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TAKE Studio Contrary to the white cube, the artist’s studio is where the art object is vulnerable, not sacrosanct. It is touched, moulded, destroyed, built, lived and not merely displayed, subject to sanctioned iconoclasm and vandalism. The studio houses not-so- sublime back-stories of painstaking labour, paint-smeared overalls and the odd worn out desktop running on Windows XP. It is an incubation space: for ideas – tangible or intangible, art – material or immaterial, commodities – sellable or impending dismantlement. It is often treated as the assembly line for artworks. Then there are the apparent paradoxes that remind us that the studio and its constituents too have their aura, not just charm. It is the temple for the process, and the process is no less. The process too is art. Francis Bacon’s studio was meticulously recreated and displayed, down to the last speck of dust at the Hugh Lane Gallery, for permanent display. Rabindranath Tagore’s pocket book with doodles and notes, a prototype for the idea of the mobile studio, was recently auctioned for Rs. 20,625,000 by Christie’s in India. In guises varying from computer desktops to massive industrial spaces, studios escape essentialised definitions. This issue of TAKE tours this expanse of implications to map and question the conceptual and physical domain of the studio. - Excerpt from the Editor's Note, Bhavna Kakar With contributions from Amrita Varma, Andrea Fernandes, Anushka Rajendran, Bharti Lalwani, Bhavna Kakar, Dayanita Singh, Deepanjana D. Klein, Diana Campbell Betancourt, Dr. Alka Pande, Dr. Seema Bawa, Georgina Maddox, Gopika Nath, Ina Puri, Juliana Driever, Manisha Gera Baswani, Meera Menezes, Mustafa Zaman, Nikhil Raunak, Oindrilla Maity Surai, Pooja Iranna, Raqs Media Collective, Samit Das, Shivani Chandra, Shubhalakshmi Shukla, Suresh Jayaram, The Phantom Lady and Waswo X. Waswo.

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