Khurana Chapter 2

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S.R.: What do you conceive as your favorite practice in the history of art, if there is one?

S.K.: That's a bit difficult to define. I think all those moments where things got completely disturbed and moved to the next. Those moments are of great value. In that way for me there is perhaps a larger degree of interest in the feminist art practice, because I think it was also then addressing a lot of larger issues, even as stemmed in America also maybe, because you can always look at that as an example. A lot of what was happening in the 90s was very interesting.

S.R.: (??)

S.K.: Can you ask the question again?

S.R.: (??) your favorite practice in the history of art?

S.K.: Okay, I'll answer it in a different way now. It keeps changing, but if I have to say what I have been loyal to in my affection more consistently, then I think it is the moment where the flux happens, the moment of flux within changes in art practice, where things are radicalized or movements are discarded and others are adopted. And within this, I think, the feminist art practice is something which draws my attention perhaps to a slightly larger degree because that becomes the point from where I can start to understand identify other things.


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