Projects / Processes (P/P) is an initiative launched by Serendipity Arts Foundation in 2017 to publish commissioned research essays, longform writing and in-depth criticism that explore the ideas and processes behind select curatorial projects at Serendipity Arts Festival. The Projects / Processes series offers an opportunity to give projects and the stories that they tell continued life, through a deeply engaged look at how they came together and their significance to the discourse of contemporary art in India moving forward. Each volume comprises essays covering distinct projects that stand in some dialogue with each other, through the questions they raise and the thematic landscape they cover.

Over the next few weeks, we will be introducing the writers of Projects/Processes 2019 and the essays they have written, which will be viewable in PDF form on this website.

Managing Editor: Nandita Jaishankar
Series Editor: Senjuti Mukherjee 
Copy-editor: Arushi Vats


  • Essay 1

    Space and Place: Sonic Thoughts, Tensions, and Trajectories

    by Gautam Pemmaraju

    Gautam Pemmaraju is a Mumbai based writer, independent filmmaker and creative consultant who works in the areas of history, literature and art. He has published extensively on sound/music production and aesthetics, sound culture and acoustic phenomena. His documentary film A Tongue Untied: The Story of Dakhani (2017) on the vernacular satire and humour poetry of the Deccan and history of Dakhani, continues to show periodically at various venues.

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  • Essay 2

    Live Art and Ecology: A Performative Mapping of Speculative Futures

    by Najrin Islam

    An independent researcher and writer, Najrin Islam is a postgraduate from the School of Arts and Aesthetics, Jawaharlal Nehru University (JNU), India. She has written for several platforms including Critical Collective, ArtAsiaPacific and the National Cinema Series published by Rowman and Littlefield. Najrin was awarded the first Art Writers’ Award 2018-19 by TAKE on art magazine and Swiss-Arts Council Pro Helvetia which resulted in a residency and an associated publication titled Archive as Medium: Exploring the Performative Body. She has worked as the Associate Editor for Art Dose magazine, Cinema edition (October 2019) which focused on marginal histories of Indian cinema and questions of visibility across changing bodies of reception. Najrin is currently writing about Five Million Incidents on its official blog, ‘Plural Futures’, a year-long series of projects organised by Goethe-Institut / Max Mueller Bhavan (New Delhi and Kolkata) and curated by Raqs Media Collective (https://fivemillionincidents.blog/). Her research interests include cinematic histories, archival studies and their various intersections in the arts.

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  • Essay 3

    New Dialogues with Analogue: Indian Experiments on Film

    by Mrinalini Vasudevan

    Mrinalini Vasudevan is Senior Assistant Editor at Marg, one of India’s longest running arts journals. She has a background in English Literature and Arts and Aesthetics and is interested in urban studies, popular culture, cinema and advertising. She has contributed articles and reviews to The Hindu and The Four Quarters Magazine, edited a book on Jamshedpur for Tata Steel and conducted a workshop at the O.P. Jindal Global University’s Editing in Practice course.

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  • Essay 4

    Who's Afraid of Documentary Theatre? & De-Deciding History


    Who’s Afraid of Documentary Theatre?
    by Anuja Ghosalkar and Kai Tuchmann

    De-Deciding History
    by Soumyabrata Choudhury

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    To learn more about Connecting Realities: A Symposium on Theatre and its Realities, kindly visit the symposium website.


    Anuja Ghosalkar is the founder of Drama Queen—a Documentary theatre company, evolving a unique form of theatre in India since 2015. Her practice focuses on personal histories, archival absences, and blurring the hierarchies between audience and performer—to extend the idea of theatre to create audacious work.

    Iterations around form and process, modes of (social) media, sites, technologies, reclaiming narratives on gender and intimacy are critical to her performance making and pedagogy.

    As artist-in-residence at Art Lab Gnesta, Sweden she created her debut show, Lady Anandi which travelled extensively across India, and showcased independently in Berlin and Stockholm. Her performances and workshops have been programmed by University of Oxford, Jawaharlal Nehru University, Serendipity Arts Festival, National Centre for Biological Sciences, Forum Transregionale – ZMO, First Post, Kerala Museum, FLAME University among others. Anuja is the co-curator of the international workshop series on Documentary Theatre with her German collaborator—that programmed artists like Boris Nikitin, Rimini Protokoll, Zhao Chuan, and Gobsquad. As visiting faculty at Srishti Institute of Art, Design and Technology since 2016, she leads practicebased pedagogy. In the past, she was programme officer at India Foundation for the Arts, film programmer for Experimenta and India researcher for University of Westminster. She is an Art Think South Asia Fellow (2017-18) and has written on film and performance for Nang Magazine, Art India, Bioscope, Hakara, Scroll, and Ladies Finger.

    Kai Tuchmann is a director and dramaturge whose theatre works circle around the very specific relationship that theatre claims with events in the real world. In this context Kai is interested in theatre’s division between spectators and performers—which turns theatre into a paradigmatic site of reality construction. His works engage in particular with the question of how technologies of theatre, ranging from acting techniques to the utilisation of new media in performance, contribute to the production of truth claims and reality effects. Kai is developing his approach of theatre in close collaboration with artists from China and India. His stagings and dramaturgies were invited, among others, to I Dance Hong Kong, Seoul Marginal Theatre Festival, Zürcher Theaterspektakel, Kunstfest Weimar, Festival d’Automne à Paris, Wuzhen Theatre Festival, Asia Society New York, and OCAT Shenzhen. Thematically, these works examine, among other things, the afterlife of the Cultural Revolution in present-day China, the effects of urban development on the population of migrant workers, and the application of digital technologies.

    Kai studied Directing at Drama Academy Ernst Busch, Berlin. He is a member of Beijing’s Central Academy of Drama – Dramaturgy Faculty, where he develops, together with Li Yinan, the curriculum for the first Dramaturgy program in Asia. He has taught and lectured at Beijing University, University of California Santa Cruz, Jawaharlal Nehru University New Delhi. Currently he is a Fulbright Scholar at The Graduate Center, City University New York. Kai published articles and chapter contributions on dramaturgy and documentary theatre in several books (eg. for Routledge and the Brecht Yearbook) and he has written for Theatre Times and the German weekly Der Freitag.

    Soumyabrata Choudhury is Associate Professor at the School of Arts and Aesthetics, Jawaharal Nehru University. He has previously taught at CSSSC, Kolkata, and has been a fellow at CSDS, Delhi and IIAS, Shimla. Choudhury is the author of Theatre, Number, Event: Three Studies on the Relationship between Sovereignty, Power and Truth (2013) and Ambedkar and Other Immortals: An Untouchable Research Programme (2018). His latest book is Now It’s Come To Distances: Notes on Coronavirus and Shaheen Bagh, Association and Isolation (2020). He has also acted and directed in a number of performances across the country for the last thirty years. His latest performance was an adaptation of Franz Kafka’s story A report to the Academy at the Expression Lab, Pune, in July 2019.


  • Essay 5

    Experiments in Shared Time

    by Samira Bose

    Samira Bose is Programmes Coordinator at Asia Art Archive in India, an independent non-profit dedicated to documenting and making accessible recent histories of art from across Asia. Together with colleagues, she facilitates discursive programmes, workshops, and exhibitions to activate archival and library collections. She completed her MA in Arts & Aesthetics at Jawaharlal Nehru University.

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  • Essay 6

    Image Journeys: The Conquest of the World as Picture

    by Suryanandini Narain


    Suryanandini Narain is Assistant Professor of Visual Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. Her doctoral thesis addressed the feminine figure in family photographs from Delhi. She has written extensively on photography in India, especially around themes of women, the family, the home and studio photography, in publications including Marg Magazine, Art India, Visual Anthropology Review, Trans Asia Photography Review and others. A recipient of scholarships from the Ford Foundation, INLAKS and ICSSR, she has also been involved as an outreach coordinator for Marg Magazine. At SAA, JNU, she teaches courses on Indian visual culture, photography, aesthetic theory and critical writing. She also has M. Phil. and Doctoral research students working on graphic novels, digital feminism, documentary photography, queer theory, and bazaar art.

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  • Essay 7

    Past, Present, Astral

    by Mila Samdub


    Mila Samdub is a writer and researcher based in New Delhi. He was a curator at Khoj International Artists’ Association and is currently studying at the Yale School of Architecture. He works on contemporary technology and modernist architecture. The future is his abiding research interest.

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  • Essay 8

    Performing Chhau: Reflections on Mediation and Tradition

    by Sujaan Mukherjee


    Sujaan Mukherjee heads Education and Outreach at DAG’s Ghare Baire museum-exhibition in Kolkata and has just submitted his doctoral dissertation on colonial memory in urban spaces in Kolkata, at Jadavpur University. A recipient of IFA’s Archival Fellowship, he looks to cross disciplinary boundaries in his writing and research. Sujaan was also part of the team that started the campaign to save Gurusaday Museum, a repository of folk art from undivided Bengal.


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