Rosalyn (she/her) is an author, art critic, columnist, researcher, lecturer and editor. She is an Ocean Fellowship 2021 Mentor, and was an evaluator for the Andy Warhol Foundation Arts Writers Grant 2020. She is a recipient of the India Foundation for the Arts research grant (2019-2020) which has been supporting her writing based on her visits to South Asian artists' studios, the subject of her forthcoming book for Oxford University Press. She writes a weekly feminist column for mid-day and is a regular contributor to OPEN.
by Rosalyn D`Mello Sep 16, 2022
Cecilia Alemani’s main exhibition gathers together lost, stolen, forgotten, marginalised, maternal, non-canonised female, queer, non-binary, and indigenous artistic subjectivities.
by Rosalyn D`Mello Aug 26, 2022
Absentee bodies are among the complex subjects on display as part of the work (Non)-Places at Graben, Vienna, that critiques the rifts between the haves and the have-nots.
by Rosalyn D`Mello May 31, 2022
Hylozoic/Desires’ new artwork features the Arctic Tern as its winged protagonist.
by Rosalyn D`Mello May 16, 2022
The discovery of a votive uterus in a museum prompts an enquiry about the organ as a potential site of lost female subjectivity.
by Rosalyn D`Mello Apr 25, 2022
Indian scriptwriter Aastha Tiku’s film, Sherni, shares ideological resonances with a work-in-progress by a South Tyrolean museologist and researcher duo.
by Rosalyn D`Mello Mar 11, 2022
Mother-artists are visualising the heretofore invisibilised corporeal and emotional fatigue of care-giving through diverse materials rooted in embodied subjectivity.
by Rosalyn D`Mello Feb 05, 2022
The late artist Martha Murphy’s culinary labour of love celebrates the housewifely and the matrilineal.
by Rosalyn D`Mello Jan 08, 2022
The visual, performing, and literary arts offer the most room for unspoken, intergenerational, gestural forms of citational practice within the feminist domestic.
by Rosalyn D`Mello Dec 10, 2021
A recent visit to two Austrian museums threw up critical questions about display strategies and lack of transparency about provenance.
by Rosalyn D`Mello Nov 06, 2021
A recent exhibition at Kunsthalle Wien uses radical curatorial hospitality to dismantle Western supremacist frames of visioning the world.
by Rosalyn D`Mello Oct 01, 2021
Steirischer Herbst 2021 invests in spectacle, but skips opportunities for radical inclusiveness.
by Rosalyn D`Mello Sep 03, 2021
Various artists using different media are invested in the same question: can our collective salvation lie in surrendering our fallible human agency and allowing, instead, for awe?
by Rosalyn D`Mello Aug 21, 2021
How can feminist art historians unearth, excavate, reconsider and recontextualise the non-canonised, quasi-mystical practices of female and other-than-human artists.
by Rosalyn D`Mello Aug 04, 2021
The least visited country in Europe serves as the setting for the latest edition of the nomadic Mediterranean biennale.
by Rosalyn D`Mello Jul 14, 2021
Taloi Havini’s recently unveiled site-specific installation at Ocean Space, Venice, locates the visitor within a complex ontological framework of indigenous place-thought.
by Rosalyn D`Mello Jul 01, 2021
In part two of the series, despite the crowded displays and the repetitious Manthropocene discourse at the VAB 2021, the writer experienced instances of elevated calm and pleasure.
by Rosalyn D`Mello Jun 23, 2021
Venice Architecture Biennale 2021 sidesteps from framing more damning questions even as it offers moments of poignant reflection, explores the author in the Part 1 of two-part series.
by Rosalyn D`Mello Jun 11, 2021
A recent addition to my library, Simon Browne’s index cards straddle the line between thesis, artwork, and object.
by Rosalyn D`Mello May 20, 2021
A show in Graz, Austria, provokes reflections on diverse urban, subjective experiences of time.
by Rosalyn D`Mello May 03, 2021
How do artists cope with strangulating environments that insidiously erase their right to express their subjectivities?
by Rosalyn D`Mello Aug 10, 2020
What happens when the production or consumption of food lies in the centerpiece of an artwork or performance? Can an artistic focus on feeding lead to a more inclusive society?
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