Rozemin Keshvani is a curator, writer and investigative exhibition-maker based in London. Her emphasis is on cross-cultural art practices and critical art histories that challenge accepted narratives and activate archives and oral histories to re-frame our encounter with the past and reset our vision and imaginations for the future. She is interested in contemporary practices that employ documentation, digital technologies and new media to decolonise the archive, re-situate narratives and reconsider established historical truths.
She is currently working on Hope Amid the Ruins, an exhibition that explores East Africa at the crossroads after colonialism through the lens of photographer Guillaume Bonn. Her new book The Locked Room: Four Years that Shook Art Education provides an extensive study of the radical programme of teaching of sculpture at Saint Martin’s School of Art from 1969 to 1973 and will be published by MIT Press in Spring 2020.
Rozemin is co-editor of Better Books: Art Anarchy Apostasy and the author of several works on sculptors including Adam Barker-Mill, Gary Woodley, Gustav Metzger and Werner Schreib. She has worked with Zamana Space, The Ismaili Centre, Flat Time House, Bartha Contemporary and Laure Genillard Gallery in London as well as the ZKM Center for Art and Media in Karlsruhe, Germany and the Trondheim kunstmuseum in Norway. She is also curator for the Pip Benveniste archive.
Rozemin holds post graduate degrees in art history and law as well as an undergraduate degree in philosophy. She is a member of the International Association of Art Critics and is also a practicing solicitor with the Law Society of England and Wales. She traces her origins to India and Africa. Her mother is from Tanzania and her father from Gujarat. She is based in London and has lived in Nigeria, India and Canada.