The notion of binding and unbinding of fragments continued in Kavita Singh’s exploration of Muraqqa: Artists Books in the Mughal Period. While Singh took the Ensemble back in time to the Muraqqa’s heyday of the 16th and 17th Centuries, there were plenty of analogies between these albums created for the Mughal courts and the more familiar album or collage formats. The binding together of disparate ideas rather than an easily comprehended singular narrative, the archive of memory grown through the additions provided by calligraphers, illuminators and commentators, and the unbinding and decontextualisation in the service of the secondary art market, undercut notions of authorship, legitimacy and prescribed meaning.
"TAKE precipitated a longtime dream to connect the stories and knowledge of artists, art historians, critics, curators, gallerists and administrators, without distinction, while evolving a language for art writing that could establish camaraderie between these various wheels that propel the arts forward. It eventually took form and took off into the art world’s orbit in 2009 with the mission to infuse conversation and discourse on the arts into the phantasmagoric shell that the boom had turned art into. TAKE was committed to being a platform for its readers and writers—far apart as they might be physically—to come together in the simultaneity of its pages. I wanted the journal to not just be the end result of the efforts of its contributors, but also be the friend and the mentor that I had sought while starting out—a witness and participant to coffee table discussions, tea stall banter and the wine and cheese of the white cube—in the formal, more accessible mode of a publication."
- Excerpt from the editorial by Bhavna Kakar