Zasha Colah co-founded the research collaborative blackrice in Tuensang, Nagaland (2007). She worked as a curator of modern Indian art at the CSMVS Museum in Mumbai (2009-2011). She co-founded the curatorial collaborative, union of artists, and art space Clark House Initiative, Mumbai (under which she curated projects collaboratively with Sumesh Sharma from 2010-2015). Her art writing and curatorial research turn around contemporary art in Indo-Burma since the late 80s. Her latest essays on this region have been included in ‘Interlaced Journeys: Diaspora and the Contemporary in Southeast Asian Art‘ (eds. Patrick D Flores and Loredana Pazzini-Paracciani, Osage Art Foundation, 2020) and in ‘Art & Ecology‘ (eds. Ravi Agarwal and Latika Gupta, Marg, 2020). Her writing on the curatorial has been included in ‘The New Curator‘ (ed. Natasha Hoare et al., Laurence King, 2016); in ‘The Curatorial Conundrum‘ (ed. Paul O’Neill et al., MIT Press, 2016); ‘Curating Under Pressure‘ (ed. Elke aus dem Moore, OnCurating journal 38, 2018). She curated ‘body luggage’, (Kunsthaus and steirischer herbst, Graz, 2016); ‘I love you Sugar Kane’ (ICIAO, Mauritius, 2016). She co-curated with Luca Cerizza ‘Prabhakar Pachpute’ (National Gallery of Modern Art, Mumbai, 2016), and the third Pune Biennale ‘Habit-co-habit. Artistic Simulations of Some Everyday Spaces’ (2017). She was part of the curatorial team under Marco Scotini of the second Yinchuan Biennale, ‘Starting from the Desert. Ecologies on the Edge’ (2018). She is co-curator with Marianne Zamecznik of a year-long public art commission for Deichmanske bibliotek, National Public Library, Oslo. She teaches comparative curatorial theory in the Master of Visual Arts & Curatorial Studies department, Nuova Accademia di Belle Arti, Milan (since 2018).
Last updated: November 2020