[{"data":1,"prerenderedAt":191},["ShallowReactive",2],{"article:what-is-left-unsaid-jagdeep-raina-at-libby-leshgold-gallery":3,"page:48":118,"page:321":154},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":13,"wordCount":15,"isBlack":16,"image":17,"contributors":24,"contentHtml":29,"finalContentHtml":30,"creditsHtml":22,"pdfUrl":31,"vimeo":31,"contributorBios":32,"seo":37},1436,"what-is-left-unsaid-jagdeep-raina-at-libby-leshgold-gallery","What is left unsaid? \u002F\u002F Jagdeep Raina at Libby Leshgold Gallery","\u003Cp>Simranpreet Anand reviews Jagdeep Raina’s exhibtion \u003Cem>everything left unsaid\u003C\u002Fem> at Libby Leshgold Gallery.\u003C\u002Fp>\n","2023-02-23T08:51:51",2023,"Feb 2023",[12],9,[14],"Review",1235,false,{"src":18,"srcset":19,"width":20,"height":21,"alt":22,"lqip":23},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-splash.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-splash-768x276.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-splash-1536x553.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-splash.jpg 1920w",1920,691,"","data:image\u002Fwebp;base64,UklGRpgAAABXRUJQVlA4IIwAAABQBACdASogAAwAPu1kqU4ppaOiMAgBMB2JZQC+aDaDgHpyB2gDmz7KJRsAAP75ZdEBN4ehVyF+3PM4EtDw0Ydl2Q4VOmGD2kiP0\u002FtFnTh7I52ZMcCfeBGm5cCqwfBpAtTpXbl5XU2AnEbJ2eA6YIDrH48dezIK4Ggb0688ncVj\u002F0psDqpaBFrNUyNAAA==",[25],{"id":26,"name":27,"slug":28},1086,"Simranpreet Anand","simranpreet-anand","\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRngAAABXRUJQVlA4IGwAAAAwBQCdASogABIAPu1kqE2ppaOiMAgBMB2JZwAAUqveNG6sSnNBU9tPDNZGKWnCo+7PIAD+55NA2v3jDtCAFf48pjG1u2izoPYArYubqq3yCQYHkjwiNrAdpD5Juyvk6bpSk8ARwubiqPSXgAA='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina01.jpg\" alt=\"\" class=\"lqip wp-image-1437\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina01.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina01-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina01-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina01-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption class=\"wp-element-caption\">Installation view of \u003Cem>everything left unsaid\u003C\u002Fem>, at Libby Leshgold Gallery.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Spanning several years of his practice, Jagdeep Raina’s solo exhibition at Libby Leshgold Gallery, \u003Cem>everything left unsaid\u003C\u002Fem>, alludes to untold stories threaded together via works on paper, embroidered tapestries, quilts, and experimental animation. Upon entering the gallery, the large-scale drawing \u003Cem>Teaching us to walk from unlearned truths to unlearned truths part 1\u003C\u002Fem> (2017) is front and centre, mounted on a free-standing wall. In the work, three Kashmiri women stand in their living room; this intergenerational image comes from interviews Raina conducted with the women recounting their experiences of partition. These figures are drawn in an expressive, colourful, and almost frenetic manner that has become known as Raina’s signature style. Following World War II, the British could no longer continue financing their Empire in South Asia, especially amidst a burgeoning independence movement. The British quit India in 1947, drawing arbitrary borders for the newly-formed Republic of India and Dominion of Pakistan and displacing millions in a violent forced migration. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">To the left of \u003Cem>Teaching us to walk…\u003C\u002Fem> are recent large-scale mixed-media drawings on paper from 2022. The works are rendered somewhat crudely in predominantly black and white, achieving a ghostly quality that refers to the loss of this practice through colonial rule. Within these drawings we see the Phulkari\u003Cspan id='easy-footnote-1-1436'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-1436' content='Phulkari is a portmanteau of the words ਫ਼ੁਲ (phul, blossoming) and ਕਾਰੀ (kari, work or artisanship).' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> depicted; a Punjabi practice of weaving coarse cotton cloth and intricately hand embroidering the fabric with silk floss (much of which reached Punjab through Kashmir). These works frame the exhibition; while Punjab and Kashmir have their own distinct histories, stories, and cultures, Raina interweaves the textile-based labour practices in the two regions and how they’ve been transformed under the threat of colonial erasure.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Tucked in the back room of the gallery, \u003Cem>Chand Bagh\u003C\u002Fem>, a stop-motion film by Raina, tells of the colonial plunder of Phulkari. The film depicts the history of Phulkari as trapped in colonial collections and in the orientalist writings of British colonial scholar Flora Annie Steel. Raina pushes against Steel — a self-proclaimed expert on Phulkaris — and her characterization of rural Punjabi women as rustic and “clumsy.”\u003Cspan id='easy-footnote-2-1436'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-2-1436' content='See Flora Annie Steel quoted in Michelle Maskiell, “Phulkaris: The Crafting of Rural Women’s Roles in Sikh Heritage,” in Sikhism and Women: History, Texts, and Experience ed. Doris R. Jakobsh (New Delhi: Oxford University Press, 2010), 134-155.' v-tippy='{ allowHTML: true }'>2\u003C\u002Fsup>\u003C\u002Fspan> In the last frames of the film I encounter footage of myself and my partner holding a \u003Cem>chand bagh \u003C\u002Fem>as the sun sets in the background, shot by Raina when he did an artist residency in our tiny live\u002Fwork studio in Vancouver in June of 2021.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The \u003Cem>chand bagh \u003C\u002Fem>(lit. ‘moon garden’) is a type of Phulkari that would be gifted during an auspicious occasion. This Phulkari is predominantly embroidered in white geometric patterning on a red cloth framed by a golden border. In my own work I’ve thought about the double meaning of white as celebratory in the \u003Cem>chand bagh \u003C\u002Fem>and as the colour of grieving in many South Asian cultures. Encountering this Phulkari in the film brought those feelings to the fore: the erasure of Phulkari through colonial rule, loot of our ancestors’ \u003Cem>baghs, \u003C\u002Fem>and our persistence as artists to reclaim the Phulkari as a form of resistance. \u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRogAAABXRUJQVlA4IHwAAADQBACdASogABIAPu1mrFAppSQisBgIATAdiWcAAI9CZLnj\u002FR1RkkreGa00\u002FJeoAAD+9NGDEFOBbb4tkrLYrCZojKe2Uk2Y\u002FKoatsm1jpxJA2fv9AH8IpaKJfMwJaLN6R+Ja8CNxt6YNFOjyR3eV5hWolZeHh+ELNjUCAAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-02.jpg\" alt=\"\" class=\"lqip wp-image-1438\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-02.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-02-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-02-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-02-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption class=\"wp-element-caption\">\u003Cem>We deserve to live, \u003C\u002Fem>18″ x 9″, embroidered tapestry, 2022.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The colonial history of Kashmir begins in the 1840s after the British tried and failed to conquer Afghanistan. In exchange for his participation in the conquest of the Sikh Kingdom, the British promised Hindu ruler of Jammu, Gulab Singh, full control over Muslim-majority Kashmir. A century later, while the British were arbitrarily dividing the fertile plains of Punjab between India and Pakistan, the Hindu maharaja of Kashmir was given the choice of which country he would join. He chose India. Indian Prime Minister Jawaharlal Nehru then promised the Muslim-majority of Kashmir the option to hold a referendum to decide if they would stay as part of India or join Pakistan. The referendum never happened. In 2019 — 20 years after Pakistan and India risked nuclear war over the disputed Kashmiri region of Kargil — Prime Minister Narendra Modi dispatched troops to Kashmir and revoked the state’s special autonomous status. Raina’s densely hand-embroidered tapestry, \u003Cem>We deserve to live \u003C\u002Fem>(2022) references the militarization of Kashmir depicting a soldier statue in front of a wire fence flanked by two women wearing Kashmiri coats. At the bottom of the dense embroidered scene, a black piece of cloth has two women drawn with white thread held at gunpoint by a skeletal figure. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">In another heavily embroidered tapestry, \u003Cem>Two Rivers \u003C\u002Fem>(2022)\u003Cem>, \u003C\u002Fem>two women hold hands while rowing small boats. One wears a punjabi suit, the other a kashmiri dress, and below is a poem embroidered onto blue quilted fabric. Written by Raina, the poem tells a fraught story of kinship between these two women from either territory. The title presumably refers to the Jhelum and Chenab rivers that flow through Jammu and Kashmir and into Punjab. The material choice of embroidery connects the textile traditions of silken embroidery in Kashmiri shawls and rugs to the Phulkari. Prior to the British raj, Phulkari was made within family units and passed down from one woman to another. During colonial rule, Phulkari gained prestige amongst British elites as what they viewed as a truly authentic craft practice. Due to the subsequent colonial-era textile boom, both indigent Punjabi women and Kashmiri men were employed to embroider Phulkaris for export. Although Raina’s work points towards the broad political connotations of solidarities between Punjabis and Kashmiris, I feel an absence of these class-based nuances.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRsoAAABXRUJQVlA4IL4AAADwBQCdASogABIAPu1mrE+ppaQiMBgIATAdiWwAuzM0OyvAFcs08fBDjxfRIazYd6\u002F\u002FcqiVTfJcAAD+9hOn\u002Ff1KZDZzpcN3Igug5Szc3gEG7zrdoxeaLJ3JjD4IOliVHaPmZcJ+3Cc2zWAWqeImfkqSAietupH1YvRmxiAu\u002FgVYFU+vAp35hZ10VdgBFbTL9f3LR3\u002FKMgSeJ98crRczU4QAfs7Tm7UvwZH+V61GBSkiLkUkLG+QcNDhnIWIgAAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-03.jpg\" alt=\"\" class=\"lqip wp-image-1439\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-03.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-03-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-03-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2023\u002F02\u002Fraina-03-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption class=\"wp-element-caption\">\u003Cem>Hand me your heart\u003C\u002Fem>, mixed media on paper, sewing with bordered fabric, batted, basted, banded into a quilt, 32′ x 39″, 2022.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">To the left of this tapestry, three purple quilted drawings express scenes of Kashmir: two queer men posing on a houseboat, a woman spinning thread, and a Kashmiri shawl. The men stand, one in a Kashmiri coat and the other in a dress, in defiance against prevalent homophobia in the Sikh community. While I celebrate the transgression, it points to the absence of other depictions of Kashmiri men in the exhibition. Many of the Kashmiri men who were embroidering shawls and Phulkaris were from low-class, Muslim backgrounds. These works present compelling imaginaries, yet I wonder about the lost and hidden narratives of our Muslim brothers and sisters in Kashmir. Phulkari and Kashmiri embroidery were expensive and time intensive to produce, and many of the people who wore these textiles were thus of middle and upper class backgrounds. Historically, Punjabi women embroidered Phulkari and Kashmiri men embroidered shawls and rugs. Raina attempts to subvert the binarism and genderedness of these histories. He seamlessly switches back and forth between Punjabiyat and Kashmiri culture and centres women at the heart of these practices.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Raina’s detailed and laborious textile work stitches together histories, cultural affinities, and craft practices of Kashmiri and Punjabi labourers. As Raina tells these stories, he challenges whose histories are held by traditional archives and pushes to enliven decolonial imaginaries that rupture the colonial archive. As he adds stories and narratives to our imagined pasts and futures, I wonder: who is left behind? How can we, as artists, make work that critiques normative structures of history while also remaining critical of our own communities and cognizant of those we ourselves may have rendered invisible? \u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-1436\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>Phulkari is a portmanteau of the words ਫ਼ੁਲ (phul, blossoming) and ਕਾਰੀ (kari, work or artisanship).\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-1436\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-2-1436\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>See Flora Annie Steel quoted in Michelle Maskiell, “Phulkaris: The Crafting of Rural Women’s Roles in Sikh Heritage,” in Sikhism and Women: History, Texts, and Experience ed. Doris R. Jakobsh (New Delhi: Oxford University Press, 2010), 134-155.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-2-1436\" aria-label=\"Back to note 2 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>All images by Blaine Campbell. Courtesy of Libby Leshgold Gallery.\u003C\u002Fp>\n",null,[33],{"id":26,"slug":28,"name":27,"firstName":34,"lastName":35,"bioHtml":36},"Simranpreet","Anand","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Simranpreet Anand\u003C\u002Fstrong> is an artist, curator, and cultural worker creating and working on the unceded territories of the Kwantlen, Katzie, and Semiahmoo peoples (Surrey, BC) and the lands of the Anishinaabeg – The Three Fire Confederacy of the Ojibwe, Odawa, and Potawatomi Nations, as well as the Wyandot Nation (Ann Arbor, MI). She holds a BFA Honours in Visual Arts along with a second major in Psychology from the University of British Columbia and is currently pursuing an MFA at the Penny W. Stamps School of Art & Design. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Her art practice interrogates the so-called neutral audience in multicultural society. Her practice is informed by familial and community histories, often engaging materials and concepts drawn from the histories of Punjab and the Punjabi diaspora and the ways in which they have been disrupted by colonialism and forced migration. The reclamation of cultural practice in her work interrogates colonial theft, cultural propaganda, and forces of global capitalism. She has been awarded the Philip B. Lind Emerging Artist Prize (2022) and the William and Meredith Saunderson Prizes for Emerging Artists (2021). Simranpreet is committed to a socially engaged practice, having worked on community engagement and education projects with the Morris and Helen Belkin Art Gallery, Vancouver Art Gallery, the Evergreen Cultural Centre, documenta 14, and the Surrey Art Gallery. \u003C\u002Fp>\n",{"title":38,"robots":39,"og_locale":45,"og_type":46,"og_title":38,"og_description":47,"og_url":48,"og_site_name":49,"article_publisher":50,"article_modified_time":51,"og_image":52,"twitter_card":55,"twitter_site":56,"twitter_misc":57,"schema":59},"What is left unsaid? \u002F\u002F Jagdeep Raina at Libby Leshgold Gallery - ReIssue",{"index":40,"follow":41,"max-snippet":42,"max-image-preview":43,"max-video-preview":44},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Simranpreet Anand reviews Jagdeep Raina's exhibtion everything left unsaid at Libby Leshgold Gallery.","https:\u002F\u002Freissue.pub\u002Farticles\u002Fwhat-is-left-unsaid-jagdeep-raina-at-libby-leshgold-gallery\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2023-02-28T01:04:49+00:00",[53],{"width":20,"height":21,"url":18,"type":54},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":58},"7 minutes",{"@context":60,"@graph":61},"https:\u002F\u002Fschema.org",[62,77,79,93,108],{"@type":63,"@id":48,"url":48,"name":38,"isPartOf":64,"primaryImageOfPage":66,"image":68,"thumbnailUrl":18,"datePublished":69,"dateModified":51,"breadcrumb":70,"inLanguage":72,"potentialAction":73},"WebPage",{"@id":65},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":67},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fwhat-is-left-unsaid-jagdeep-raina-at-libby-leshgold-gallery\u002F#primaryimage",{"@id":67},"2023-02-23T16:51:51+00:00",{"@id":71},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fwhat-is-left-unsaid-jagdeep-raina-at-libby-leshgold-gallery\u002F#breadcrumb","en-US",[74],{"@type":75,"target":76},"ReadAction",[48],{"@type":78,"inLanguage":72,"@id":67,"url":18,"contentUrl":18,"width":20,"height":21},"ImageObject",{"@type":80,"@id":71,"itemListElement":81},"BreadcrumbList",[82,87,91],{"@type":83,"position":84,"name":85,"item":86},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":83,"position":88,"name":89,"item":90},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":83,"position":92,"name":6},3,{"@type":94,"@id":65,"url":86,"name":49,"description":95,"publisher":96,"potentialAction":98,"inLanguage":72},"WebSite","critical discourse for experimental art practices",{"@id":97},"https:\u002F\u002Freissue.pub\u002F#organization",[99],{"@type":100,"target":101,"query-input":104},"SearchAction",{"@type":102,"urlTemplate":103},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":105,"valueRequired":106,"valueName":107},"PropertyValueSpecification",true,"search_term_string",{"@type":109,"@id":97,"name":49,"url":86,"logo":110,"image":114,"sameAs":115},"Organization",{"@type":78,"inLanguage":72,"@id":111,"url":112,"contentUrl":112,"width":20,"height":113,"caption":49},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":111},[50,116,117],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":119,"slug":120,"title":85,"contentHtml":22,"acf":121,"backgroundBlur":124,"seo":125},48,"home",{"background_image":122,"isBlack":16,"header_text":123},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":126,"robots":127,"og_locale":45,"og_type":46,"og_title":126,"og_url":128,"og_site_name":49,"article_publisher":50,"article_modified_time":129,"twitter_card":55,"twitter_site":56,"schema":130},"Home - ReIssue",{"index":40,"follow":41,"max-snippet":42,"max-image-preview":43,"max-video-preview":44},"https:\u002F\u002Freissue.pub\u002Fhome\u002F","2026-11-14T21:58:11+00:00",{"@context":60,"@graph":131},[132,140,144,150],{"@type":63,"@id":128,"url":128,"name":126,"isPartOf":133,"datePublished":134,"dateModified":129,"breadcrumb":135,"inLanguage":72,"potentialAction":137},{"@id":65},"2018-04-21T23:04:08+00:00",{"@id":136},"https:\u002F\u002Freissue.pub\u002Fhome\u002F#breadcrumb",[138],{"@type":75,"target":139},[128],{"@type":80,"@id":136,"itemListElement":141},[142,143],{"@type":83,"position":84,"name":85,"item":86},{"@type":83,"position":88,"name":85},{"@type":94,"@id":65,"url":86,"name":49,"description":95,"publisher":145,"potentialAction":146,"inLanguage":72},{"@id":97},[147],{"@type":100,"target":148,"query-input":149},{"@type":102,"urlTemplate":103},{"@type":105,"valueRequired":106,"valueName":107},{"@type":109,"@id":97,"name":49,"url":86,"logo":151,"image":152,"sameAs":153},{"@type":78,"inLanguage":72,"@id":111,"url":112,"contentUrl":112,"width":20,"height":113,"caption":49},{"@id":111},[50,116,117],{"id":155,"slug":156,"title":157,"contentHtml":158,"acf":16,"backgroundBlur":31,"seo":159},321,"subscription-banner","Subscription Banner","\n\u003Cp class=\"wp-block-paragraph\">ReIssue is unfunded, wild and free. 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To donate, contact: editor@reissue.pub Sign up for our email newsletter","https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F","2026-11-13T20:28:08+00:00",{"Est. reading time":166},"1 minute",{"@context":60,"@graph":168},[169,177,181,187],{"@type":63,"@id":163,"url":163,"name":160,"isPartOf":170,"datePublished":171,"dateModified":164,"breadcrumb":172,"inLanguage":72,"potentialAction":174},{"@id":65},"2020-12-15T23:44:21+00:00",{"@id":173},"https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F#breadcrumb",[175],{"@type":75,"target":176},[163],{"@type":80,"@id":173,"itemListElement":178},[179,180],{"@type":83,"position":84,"name":85,"item":86},{"@type":83,"position":88,"name":157},{"@type":94,"@id":65,"url":86,"name":49,"description":95,"publisher":182,"potentialAction":183,"inLanguage":72},{"@id":97},[184],{"@type":100,"target":185,"query-input":186},{"@type":102,"urlTemplate":103},{"@type":105,"valueRequired":106,"valueName":107},{"@type":109,"@id":97,"name":49,"url":86,"logo":188,"image":189,"sameAs":190},{"@type":78,"inLanguage":72,"@id":111,"url":112,"contentUrl":112,"width":20,"height":113,"caption":49},{"@id":111},[50,116,117],1794704114201]