sonam | Inter-media Art Practitioner & Educator | Assistant Lecturer at O.P. Jindal Global University
Female, b. 1991, lives in New Delhi, India
Master of Fine Arts (Interdisciplinary), Shiv Nadar University, Greater Noida, India
Bachelor of Fine Arts (Sculpture), Faculty of Fine Arts, Maharaja Sayajirao University, Vadodara, India
Initiated the project, —out-of-line— , a sound-art exhibition on the phone line. The first iteration took place on phone lines in Aug-Sept 2019. It was culminated in a gathering of all listeners, artists and curious kinds at my terrace, in Vasantkunj, New Delhi.
The second iteration was exhibited as part of a group show- Real Time Tacticscurated by Mila Samdub, within The earth is still going around the sun : CISA 2019 Exhibitions, by Khoj International Artists’ Association, at India International Centre, Delhi, India.
Both shows were co-conceptualised with Suvani Suri, in collaboration with Kaushal Sapre and Jaidev Deshpande. https://outoflineofline.wordpress.com/
Conceptualized and initiated the project, first draft, a series of self-curated pop-up shows by groups of artists exhibiting works-in-progress. The first show was at NIV Art Gallery, New Delhi, in 2018 and second at my terrace in Vasantkunj, New Delhi, in 2019.
Conceptualized and managing the Artreach Apprenticeship, Internship and Mentorship Program (AIM) with Artreach India, a charitable trust that facilitates children from Care homes in Delhi to work and learn from artists or art organisations, in order to find better higher education and work opportunities and become self-dependent. www.artreachindia.org
Selected Group Shows
Exhibited KAIROI, a time sensitive vending machine in a year long series of events- Five Million Incidents 2019-2020 conceived by Goethe-Institut / Max Mueller Bhavan in collaboration with RAQS Media Collective. Two machines were exhibited at MMB New Delhi and Kolkata for 6 months | Technical support: Banana House (New Delhi).
Critical Constellations by FICA (Foundation for Indian Contemporary Art), under the Reading Room project– Listening post by Vasudha Thozhur at IGNCA, New Delhi, India.
8×4- The flowers will start flowering curated by Jasone Miranda-Bilbao in collaboration with Akansha Rastogi and Paribartan Mohanty at Galley OED, alongside Kochi-Muziris Biennale, Kochi, India. The exhibition travelled to Sala Rekalde gallery, Bilbao, Spain.
Random Variables curated by Ushmita Sahu at WNDX Festival of Moving Image, Poolside Gallery, Winnipeg, MB, Canada.
apple in dream mode curated by John Xaviers at Mumbai Art Room, Mumbai, India. Part of MAR’s Curatorial lab.
De-text – a two day festival for performative philosophy, by Philosophy Unbound at the School of Arts and Aesthetics, Jawaharlal Nehru University, Delhi, India.
Building Bridges: An International Art Project curated by Ushmita Sahu in collaboration with Emergent Art Space, San Francisco, culminating into an online show and three physical shows in India at AM Multidisciplinary (Kolkata), Art Konsult (Delhi) and Gallery Samukha (Bangalore), based on interactions between 7 Indian and 7 International young artists in 2017-18.
The exhibition travelled to Myanmar in 2019 as- Building Bridges: Yangon, displayed at Old Tourist Burma Building, Yangon, Myanmar.
Imagined Futures Reconstructed Pasts curated by Meera Menezes, presented by Anant Art gallery at Bikaner House, New Delhi, India
MFA group show of Shiv Nadar University, Kiran Nadar Museum of Arts, Noida, India
Shoonya at the Exhibition Hall, Faculty of Fine Arts, M.S. University of Baroda, Vadodara, India
Selected Solo Shows
occurrences, a solo show of works created during a two-month long artist residency at O.P. Jindal Global University, Sonipat, India. The show displayed instruction-based art works executed by the BA students at Jindal School of Liberal Arts and Humanities
Month long residency at Kammari Residency– space for experimental thinking and arts, Treis Elies, Cyprus. http://residency.kammari.org/
Two-month long residency at O.P. Jindal Global University, Sonepat, Haryana, India, culminating in an Artist-in-Residence solo exhibition: Occurrences.
Month long residency at Utsha Foundation for Contemporary Arts, Bhubaneswar, India.
Month long residency at What About Art?, Mumbai, India.
Five Million Incidents grant for realising an art installation and auction website to be exhibited at Max Mueller Bhavan (Delhi and Kolkata, India) funded by Goethe-institut and co-conceptualised with RAQS Media Collective.
Artreach India’s Teaching Fellowship, a year-long teaching programme with the kids of Salaam Baalak Trust (NGO), awarded by Artreach India and Kiran Nadar Museum of Art, Delhi, India. It culminated in two exhibitions: at Kiran Nadar Museum of Art (Saket) and Ojas Art Gallery (1AQ), New Delhi, India.
Following the fellowship, I’ve conceptualized and been managing the Artreach Apprenticeship, Internship and Mentorship Program (AIM) since 2019 with Artreach India (a charitable trust) that facilitates children from Care homes in Delhi to work and learn from artists or art organisations. http://www.artreachindia.org/team.html
Publications and Media
Pixel/Dust: A Visual Essay
How will dust settle in the folds of a digital journal? published at HAKARA, a peer-reviewed bi-lingual journal of creative expression.
Coming together to fill the gaps in an inequitable crisis: A story from the second wave of COVID-19 in India published at The BMJ, Global Health.
Looking for the Profound in the Ordinary – Reflections from Sonam Chaturvedi’s Art Exhibition ‘Occurrences’ at Jindal Global University by Asmita Singhvi, University of Oxford. Published in the Second Issue of The Centre for Women, Law and Social Change Blog.
Poetry and drawing published in the second issue of Art Dose Zine (print), India.
In Transit: the Ambivalence of Travelling as an Artist-Tourist, article published on Emergent Art Space’s website.
Lost and Found Objects: Between Art and Monotony, Article published on Utsha Foundation’s blog and Emergent Art Space’s website.
Artists to Look Out for: Volume III by Starry Night Programs, New Mexico, (print), p.13