Moving Still: Performative Photography in India explores themes of migration, gender, religion and national identity through the lens of modern and contemporary photography in India. While exploring the early beginnings of photography in India with works from Ram Singh II and Umrao Singh Sher-Gil, the primary focus of this publication is the lens-based practices of contemporary artists such as Naveen Kishore, Atul Bhalla, Tejal Shah, Vivan Sundaram, Sunil Gupta, Anita Dube and Pushpamala N. Artists rooted in the diversity of cultures and multiplicity within the country, while at the same time engaged in a global dialogue. The publication will include profiles on each of the participating artists, a timeline on the history of performative photography compiled by Critical Collective, as well as feature essays by Diana Freundl, Associate Curator, Asian Art at the Vancouver Art Gallery, and Gayatri Sinha, art critic and curator, that together expand on the historical importance and relevance of photography as an artistic medium in India as well as the development of performative photography.

Jin-me Yoon is an important Canadian lens-based artist who has been working steadily since emerging on Vancouver’s contemporary art scene in the 1990s. Produced in tandem with a major exhibition at the Vancouver Art Gallery in 2022, About Time focuses on Yoon’s monumental and multifaceted production of the last decade, which typically combines photography, video, performance and installation.About Time focuses primarily on Jin-me Yoon’s most recent artistic practice. In these layered works, Yoon continues to address the subject matter of diasporic experience, colonialism, imperialism and militarism, but with a politicized awareness of what it means to live and work as a diasporic artist on land stolen from Indigenous peoples. Characterized by a restrained poetic style, use of slowness and repetition, and sensory use of sound, Yoon’s recent corpus is undergirded by a strong environmentalist thrust. Recurring tropes of this mature phase of her work include cinematic tableaux of individuals integrated within the Pacific West Coast’s stunning natural landscapes.

Moving Still: Performative Photography in India explores themes of migration, gender, religion and national identity through the lens of modern and contemporary photography in India. While exploring the early beginnings of photography in India with works from Ram Singh II and Umrao Singh Sher-Gil, the primary focus of this publication is the lens-based practices of contemporary artists such as Naveen Kishore, Atul Bhalla, Tejal Shah, Vivan Sundaram, Sunil Gupta, Anita Dube and Pushpamala N. Artists rooted in the diversity of cultures and multiplicity within the country, while at the same time engaged in a global dialogue. The publication will include profiles on each of the participating artists, a timeline on the history of performative photography compiled by Critical Collective, as well as feature essays by Diana Freundl, Associate Curator, Asian Art at the Vancouver Art Gallery, and Gayatri Sinha, art critic and curator, that together expand on the historical importance and relevance of photography as an artistic medium in India as well as the development of performative photography.

Jin-me Yoon is an important Canadian lens-based artist who has been working steadily since emerging on Vancouver’s contemporary art scene in the 1990s. Produced in tandem with a major exhibition at the Vancouver Art Gallery in 2022, About Time focuses on Yoon’s monumental and multifaceted production of the last decade, which typically combines photography, video, performance and installation.About Time focuses primarily on Jin-me Yoon’s most recent artistic practice. In these layered works, Yoon continues to address the subject matter of diasporic experience, colonialism, imperialism and militarism, but with a politicized awareness of what it means to live and work as a diasporic artist on land stolen from Indigenous peoples. Characterized by a restrained poetic style, use of slowness and repetition, and sensory use of sound, Yoon’s recent corpus is undergirded by a strong environmentalist thrust. Recurring tropes of this mature phase of her work include cinematic tableaux of individuals integrated within the Pacific West Coast’s stunning natural landscapes.