We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands.

🛈 Find out what you need to know before visiting


Woven Chronicle



Reena Saini Kallat


1973 –

Alternate image of Woven Chronicle by Reena Saini Kallat
Alternate image of Woven Chronicle by Reena Saini Kallat
Alternate image of Woven Chronicle by Reena Saini Kallat
Alternate image of Woven Chronicle by Reena Saini Kallat
Alternate image of Woven Chronicle by Reena Saini Kallat
  • Details

    Place where the work was made
    Media categories
    Installation , Time-based art
    Materials used
    circuit boards, speakers, electrical wires and fittings, sound component
    display dimensions variable
    Purchased with funds provided by the Roger Pietri Fund and the Asian Art Collection Benefactors 2018
    Not on display
    Accession number
    © Reena Saini Kallat

    Reproduction requests

    Artist information
    Reena Saini Kallat

    Works in the collection


  • About

    Indian artist Reena Saini Kallat says of 'Woven Chronicle':

    '… I've been thinking of creating a south-up oriented map, and what can be better than to create it for Australia. While south-up oriented world maps have been used as an educational tool to discuss and discard culturally biased perceptions, by altering our understanding through a shift in perspective, they can be traced back to the early 1900s, seen as a political statement reacting to the north-up oriented world maps that have dominated map publication (ref: the Australian, Stuart McArthur's Universal Corrective Map of the World from 1979).'

    'Woven Chronicle' traces migratory movements worldwide, across sovereign nations and politically charged borders. The work presents routes historically taken by peoples including indentured labourers, settlers, contract workers, asylum seekers and refugees, as well as professionals traveling for their work. In spite of the many potential dangers, multitudes of people are constantly moving and intersecting across the globe. The wires Kallat uses to create her images are transmitters of ideas and energy; they symbolise connections. Alongside, the inclusion of barbed wire and fencing materials serves to interrogate inequities in the world and the barriers and obstacles that can prevent freedom. As borders shift, the colours and divisions articulated in Kallat’s 'Woven Chronicle' works also change. Speakers incorporated into the installation parallel the movement of people with the flow and pulse of data. They emit unsettling sounds, from high voltage electric impulses, the boom of deep sea drones, factory sirens, ship horns, communication tones and phone signals, to birds chirping.

    Born in New Delhi in 1973, Kallat is one of India’s most significant contemporary artists. Her works have been exhibited internationally including at the Museum of Modern Art New York (MOMA); Manchester Museum; Mori Art Museum, Tokyo; Vancouver Art Gallery; Saatchi Gallery, London; Goteborgs Konsthall, Sweden; Helsinki City Art Museum, Finland; National Taiwan Museum of Fine Arts; Tel Aviv Museum of Art, Israel; National Museum of Contemporary Art, Seoul; Henie Onstad Kunstsenter, Oslo; Casa Asia, Madrid and Barcelona; ZKM Karlsruhe in Germany; Campbelltown Arts Centre, Sydney; Hangar Bicocca, Milan; Museum of Contemporary Art, Shanghai; IVAM Museum, Spain; Busan MOMA; Kulturhuset, Stockholm; Kunsthaus Langenthal, Switzerland; and the Chicago Cultural Centre. Works of art by Kallat are also held in the collections of the Jindal Group, Mumbai and Vancouver Art Gallery.

  • Places

    Where the work was made


  • Exhibition history

    Shown in 2 exhibitions

  • Bibliography

    Referenced in 1 publication

    • Sarah Couper, LOOK, 'Mapping Connections', Sydney, Nov 2018-Dec 2018, pgs. 36-37. Interview with Reena Kallat