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Rahee Punyashloka

@artedkar

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Ambedkarite Blues and Anti-caste Strides
Building things @fourteenmag @mavelipublications
Mail: [email protected]

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Field Notes from Begumpura is an ongoing project by artist Rahee Punyashloka that imagines a future where Dalit and Adivasi communities live free from the violence and oppression of the caste system.

Punyashloka's murals are currently on view in our galleria exhibition, Field Notes from Begumpura by Rahee Punyashloka, and you can purchase the accompanying zine in our museum shop for only $2. Created by Punyashloka and Bao, a Dalit designer and illustrator, the zine expands on the stories, symbols, and imagined histories woven throughout the installation. You can also view the zine free of charge at the link in bio.

Field Notes from Begumpura by Rahee Punyashloka is on view through Summer 2027.

Image 1: Field Notes from Begumpura zine cover
Images 2-6: Photos by Elon Schoenholz

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AKSC's calendar for 2027 is now available for sale!

Featuring artworks from six amazing anti-caste artists.

To get your copy, order here: https://akscusa.squarespace.com/aksc-calendar-2027

Link in bio also!

@rheaton3000 @artedkar @srivamsimatta @azinzya @deeksha_meshram @thebigfatbao

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Happy to share the exhibition documentation of Critical praxis Residency 2026.

Curated by: @rolling.moon
Artists: @artedkar @boris.colin @natta_jit_
Documented by: @satheesh___photography
Supported by: @shergilsundaramartsfoundation

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Opening of inaugural edition of Critical Praxis Residency 2026 at 1Shanthiroad Studio/Gallery on 2nd Oct, 2026.
Supported by: @shergilsundaramartsfoundation
Curator-in-residence: @rolling.moon
Artists-in-residence: @artedkar @natta_jit_ @boris.colin Documented by: @satheesh___photography

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at white cubes— where crates, bubble wraps and brown tape balls are removed the first before presenting the exhibition to audience; it was so exciting to see it claim its center stage. running your eyes a bit a further, you see the sticky tape balls terrorizing your footsteps; the bubble wrap becoming the screen and the actual screen resting against the crate almost touching the ground, reminding you of a cctv which sits like a silent bird on above the crate.

such a clever inclusion of materials maxxing the conceptual framework!

counter-documentation by rahee punyashloka (from ‘towards minor gestures, intensities in the making’ at vadehra art gallery, july-aug 2026)

@artedkar @vadehraartgallery @mrinalinimukherjee.foundation @fica_india

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A few moments from the opening of Critical Praxis 2026 at 1Shanthiroad, Bengaluru.

After two months of research, conversations, uncertainties and discoveries, it was wonderful to finally see everything come together and share the space with so many people.

Grateful to Rahee Punyashloka, Boris Colin Alphonse and Jit Natta for their trust and collaboration with my curatorial, and to Suresh Jayaram and everyone at 1Shanthiroad and Sher-Gil Sundaram Arts Foundation for their warmth and support.

Thank you to everyone who came, spent time with the works and made the opening so memorable.

The conversations continue. ❤️
The show is open till 4 October, 7:00PM.

Leak in Archive

An archive appears to promise continuity: that what is preserved can be carried forward, that
a record can hold something in place. Yet, preservation is not innocent. To preserve is to select,
frame, classify and exclude. A date disappears, a photograph outlives its subject, a landscape
survives only as a trace. What enters the ______ acquires authority, what remains outside it
risks becoming illegible. But what does an archive actually make available to us—and what
does it quietly render unavailable?
Here, archives are not treated as a repository of the past but as an active infrastructure of
transmission, where memory, evidence and material histories are carried, filtered, displaced
and transformed. What happens when different durations begin to intersect: pages of a
document, a body of time, layered geological accumulation, a pixel of a technological image?
A ghost returns. A vanished landscape persists. Stone extracted from geological time
reappears within the circuitry of the digital image. These are not simply remnants of different
pasts—they are traces that disturb the chronology through which the past is usually made
legible. The past does not necessarily remain behind us. It travels, returns, accumulates and
waits inside the ______ for another moment of recognition.
A trace is never the thing itself. It is a residue, a remainder. It is partial evidence through which
relations can be reconstructed but not fully recovered. Stone, document, memory and imag

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The front latch gives way,
and the city outside, all horn and rush,
softens into red-oxide floors and the scuff of bare feet.

Someone is chopping onions at the kitchen counter,
the pressure cooker letting out its three steady sighs
while an argument about archives, memory, and the state
spills into the smell of rasam.

This is where the critical begins:
not behind white plinths or catalogued silence,
but around a shared table where Suresh asks if you’ve eaten,
pushing another bowl of soup toward tired hands.

Ideas lean against the chest,
still wet, drying beside laundry on the line.

I sit on the courtyard steps, listening,
really listening,
to the voices, ever growing hyacinth, memories
before the work even knows what it wants to be.

We arrive here carrying the weight of solitary rooms,
our notebooks tight with theories we haven't tested against a pulse.

We brew the evening together,
coffee cups pass from hand to hand,
and the boundary between a studio and a kitchen table
simply ceases to matter.

Art isn't kept at a polite distance here.
It is cooked, disagreed with, cared for, hennafied on the hands, and lived in,
a home that makes room for your questions
and calls you down when dinner is served.

As captured by @sahanas_art @suresh1shanthi @ytsey @rolling.moon

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Rahee Punyashloka is joining us at alèy 2026.

A Dalit artist, writer, researcher, and experimental filmmaker, his work moves through visual art, film, writing, and socially engaged practice, exploring anti-caste struggle and Dalit identity.

Come hear him at Visualising Hope in Graphic Narratives.

alèy 2026 · 24–25 September · MAHE Bengaluru
Website & registrations in bio.

#alèy2026 #RaheePunyashloka #GraphicNarratives #MILHS

Design by: @ahalya._.07 @avishashantell @prarkulkarni @oririginallyri @gayatriallamsetty
Caption by: @prakritipal9
Posted by: @aaniea_priv

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Two weeks of unjargonizing.

#

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In Rahee Punyashloka’s "Field Notes from Begumpura," murals, stories, and speculative visions imagine Begumpura, the “City with No Sorrows,” as a world where Dalit and Adivasi communities are free from the violence and constraints of caste.

Drawing inspiration from South Asian mural traditions, Punyashloka reclaims the visual language of ethnography to center self-determined voices, histories, and imaginations.

Come see the murals and encounter a different vision of the future at the Fowler Museum.

Images: Rahee Punyashloka, "Field Notes from Begumpura"

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Loading... Past. Present. In Progress. | A Festival of Digital and Media Art
11 & 12 September 2026

The two-day symposium reflected on the histories, practices, and evolving futures of digital and media art in India. Bringing together artists, researchers, and cultural practitioners, it examined how experimental, collaborative, and often ephemeral practices shaped the contemporary art ecosystem, frequently from beyond formal institutional spaces.

#FestivalLoading #MediaArt #DigitalArt #GoetheInstitutNewDelhi #ContemporaryArt

@soniaoninsta @suvanisuri @tasneemlohanii_art @theisro @yogeshbarve @beatnyk @algorave_india @varvadaa_09 @akshay_8832 @shuddha

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Food is not only a matter of sustenance or taste. It can carry memories of family, place, labour, exclusion, pleasure, survival, and change.

Across India, there are rising restrictions on where meat can be sold and seen. Policies stigmatising meat-eating enforce an oppressor caste, culinary lexicon—obscuring a section of society. Simultaneously, a misconception persists, equating Dalit everyday food practices to non-vegetarian dishes. In reality, Dalit cuisine goes beyond meat consumption, consisting of various vegetarian dishes and vegetables—typically seasonal varieties growing wild.

Our next #BeyondThePlate session will explore different literary and artistic representations of Dalit food practices, and how they negotiate representation, identity, and belonging—in the context of caste-based violence and Dalit resistance in India.

The panel—featuring @artedkar @shahu_patole @thebigfatbao @rajgoody—will discuss representation of food (or its absence) from mainstream media, and how their respective works spotlight Dalit identity, experience, resistance, and joy. They will relate how—through their distinctive praxis—they situate food as both oppressive and revolutionary.

📅 Wednesday, 16 September
🕔 5:30–6:30 pm | Online (Google Meet)
🎟 Book your free spot—link in bio!

This discussion is part of the @LocalFoodClub.in’s quarterly theme Know Your Desi Ingredients, wherein September focusses on fish, meat, and more.

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