> Memento Mori

Clare Arni

, Samit Das

, Soghra Khurasani

, Saju Kunhan

, Tanmoy Samanta

, Vishwa Shroff

, Suruchi Choksi 

, Payal Kapadia 

, Zishaan Akbar Latif 

, Katsushi Goto

12 June - 24 July, 2015

Memento Mori is a group exhibition featuring the works of Clare Arni, Suruchi Choksi, Samit Das, Payal Kapadia, Soghra Khurasani, Saju Kunhan, Zishaan Akbar Latif, Tanmoy Samanta, Katsushi Goto and Vishwa Shroff. As the name suggests, the exhibition intends to remind viewers of their mortality and of the brevity and fragility of human life. Abstracting the idea of Memento Mori, each artist explores the issue of death in both, personal and collective contexts. In their individual practices, the artists approach the idea of ephemerality and the act of archiving with the inevitable sense of loss and nostalgia of that which once was.

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Clare Arni

Clare Arni is a photographer based in Bangalore, India. Her work encompasses social documentary and cultural heritage. She has been published by leading publishing houses such as Phaidon, Thames and Hudson and Dorling Kindersley. She has also contributed work to magazines like Abitare (Italy), Tatler, Conde Nast (UK), Wallpaper, The Wall Street Journal and Harvard Design magazine as well as several Indian publications of repute. Her solo photographic books document the history of the architecture of Banaras, Palaces of the Deccan, the recent excavations of Hampi, the capital of the Vijaynagar Empire and a four-month journey along the course of the river Kaveri. Clare’s body of work has been exhibited extensively, both in private galleries and cultural institutions. Her solo exhibitions document the lives of marginalized communities in some of the most remote regions of India and the disappearing trades of urban India. Most recently, she did a solo exhibition, Self- Reimagined, a photo exhibition at the Bangalore International Centre (2020) and A people’s history of water & Disappearing Professions in Urban India, at Centre d'Art, in Auroville, India (2020). A few recent shows of note are – Disappearing Professions of Urban India (UC Davis, California, 2016 and TARQ, Mumbai, 2014);Morphology of Archive, Museum of Goa (2016); Anatomy of Stillness, TARQ, Mumbai (2015); The Chikmagalur House, Dakshinachitra Museum, Chennai (2014). Clare’s work has also been exhibited internationally at the Essl Museum (Vienna) Grosvenor Vadehra (London), Bose Pacia (New York), Berkeley Art Museum (Berkeley, California) California. Clare’s works have also found a place in the permanent collections of the Saatchi Gallery (London), the Freer/Sackler Gallery at the Smithsonian Institute (Washington DC) and the Art Gallery of New South Wales (Sydney, Australia). She has been published by leading British book publishers Phaidon, Thames and Hudson and Dorling Kindersley. She has also contributed work to magazines like Abitare (Italy) Tatler, Conde Nast (UK) Wallpaper, The Wall street journal and Harvard Design magazine as well as many Indian magazines. Her solo photographic books document the history of the architecture of Banaras, Palaces of the Deccan, the recent excavations of Hampi, the capital of the Vijaynagar Empire and a four-month journey along the course of the river Kaveri. She currently lives and works in Bangalore, India.

Samit Das

Born in 1970 in Jamshedpur, Samit Das began his formal artistic training at Kala Bhavan, Santiniketan in 1994, where he continued on to his Masters degree two years later. In 2000, he participated in the Associate Student Post Graduate Program at the Camberwell College of Art, London. Das has also been the recipient of the BRIC scholarship which led to him spending some time in Italy in 2011.
Samit Das is deeply fascinated with documentation and the archive. Das' love for the archive and his Santiniketan roots culminated in a documentation project at the Tagore Museum in Kolkata between 1999 and 2001. He went on to work on another project in the form of an exhibition titled “The Idea of Space and Rabindranath Tagore” that was exhibited in various spaces including Lalit Kala Academy (New Delhi),  India International Centre (New Delhi) , Victoria Memorial Hall (Kolkata) and Freies Museum (Berlin). He has exhibited extensively in India and abroad while also participating in projects such as the art installation project at the international airport in Mumbai which was curated by Rajiv Sethi. Samit Das lives and works in New Delhi.

Soghra Khurasani

Soghra Khurasani (b.1983) got her Post Graduate Degree in Print Making (with Distinction) from M.S. University of Baroda, 2010 and Undergraduate Degree in Painting from Andhra University, Vishakhapatnam, 2008. Her solo shows include, SKIN, Gitler & ______, New York (2018); Cratered Fiction, curated by Sumesh Sharma, TARQ, Mumbai (2015); To Speak for the Mute, Gitler & _____, New York (2015); Reclaiming Voices, curated by Noman Ammouri, Kalakriti Art Gallery, Hyderabad (2014); and One day it will come out, curated by Sumesh Sharma and Hena Kapadia, TARQ, Mumbai (2014). She has participated in several group shows, some of which include The Print: Matter in Matrix, curated by Satyajit Dave, in association with Latitude 28, at Shridharani Gallery, Delhi (2020);  Body, curated by Johny ML, Shanghumugham Art Museum, Kerela (2019); India Art Fair, represented by TARQ, Mumbai (2018 & 2019); Memento Mori, TARQ, Mumbai (2015); VadFest, ‘Back to College’, Vadodara International Art & Cultural Festival (2015); Series: A construal of mourning and rage, woman artist show, Emami Chisel Art, Kolkata (2014); and Visual Evidence, Clark House Initiative, Mumbai (2013). She participated in Beisinghoff Printmaking Residency, Womens Studio Workshop, Germany (2018). Her other residency and camp participation includes Khoj Kooshk Residency Exchange Program in Tehran and Delhi (2016); Lalit Kala Print making camp, Baroda (2012) and National Print Making Camp by the Directorate of Art and Culture, Sanskruti Bhavan, Goa (2015).She is the recipient of 56th National Academy Award at Lalit Kala Akademi, Rabindra Bhavan New Delhi, 2015 and Kala Sakshi Memorial Trust Award, New Delhi, 2009. She lives and works in Baroda, Gujarat.

Saju Kunhan

Saju Kunhan (b. 1983) began his artistic training in his home state of Kerala, at the Government College of Fine Art, Thrissur. After receiving his BFA degree, he went on to pursue his MFA in painting from the Sir J.J. School of Art, Mumbai. In 2014, Kunhan received a Post-Graduate Diploma degree in Museology and Conservation from CSMVS Museum, Mumbai. Kunhan had his first solo exhibition, "Stained Geographies" at TARQ, Mumbai in 2017. He has been a part of exhibitions all across the country. Some of his recent exhibitions of note are - "Traversing Histories", two person show curated by Jitha Karthikeyan at Artimis Cars, Chennai (2019); India Art Fair, represented by TARQ, Mumbai (2019); "Mapping Frontiers", group show curated by Lina Vincent Sunish as part of the Krishnakriti Festival, Hyderabad (2018); "Mattancherry", curated by Riyas Komu at URU Art Harbour, Kochi (2017); "Young Subcontinent", curated by Riyas Komu at the Serendipity Arts Festival, Goa (2016); “Scape & Scope”, anniversary group show of TAO Art Gallery at Jahangir Art Gallery, Mumbai (2016); “Liminal Affinities”, the inaugural exhibition at Nine Fish Art Gallery, Mumbai (2015); “The Deep Inside”, two man show at Kalakriti Art Gallery, Hyderabad (2015) and “Memento Mori”, a group show at TARQ, Mumbai (2015). He currently lives and works in Mumbai.

Tanmoy Samanta

Tanmoy Samanta (b. 1973) began his artistic journey at the Kala Bhavan in Santiniketan, West Bengal, followed by training at the Kanoria Arts Centre, Ahmedabad. His career has seen a number of solo exhibitions including three with the New Delhi based Gallery Espace and one at Anant Art Gallery, Kolkata. Samanta’s show at TARQ in 2014, titled The Shadow Trapper’s Almanac, curated by Ranjit Hoskote, marked his first solo exhibition in Mumbai. Portraits in Time is his second solo show with TARQ in 2017. Over the years, Samanta has been a part of group shows across India and abroad. Recently, he was part of a group exhibition, Known Unknown, organized by the Raza Foundation, in collaboration with Vadhera Art Gallery, 2020. Besides finding a presence in numerous art fairs such as Art Dubai, Dhaka Art Summit, Art Chennai and India Art Fair, his works are a part of several prestigious public art projects such as the installation at the Hyatt Regency, Delhi (2016), a site specific collaborative project at IIM Ahmedabad (2016), T-2 Liminus, Mumbai International Airport (2013) and Bee-Hive at the Hyatt Regency, Chennai (2011) – both curated by Rajiv Sethi. In 2002, Samanta artistic practice was recognized and celebrated with an award from the Pollock-Krasner Foundation, New York, USA. He lives and works in New Delhi.

Vishwa Shroff

Vishwa Shroff’s artistic practise is firmly rooted in drawing, with a proclivity towards architectural forms that serve as compelling take-off points for a deeper contemplation on memory and our relationship with the material world. Her works seek to explore the narratives of lived experiences that lay embedded within surfaces. Mundane accidents and absent-minded aberrations – a missing tile in a floor for example – simultaneously become signifiers of the presence of absence and the potential of a future presence. Through her sensitive observation, Shroff chronicles the banal to unravel the sublime within it. The sharp lines and the intense detailing underscore her meticulous approach to her medium of choice. While Shroff often includes watercolour (and more recently, gold leaf) in her drawings, the precision of the drawn line forms the definitive aspect of her oeuvre. Shroff’s works are born within the space of her sketchbook. The initial sketches metamorphose into detailed works that are the product of observation and interpretation. The drawings within the modest space of the sketchbook are sometimes substantially enlarged to the scale of installations, as seen in her “Corridors” series. The format of the book, however, remains close to Shroff. She has worked extensively with this format in the past and continues to use it as the base for the initial framework. Shroff’s love for architecture and the stories that are folded within it is apparent in her “Party Wall” series that form something of a cornerstone in her practice. Her work on the “Party Wall” (shorthand for partisan walls that lie concealed between two buildings) began in 2015 while she was in London and has since, developed into the ‘Tokyo series’ and most recently, the ‘Interim Party Wall’ series inspired by her travels in Ho Chi Minh, London, Vadodara and Rome. The  Party Walls were presented along with two other series – ‘Transitions’ and ‘Guards at the Taj’, at TARQ’s debut participation at Art Basel Hong Kong 2018. The ‘Transitions’ series is a continuation of Shroff’s observation of floors in spaces of historical significance. These jewel-like works, created using watercolour and ink on paper, evoke the patient precision of a miniaturist's hand. For Shroff, the discreet, unusual disjoints are the repositories of many collective and individual histories. The ‘Guards at the Taj’ on the other hand, started out as a project to create a set for a play of the same title. It has extended beyond its initial purpose to mark an interesting aesthetic development as she moves away  from her definitive stark, Japanese-inspired aesthetic to a more animated and whimsical style. Speaking about her relationship with drawing, Shroff says – “With drawings placed firmly at the centre of my practice, I experiment with drawing techniques, bringing attention to exaggerated marks, break points and the richness of line itself...(her works) aspire to become perimeters within which momentary recollections and personal musings are sustained.” Shroff started her artist training at The Faculty of Fine Arts, MSU, Baroda in 1998 after which, she continued on to the Birmingham Institute of Art and Design (UK) in 2003. She has had seven solo exhibitions in India, the UK and USA as well as several group shows. She has also participated in several artist residencies, namely at the Swiss Cottage Gallery in Camden, London in 2017. Her work was a part of TARQ’s presentation at the India Art Fair 2017 and Art Basel Hong Kong 2018. Recently, she had her second solo exhibition, Folly Measures at TARQ, Mumbai in January, 2020. Shroff currently lives and works between Mumbai and Tokyo.

Suruchi Choksi 

is a self-taught artist. Having grown up in Kolkata and working presently out of Mumbai, her works grapples with the issues of space, limits, absence and elsewhere. Her work is abstract, and by contesting the division between the realms of memory and the realm of experience she makes works that are intensely personal.

Payal Kapadia 

is a filmmaker and artist from Mumbai, India. Her work includes documentary, experimental film, and animation. Her current works are concerned with nature and the memory of a human-nature relationship by examining texts such as the Upanishads, as well as myths and folktales from across the country.

Zishaan Akbar Latif 

Zishaan Akbar Latif is a Mumbai based photographer and videographer. He has photographed for several non-profit organizations in India and describes his style as intuitive, passionate, and personal. His work has been featured in both commercial and non-commercial collections, exhibitions and publications worldwide.

Katsushi Goto

work explores the spatial and narrative possibilities of fragmented, transitional thoughts and the transferring attentions with which objects are perceived. The practices of artist, Vishwa Shroff and urbanist and architect Goto, find their place in the four artist books that they have collaborated on in the past. 


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