Rozemin Keshvani is a Curator, Writer and Critic based in London.
Originally from Victoria, Canada, Keshvani a curator based in London with a deep interest in the meaning, politics and multiplicities of history and the slippages between multiple narratives. Her practice is critically engaged, excavating undiscovered contemporary histories and establishing alternate and aporetic narratives through discursive means-- probing the archive, critical writing, interview and encouraging dialogic situations. She is concerned with activating archives and oral histories, conflict and memory and seeks to facilitate resistant knowledge production structures and lay the groundwork for alternate epistemologies and heteroptopias.
She is a specialist in practices from the 1960s onwards with a focus on time-based art, particularly in the emerging areas of digital technology and new media.
She has worked with Zamana Space, Flat Time House and LG, London as well as ZKM Center for Art and Media in Karlsruhe and Trondheim kunstmuseum in Norway. She has a Masters in Art History, Modern and Contemporary Art, as well as a law degree from the University of Toronto and First Class Honours BA in Philosophy from the University of Victoria, where she was also active in student politics and served as President of the Students' Society for two terms. She has organised several events with pioneering theorists, including Helen Caldicott, Noam Chomsky and Ralph Nader.
Her recent book 'Better Books Better Bookz - Art Anarchy Apostasy , Counter-culture and the New Avant-Garde' is the first to examine the poetry bookshop Better Books, the hot spot of London’s 1960s counter-culture scene. Combining previously unpublished texts, documents, and photographs with the voices of the protagonists who authored this revolution, the book features work from Bob Cobbing, Barry Miles, Gustav Metzger, Jeff Nuttall, Graham Keen, John Hopkins, Annea Lockwood, Jeffrey Shaw and John Latham.
Keshvani is currently working on a study of the radical pedagogic experiment pioneered at St Martin's School of Art in 1969, known as the 'A' Course, to be published by MIT Press later this year.