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Eleanor Antin, Romans & Kings

Art Review

October 2017

Daniel Culpan

Art Review

October 2017

For the past five decades, feminist conceptual artist Eleanor Antin has created an anti-essentialist chronicle of herself. Working within a range of media –...

Art Review

October 2017

Juliana Huxtable, PNI

Isobel Harbison

Art Review

October 2017

‘IN SUNLIGHT I WAS PLASTICINE PERFORMANCE’, Juliana Huxtable wrote about her teenage years, in her first book published earlier...

The characters in We That Are Young reside at ‘The Farm’ – a sprawling house in New Delhi complete with its own topiary of fat peacocks, bulbous pink flowers with English names, Fendi furniture, and a room in which it snows at the press of a button It’s not far removed from reality – Antilla, the world’s first billion-dollar residence for a single family of four, is a 40-storey building that towers over the suburbs of South Mumbai, replete with a staff of over 600 people, its own electrical power grid, ten-storey parking for a collection of unusable vintage cars, and a room, of course, where it snows on demand In dialogue with Shakespeare’s King Lear, Taneja’s debut novel explores the lives of a family that owns a multinational conglomerate, ‘The Company’, to which each character’s fate (and inheritance) is inextricably tied We have our patriarch, the Lear figure, Devraj; his three daughters Sita, Radha and Gargi; and his right-hand man Ranjit’s two sons, Jeet and Jivan The embarrassment of riches makes for an irresistible, if outlandish, setting; Taneja vividly indulges our intrigue in the way the rich conduct their daily lives, letting her words ooze out their luxury – filthy, yet so desirable After a particularly gruesome scene in which Radha administers the plucking out of a man’s eyes, she steps back into her suite and calls for a pot of first flush Assam, and rose macaroons   A reinterpretation of Shakespeare is the perfect postcolonial conquest: he remains the epitome of the Western canon, patriarchal, and repeatedly failing to include representations of the ‘other’ without recourse to parody Mainstream appropriations of Shakespeare in South Asia, such as Bollywood filmmaker Vishal Bharadwaj’s trilogy Maqbool (Macbeth), Omkara (Othello), and Haider (Hamlet), have generally taken us to rural settings, wherein tragedy is relegated to a matter of the lower castes Taneja, a Shakespearean academic and human rights activist, eschews such stereotypes, and goes straight for the jugular: the innate hypocrisy of the Indian class and caste system ‘It’s not about land, it’s about money,’ states the first line of the book, taking

Book Review

October 2017

Preti Taneja’s ‘We That Are Young’

Skye Arundhati Thomas

Book Review

October 2017

The characters in We That Are Young reside at ‘The Farm’ – a sprawling house in New Delhi complete...

Book Review

October 2017

Chris Kraus’s ‘After Kathy Acker’

Jennifer Hodgson

Book Review

October 2017

Acker by Kraus is a tantalising prospect. How do you go about writing a biography of an inveterate self-mythologiser,...

Art Review

October 2017

Gothenburg Biennial 2017

Kristian Vistrup Madsen

Art Review

October 2017

Secularity, the theme of this year’s Gothenburg International Biennial for Contemporary Art (GIBCA), is often imagined as something akin...