Balamohan Shingade

2025

• An Image for the Signares
  

• Collaborative Efforts in Recent Performances and Participatory Artworks
• Introduction to Big Sea, Small Waves by Guy Howard-Smith

2024

• Led Astray from a Cultural Inheritence
  
• Of Demons and Dissent
  
• Life, Abiding and Transpiring: Fibrous Soul at the Govett-Brewster
  
• Three Types of Timepass
  
• Propping Up Pride: The Intervention of Hindutva in the Indian Diaspora’s Negotiations of Belonging in Aotearoa/New Zealand
  
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• Profile on Satellites
• Logo for Spoor Books
  
• Two Buffaloes and the Moon
  

2023

• Thinking Out Loud
  
• Singing with Practical Intent
  
• Past the Tower, Under the Tree
  
• Correspondance Game, 2022–23, Caro-Kann, Advance Variation [B12]
  

2022

• Hermeneutical Injustice in the Context of Settler Colonialism
  
• First findings from conversations with Asian New Zealand musicians
  
• Thinly-Veiled Threats: A Response to The Indian News
  
• Tabula Rasa (Variations I – IV)
  
• Raga Puriya Dhanashree
• “Elsewhere and nowhere else” and “The house is full”
  

• Asian in Aotearoa
  
• The Songwriter’s Diary
  
• Morning Glory with Tuva’a Clifton (95bFM)
  
• Where the Mind is Without Fear
  
• Massey research paper on Hindutva leads to trolling, persecution and threats
  

2021 

• On TK Returning to Rotorua
  
• Raga Bilaskhani Todi
  

2020

• Gulabi
  
• May Fair
  
• CARE Artist-in-Residence
• Notes for a Future Press
  
• Julia Morison: Contours of Perception
  

2019

• How to Live Together
  
• St Paul St Curatorial Symposium: It’s as if we were made for each other
  
• 4th Kochi-Muziris Biennale, “Possibilities for a Non-Alienated Life”
  
• The Emergency
  

2018

• A Letter from Bombay, or Mumbai: On the Troubles of Renaming as a Decolonial Act
  
• Foreign Returned: Between expatriate and repatriate in Mumbai
  
• Returning to the Megalopolis
  
• Bruce Barber: I Swear
  
• Reincarnation of From Scratch
  
• Distant Relatives: Other Migration Narratives
  

2017

• Attending to the Other in Us
  
• Observing Rituals with Kushana Bush
  Bill Hammond’s Walter’s Shag Pile 2
  
• A Plastic Ruin in a Chroma-Green Landscape
  
• Ivan Mršić: Kakokarangaphonia Orchestra
  
• Jon Tootill
  
• Séraphine Pick: Fantastic Reality
  

2016

• Community, Community Art, Community Art in Howick
• Kinetic Rituals
  
• Shannon Novak: Listening Forms
  
• Soft Architecture
  
• A Strange Swirl of Art and Capital
  
• Repositioning the Centre: Bepen Bhana’s Frankie Goes to Bollywood
  
• Shannon Novak: Listening Forms
  

2015

• The Adda Community
• Joyce Campbell: Hide
  
• Shruti Yatri: From the Flatlands of Agra to Lake Waikaremoana
• The Story of Rama at Auckland Art Gallery Toi o Tāmaki
  

2014

• The Churning of Oppositions and Extremes in the Mythology of Śiva
  

2013

• Room Yātrā in Expanded Map
  
• Tawny Boar of the Sky
  
• Things do not know whether they exist or not
  

2012

• Thirty-Six Views of Mount Taranaki
  
• Theoroi
  
• Both Worlds
  
• Eyers that watched eyes that watched eyes
  

2010