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Fragment from Splitting, 1993

Mirror, Terracotta, Gheru, and Brick  32″ x 41″ x 10″

Fragment from Splitting, 1993

Mirror, Terracotta, Gheru, and Brick  32″ x 41″ x 10″

Unhinged by events of 1992-93, Rummana embarked on a courageous pursuit to excavate the marginalization of the other, their means and sustenance. Empowered by powerlessness, Rummana, rather than extract herself from the challenging questioning of self that followed, merged both ideologically and physically, her body and her work. On view are the first markers of that journey, which was to become more intricate and Rummana more fortified in response, as the urgency within society merged with the urgency by nature within her own body.

The fragments of a broken pot or a tomb, speak of loss, of silence; laid bare on mirrors to reflect on its post mortem. The female body, awakening of a womb, the cycle of life, distortion that is the media hyperbole. All these are at play and at work in the consciousness of Rummana. Now, over 25 years after they were first created by the artist they still resonate with renewed vigor, except what were local origins at the time are now pervasive around the globe, abundant in echoes of intolerance to secularism and self.

Exhibition Views

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Art India
Art India
Rummana Hussain: Look Back in Anger August 2019

Rummana’s works are of particular interest because of the controversial socio-political issues she addresses.

Artforum
Artforum
Rummana Hussain January 2016

In 1995, Rummana Hussain walked through the precincts of the National Centre for the Performing Arts in Mumbai, her mouth wide open in a soundless scream. In a performance titled Living on the Margins...

Artforum
Artforum
Critic's Pick: Rummana Hussain November 2015

One of India’s pioneering performance artists and conceptualists, Rummana Hussain is known for her bold explorations of female subjectivity trapped in discourses of family, religion, nationalism, and welfare.

Art India
Art India
Rummana Hussain July 1999

Art India inaugurates a column by Geeta Kapur, India’s most distinguished art critic, who takes the turn of the century as departure point for questioning existing frameworks for perceiving art.  In her first essay she traces the development of Rummana Hussain over the past six years.