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Raj Kahlon





lebt und arbeitet in Oakland, California.

Ausbildung
2001 Whitney Independent Study Program
1999 M.F.A., California College of the Arts
1998 Skowhegan School of Painting and Sculpture
1996 University of California, Davis

Einzelausstellungen

2009
Did You Kiss the Dead Body?,
Catalyst Project Room, Berlin

2006
Vermessenes Fesseln: Medizin und Sadismus unter der Lupe, Arttransponder, Berlin,

2005
Unbound, P.P.O.W., New York, NY
India Unbound, Provisions Library, Washington D.C.

2004
Executions,
Jamaica Center Workspace Artist, Jamaica Center for Arts, Jamaica, NY
Imports and Exports, Ratio 3 Gallery, San Francisco, CA
An Indian Fable, Kathleen Cullen Fine Art, New York, NY

Gruppenausstellungen

2010
Anxieties of the Periphery, Koch, India, curated by Oindrilla Maity
An American Orifice, Arttransponder, BerlinDark Matter, Corridor Gallery, NYC, curated by Manuel Acevedo

2009
Augmented Flaws, Kunstagenten Gallery, Berlin, curated by Shaheen Merali
Oscillograms, 2B Gallery sponsored by Goethe Institute, Budapest
Wonder what the Other is up to?, Gallery OED, Kochi, India, curated by M. Thirukode

2008
Shifted focus, Kearney Street Workshop, San Francisco, curated by Ellen Oh
EAF Exhibition, Socrates Sculpture Park, New York (catalogue)
Salad Days III, Artists’ Space, New York, curated by Christopher Lew
Ethnographies of the Future, Rotunda Gallery, New York, curated by Sara Reisman
Exploded Lotus, Hollywood Center for Contemporary Art, Hollywood, FL, curated by
Jaishri Abichandani

2007
Artists of Invention, Oakland Museum, California, curated by Philip Linhares
The Big Picture, Nathan Cummings Foundation, New York, organized by Provisions
Sultana’s Dream, Exit Art, New York, organized by SAWCC
Sufferation, thirtyninehotel, Honolulu, Hawaii, curated by Trisha Lagaso Goldberg

2006
Tropicalisms: Subversions of Paradise, Jersey City Museum, Newark, New Jersey, curated by Rocio Aranda
Anti-Handshake: Contemporary Work, Untimely Gestures, Thirtyninehotel, Honolulu, curated by Trisha Lagaso Goldberg

2005
Poles Apart Poles Together, Venice, curated by Juan Puntes
Post -Production Dialogue, Arttransponder, Berlin
Fatal Love: South Asian American Art Now, Queens Museum of Art, Queens, NY

2004
Art on Paper, Weatherspoon Art Museum, University of North Carolina, Durham, NC, curated by Ron Platt
Bush-Whack! George Adams Gallery, New York, NY, curated by Kelly Linder
The Book as Object and Performance, Gigantic Art Space, New York, NY,
curated by Sara Reisman

2003
BQE, White Box Gallery, New York, NY, curated by Raoul Zamudio and Heng-Gil Han
Reality/Fiction, Jamaica Center, NY, curated by Heng-Gil Han
637 Running Feet: Black on White Wall Drawings, QMA, NY AIM 22, Bronx Museum of the Arts, Bronx, NY
Unjustified, Apex Art, New York, NY

Presse / Bibliographie

Catalogue contribution, Critical Whiteness lecture Series, NGBK and Metanationale,
forthcoming Manmadhan, Prema. “Caught Between Two Cultures.” The Hindu
(April 2, 2009)
Surekha, K., “A Question of Identity.” Express Buzz (April 25, 2009)
Tannenbaum, Joel. “Pair Hack, Reassemble Colonial Legacy.” The Honolulu Advertiser. (Sunday, August 5, 2006): D5
Cotter, Holland. “Book as Object and Performance.” New York Times. (January 13, 2005)
Poor, Kristin. “Deconstruction Time: Rajkamal Kahlon’s DIY Chic.” Art Asia Pacific. (February
2005): 96
Micchelli, Thomas. “Book as Object and Performance.” Brooklyn Rail. (February 2005)
McQuaid, Cate. “Energetic Fellows.” The Boston Globe. (February 11, 2005): D18
Bing, Allison. “Rajkamal Kahlon: Imports and Exports.” SFGate. Art in Review (June 2004)
Queens Courier: “Executing the Cultural Narrative.” (March 25, 2004): 8
Joiner, Brian. “Deconstructing Orientalism: Kahlon’s ‘Executions’ at JCAL.”
Queen’s Chronicle (January 29, 2004): 36
Datta, Jyotirmoy. “Kahlon Shows Year’s Work Created During JCAL Residency”
DesiTalk. (March 26, 2004): online review
McGowen, Carl. “Turning Walls Into Art At Queens Museum.” Newsday NYC. (January 12, 2003): 37
The New Yorker: “Bronx Museum of the Arts” (September 16, 2002): 16
Cotter, Holland. “Mango” The New York Times. (July 19, 2002): 26
Cotter, Holland. “A.I.M. 22.” The New York Times. (September 13, 2002):18
(January 12, 2003): 37
News India: “637 Running Feet: Black On White Wall Drawings By 14 Artists” (December 27,
2002): 24
News India: “637 Running Feet: Black On White Wall Drawings By 14 Artists”
(December 27, 2002): 24
Yablonski, Linda. “Unjustified.” Time Out. Issue No. 333 (February 14-21, 2002):61
Everything Magazine: “People and Places Here and There: Stories of India
Project.” Issue No. 3.4 (June 2002): 100-103

Stipendien

2008 Socrates Sculpture Park, Emerging Artist Fellowship
2006 Joan Mitchell Painting & Sculpture Award
2007 Lambent Fellowship in the Arts

Residencies

2007
AIR, IHC, UC Santa Barbara, CA
AIR, Blue Mountain Center, NY
Artist in Residence, Interdisciplinary Humanities Center, UC Santa Barbara
Residency involving a series of on-campus lectures, critiques with graduate
students in the Art Department and Film & Media Studies and the digitization of
Cassell’s Illustrated History of India Project

2006
AIR, Arttransponder, Berlin

2005
John Michael Kohler Art Center Residency, WI

2004
Fine Arts Work Center, MA

2003
Jamaica Center Workspace Grant, NY

1998
Skowhegan School of Painting and Sculpture Grant, ME

Vorträge

2010
Lecture, Visual and Critical Studies, CCA

2009
Lecture, Bauhaus University, Weimar, Germany
Painting and Performing the Racial Grotesque, NGBK and Metanationale

2008
Painting and Performing the Racial Grotesque, CCA Graduate Lecture Series

2007
NAMAC, Next Generation Artists, Panel: Theresa Riley, Wendy Levy, Jazmin Jones
Spring Art Colloquia, University of California, Santa Barbara
Interdisciplinary Humanities Center, University of California, Santa Barbara

2006
Rajkamal Kahlon, Catalyst, Berlin, Germany

2005
India Unbound Symposium, Provisions Library, Participants: Debra Diamond,
Smithsonian and Fred Bohrer, Hood College

2004
Jamaica Center for Arts and Learning, Jamaica, NY, Artist Talk, Moderator: Joyce
Kozloff

2002
Talwar Gallery, Artist Panel, NY, Artists: Jaishri Abichandani, Chitra Ganesh, Mariam
Ghani

2002 American Museum of Natural History, In Between The Lines: Reference and Context in Contemporary Art, New York, NY, Artists: Paul Pfeiffer, Ayreen Anastas, Lana Lin, Moderated by Moukhtar Kokache

Lehre

2010
Senior Lecturer, University of California, Berkeley
Adjunct Senior Lecturer in the departments of Painting and Drawing.
Course: Art 102, an advanced upper division undergraduate painting course.
Senior Lecturer, California College of Art, Adjunct Senior Lecturer in the departments of Painting and Drawing and Visual and Critical
Studies. Courses: Painting 1 in Painting and Drawing Department and Points of Penetration:
The Grotesque Body and Humor in Contemporary Art, in Visual and Critical Studies, an interdisciplinary seminar on strategies of humor, alterity and power through the use of the grotesque body in artistic strategies.

2009
Senior Lecturer, San Francisco Art Institute and California College of Art
Adjunct Senior Lecturer in the departments of Graduate Fine Arts and Exhibitions and Museum Studies Departments; Courses: You Said It Wouldn’t Hurt: Perspectives on the Body and Trauma in Contemporary Art, an interdisciplinary graduate seminar in the department of Graduate Fine Arts at CCA that explores contemporary artistic strategies in relation to theories of phenomenology, perception, memory, social and historical trauma and constructions of the body.
The Contingency of Culture: Art, Politics and Possibility in Exhibition and Museum Studies at SFAI, designed as a foundation graduate course on the history and legacy of museums and exhibitions framed within the overlapping spheres of Imperialism, Modernity and Globalization.

2008
Senior Lecturer, California College of Art,
Semester-long visiting artist position in the departments of Painting and Drawing and Graduate
Fine Arts; Courses: Painting 2, a lower division intermediate painting course that was designed thematically around the idea of the representation and centrality of the body in painting with an emphasis on material process; Senior Projects, an upper division course for seniors preparing them for exiting the institution with an emphasis on studio critiques and graduate school preparation; Points of Penetration: The Grotesque Body and Humor in Contemporary Art in the
Graduate Fine Arts Department, taught as a lecture and studio based seminar.

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