (1996); São Paolo Biennial (2004 and 1996).
INES DOUJAK + JOHN BARKER
Jitish Kallat's (b. 1974, Mumbai, India) works over the last two-decades reveal his continued engagement with the ideas of time, sustenance, recursion and historical recall often interlacing the dense cosmopolis and the distant cosmos. His oeuvre traverses varying focal lengths and time-scales. From close details of the skin of a fruit or the brimming shirt-pocket of a passerby, it might expand to register dense people-scapes, or voyage into inter-galactic vistas. While some works meditate on the transient present others invoke the past through citations of momentous historical utterances. Frequently shifting orders of magnitude, Kallat’s works can be said to move interchangeably between meditations on the self, the city-street, the nation and the cosmic horizon, viewing the ephemeral within the context of the perpetual, the everyday in juxtaposition with the historical, the microscopic alongside the telescopic. He lives and works in Mumbai, India.
Jitish Kallat has exhibited widely at museums and institutions including Tate Modern (London), Martin Gorpius Bau (Berlin), Gallery of Modern Art (Brisbane), Kunst Museum (Bern), Serpentine Gallery (London), Mori Art Museum (Tokyo), Palais de Beaux-Arts (Brussels), Hangar Bicocca (Milan), Busan Museum of Modern Art, Astrup Fearnley Museum of Modern Art (Oslo), ZKM Museum (Karlsruhe), Henie Onstad Kunstsenter (Oslo), Arken Museum of Moderne Kunst (Copenhagen), Institut Valencia d’Art Modern (Spain), Mori Art Museum (Tokyo), Art Gallery of Ontario (Toronto), Jean Tinguley Museum (Basel) and the Gemeente Museum (The Hague) amongst many others. Kallat’s work has been part of the Havana Biennale, Gwangju Biennale, Asia Pacific Triennale, Fukuoka Asian Art Triennale, Asian Art Biennale, Curitiba Biennale, Guangzhou Triennale and the Kiev Biennale amongst others.
His solo exhibitions at museums include institutions such as the Art Institute of Chicago, Bhau Daji Lad Museum (Mumbai), the Ian Potter Museum of Art (Melbourne), CSMVS Museum (Mumbai), the San Jose Museum of Art, Art Gallery of New South Wales (Sydney) and the Philadelphia Museum of Art. In 2017 the National Gallery of Modern Art (New Delhi) presented a mid-career survey of his work titled Here After Here 1992-2017 curated by Catherine David.
Jitish Kallat was the curator and artistic director of Kochi-Muziris Biennale 2014.
Jun Nguyen-Hatsushiba (b. 1968 in Tokyo, Japan) was born to a Japanese mother and a Vietnamese father. He spent his childhood in Japan before moving to the USA to get an education, he now works and lives in Ho Chi Minh City, Vietnam and Houston, USA. His work "Memorial Project" started in 2001 and addressing issues such as boat people and social minorities made his name in the international contemporary art scene. Nguyen-Hatsushiba has exhibited in numerous international triennials and biennials including Venice, Istanbul, Sydney and Yokohama.
His on-going project “Breathing is Free:12,756.3” is an attempt to physically experience world refugee crisis by running the diameter of the earth, 12,756.3 km.
In his recent work from 2013,“The Master and the Slave: Inujima Monogatari” was filmed at Inujima island in Okayama, and the film “Memorial Project Waterfield: The Story of the Stars” was based on a performance piece first shown at the 2006 Gwangju Biennale.
In 2014 his residency and solo show “Don’t we all want to be in tune?” at MAC VAL, Paris, addressed notions of citizenship and the relationships between migrational flux and musical expression. In a new development in the artist's practice, the work evoked the struggles faced by contemporary migrants though the mutual influences of drawing and sound, and also featured interactive elements of audience participation.
Nguyen-Hatsushiba’s solo exhibitions have been organized in musuems around the world, including Kunstmuseum Luzern (Switzerland), Manchester Art Gallery (UK), Malmo Konsthall (Sweden), MACRO, Museo d'Arte Contemporanea Roma (Italy).
Juul Kraijer (b. 1970, The Netherlands) graduated from the Rotterdam Academy of Fine Arts in 1994. Her authentic, consistent oeuvre consists mainly of drawings but also includes sculptures and video-works. In recent years she has embraced photography as an important medium.
Institutions which have hosted solo exhibitions of the artist's work include Huis Marseille Museum for Photography, Amsterdam (2017); Drents Museum, Assen (2015); Kunsthalle Giessen, Germany (2014); Cobra Museum of Modern Art, Amstelveen (2009 and 2004); Gemeentemuseum, The Hague (2006) and Stedelijk Museum, Amsterdam (2001)
Her work has been awarded four Dutch art prizes and has been included in major international exhibitions such as The Third Moscow Biennale of Contemporary Art (2009) and ARS 06 at the Museum of Contemporary Art Kiasma, Helsinki (2006).
K P KRISHNAKUMAR
KIBUUKA MUKISA OSCAR
MOCHU + SUVANI SURI
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Mrinalini Mukherjee studied BFA in Painting and Post Diploma in Mural Design both at M.S. University, Baroda. She received the British Council Scholarship for Sculpture, and went to the West Surrey College of Art and Design, UK in 1978. Mrinalini’s work dealt with the tactility of sculpture as a medium and she played with a variety of materials in establishing a deep connection with the different qualities of materials such as ceramics, jute, natural fibres, bronze. Her sculptures would refer to the organic, to the fluid even as it manifested itself with dimensions and structure. Mrinalini Mukherjee is best known for her woven and majestic forms, which cross over, between sculpture and textiles. The mysterious folds and the intricate curves and drapes manifest a strong note of sexuality evoking the sensuous and tactile quality. Her latest works come as a continuation of her endeavor of past few years where the bronzes carry references to vegetable forms that are now mineralized. Then the fluidity of her earlier fibre works gets petrified leaving behind an emotional and melancholic effect with the carved, textured skin that signal the psychological pain and the uncertainties of life. These bronzes recapitulate the undulations of form and capture the human element through the scarred flesh akin to loss or damage done by burning or deterioration. © Vadehra Gallery
Nathan Coley is a Glasgow-based artist whose work examines the nature of belief in our society through a range of media. His gallery-based work and interventions in public space seek to enquire into our relationship with sacred and secular architecture, signage and protest, exploring systems of faith and how these are represented and demonstrated. Coley’s work is in collections in the UK and abroad and he has received a number of major commissions for institutions and events worldwide. He was shortlisted for the Turner Prize in 2007.
Nilima Sheikh has inspired several generations over her 50 year career as a Baroda based painter. Sheikh has a solid position in the history of Indian Modernity, and was a student of KG Subramanian. Rooted in Eastern painting traditions such as miniature painting, oral tradition found in vernacular folk songs, as well as her own life experience, Sheikh continues to create bodies of work that evoke mystical imaginary landscapes that address feminine experiences. Sheikh has a gift for storytelling. Inspired by reading Rabindranath Tagore, the artist became interested at an early age in the connection between stories and images, an age-old connection from murals to ancient manuscripts. Beyond appropriating traditional techniques in her work, Sheikh works with figure and narration in her practice, which has also beautifully translated into theatre sets such as the 1993 Vivadi theatre production of Umrao, and also children’s books. © Chemould-Prescott Road Gallery
Oorali is a music and art collective working largely in Kerala. "We are an art commune driven by the Oorali spirit existing since 2010 and have performed around India and around the world. Our strengths inspire us and our shortcomings bond us. Each performance assimilates stories from the locality we are in and connect us more with the audience. Oorali always engages the audience with music, conversations, visuals and by sharing properties to play with. The stories of human persistence, the ordeals that we face to survive and the stories of our times are retold, be it a marriage, a party, a college event or a protest. Every performance is an opportunity for Oorali to remind each other, all of us, that we are a commune of humans, beyond whatever we imagine."
THE OTOLITH GROUP
The Otolith Group was founded in 2002 and consists of Anjalika Sagar and Kodwo Eshun who live and work in London. During their long-standing collaboration The Group have drawn from a wide range of resources and materials. They explore the moving image, the archive, the sonic and the aural within the gallery context. The work is research-based and in particular has focused on the essay film as a form that seeks to look at conditions, events and histories in their most expanded form. The Group have exhibited, installed and screened their works nationally and internationally, they are commissioned to develop and exhibit their art works, their research, installations, and publications by a wide range of museums, public and private galleries, biennials, foundations and other bodies. This work acts as a resource that is documented on this website and supports The Otolith Group’s public platform in its function in the UK under the name of The Otolith Collective. The Otolith Group was nominated for a Turner Prize in 2010.
PRIYA RAVISH MEHRA
Santha KV is a self-taught textile artist who lives and works in Calicut, Kerala. She is a textile teacher and co-founder of TASARA International weaving center. Her works have been exhibited in Germany, Sweden, The Netherlands, and Switzerland, and are held in public and private collections across the world.
P R SATHEESH
Aqui Thami is an artist, activist, and academic a member of the Himalayan Janajati Thangmi community who got an Indian passport by being born in Darjeeling. She uses art as a form of medicine to heal wounds caused by colonization and is interested in having conversations and creating spaces for reflection on marginalisation and resilience. A PhD candidate of the Tata Institute of Social Sciences, Aqui now lives and works in Mumbai. Her multi-disciplinary practice is inspired by the culture of DIY through which she has collaborated with young girls, women, and children in Dharavi. She is a founding member of Dharavi Art Room, a safe space to explore, exchange and express ideas through art. She is also one half of the collective Bombay Underground, that celebrates the power of the community by means of experimenting with various public art practices, including zine making and performance art. Sister Library is curated by Aqui, and has traveled across India.
Concept Note by Veer Munshi, Curator
During our sojourn on this earth, as we journey through life, we often feel we have come to a blind-end having lost our directions. When you are caught between two conflicting ideologies. Yet there is a place where the right questions can be asked.A Sufi shrine is perhaps where one can hold on to one's sense of self. This middle space has been marginalized over time in Kashmir valley, and one endeavor’s to explore the value and impact of any acts or art activity in conflict zones, particularly in Kashmir which was once a seat of Sufism. Most Kashmiri artists have been in and out of the valley since 1990's. While some belonging to minority Hindu community fled as part of mass exodus and the others, mostly Muslim, stayed back and both suffered in these shrinking cultural spaces, some were born much before the conflict and some within it. Hence the experiences and expressions of the artists are as varied as multiple mediums and practices. However what underlies in all their creative expressions are the crisis regarding the question of identity, migration and displacement. The work comprises a large structure borrowing elements from the local Kashmiri architecture As such the installation also nods towards the secular or Sufi traditions of organized sociality and the everyday acts of resistance/ resilience exhibited by these prone bodies by virtue of their democratization of and laying claim to the sacred in a manner both extremely personal. Give life and return love to the place, embrace it and become strong. It is only through this that we can become a fully evolved human being and blossom in ways that would be more beautiful and fruitful then one could have ever imagined.
SUNIL GUPTA + CHARAN SINGH
Tejal Shah (b.1979, Bhilai, India) works across diverse media such as video, photography, performance, sound, installation, drawing and educational workshops. Shah is deeply interested in the intersection of queer theory and non-dualist philosophy and to that end, is currently undertaking a MA in Nalanda Buddhist Philosophy. “When all identity categories cease and we understand that everything exists interdependently, how can this lead to an affective shift away from violence and towards love and cooperation? This question is at the core of my work as an artist.”
Shah initiated the artist home residency program, Balcao in Goa 2013-14, participated in the 1st Anthropocene Campus at the Haus of World Cultures, Berlin, 2014 and the Queer Ecologies workshop and residency at Rost AIR, Norway in 2015. Their works have shown widely in museums, galleries, and film festivals around the world. Recent institutional solo exhibitions include – As it is, Mimosa House, London, 2018; Unbecoming, Kunsthaus Hamburg, curated by Chus Martinez, 2017; Some Kind of Nature, Kunsthaus Rhenania, Cologne, 2015 and at the Gujral Foundation, New Delhi, 2014. Major presentations in recent group shows have been held at the Kunstmuseum Wolfsburg, 2018; Office for Contemporary Art, Oslo, 2016-17; Kadist Art Foundation, San Francisco, 2016; Devi Art Foundation, New Delhi, 2016; Whitechapel Gallery, London, 2014; dOCUMENTA 13, Kassel, 2012; Centre Pompidou, Paris, 2011 and Tate Modern, London, 2006, among others.
VEDA THOZHUR KOLLERI
SUBHASH SINGH VYAM + DURGABAI VYAM
Durgabai Vyam and Subhash Vyam are Pardhan Gond artists who studied under the legendary artist Jangarh Singh Shyam. The artist-couple lives in Bhopal, Madhya Pradesh. Durgabai has won acclaim for her paintings and for illustrations for several books. Subhash is an accomplished sculptor and has worked with many media. Together, they illustrated Bhimayana (Navayana Press), India's most popular graphic novel that recounts the life and experiences of Dr. B R Ambedkar.
© PBS, Art21
YOUNG-HAE CHANG HEAVY INDUSTRIES