Age, Biography and Wiki
Nancy Adajania was born on 15 December, 1971 in Mumbai, India. Discover Nancy Adajania's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is She in this year and how She spends money? Also learn how She earned most of networth at the age of 52 years old?
| Popular As |
N/A |
| Occupation |
Cultural theorist, art critic, independent curator |
| Age |
52 years old |
| Zodiac Sign |
Sagittarius |
| Born |
15 December, 1971 |
| Birthday |
15 December |
| Birthplace |
Mumbai, India |
| Nationality |
India |
We recommend you to check the complete list of Famous People born on 15 December.
She is a member of famous with the age 52 years old group.
Nancy Adajania Height, Weight & Measurements
At 52 years old, Nancy Adajania height not available right now. We will update Nancy Adajania's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
| Physical Status |
| Height |
Not Available |
| Weight |
Not Available |
| Body Measurements |
Not Available |
| Eye Color |
Not Available |
| Hair Color |
Not Available |
Who Is Nancy Adajania's Husband?
Her husband is Ranjit Hoskote
| Family |
| Parents |
Not Available |
| Husband |
Ranjit Hoskote |
| Sibling |
Not Available |
| Children |
Not Available |
Nancy Adajania Net Worth
Her net worth has been growing significantly in 2022-2023. So, how much is Nancy Adajania worth at the age of 52 years old? Nancy Adajania’s income source is mostly from being a successful . She is from India. We have estimated
Nancy Adajania's net worth
, money, salary, income, and assets.
| Net Worth in 2023 |
$1 Million - $5 Million |
| Salary in 2023 |
Under Review |
| Net Worth in 2022 |
Pending |
| Salary in 2022 |
Under Review |
| House |
Not Available |
| Cars |
Not Available |
| Source of Income |
|
Nancy Adajania Social Network
Timeline
Adajania was a Co-Artistic Director of ROUNDTABLE: The 9th Gwangju Biennale (Korea, 2012).
Adajania was co-curator for the exhibition 'Zoom! Art in Contemporary India' (Lisbon, April 2004) and curated 'Avatars of the Object: Sculptural Projections' (Bombay, August 2006). She was also contributing curator for 'Thermocline of Art: New Asian Waves' (ZKM, Karlsruhe, Summer 2007). In 2011, Adajania was appointed Joint Artistic Director of the 9th Gwangju Biennale (Korea, 2012).
In 2004–2005, Adajania was awarded an Independent Research fellowship by Sarai CSDS, a new-media initiative of the Centre for the Study of Developing Societies (CSDS), New Delhi (2004–2005), under which she studied the popular use of digital manipulation techniques of imaging in metropolitan India. She has since presented her research in the form of an archive-installation, 'In Aladdin's Cave,' exhibited at 'On difference 2/Grenzwertig' (Wuerttembergischer Kunstverein, Stuttgart, February 2006) and 'Building Sight' (Watermans Arts Centre, London, Summer 2007).
As Editor-in-Chief of Art India (2000–2002), Adajania developed a discursive space singlehandedly, in an Asian context, for emergent new-media and interactive public art practices and social projects on a global level. She has contributed essays and reviews to Springerin (Vienna), Metamute (London), Art 21 (Paris), Public Art (Minneapolis), Art Asia Pacific (New York), X-Tra (Los Angeles) and the Documenta 12 Magazine (Kassel, 2007).
Adajania's film, 'Khichri Ek Khoj' (In Search of Khichri) (1999), weaves the documentary and the global meta-narrative forms together to "unveil the workings of a failed postcolonial welfare state", and has been screened at various venues in India and internationally, including the Mumbai International Film Festival (Bombay, 2000), in 'First Story: Women Building: New Narratives for the 21st Century' (Galeria do Palacio Cristal, Porto, 2001) and during the international symposium, 'Capital and Karma: Conversations between India and Europe' (Kunsthalle Wien, Vienna, April 2002).
As the first coordinator of the newly founded crafts research department of the National Centre for the Performing Arts (NCPA), Bombay during 1994–1995, Adajania organised a cycle of symposia and workshops that explored the tension between contemporary art emerging from an urban milieu and the present-day manifestation of the traditional crafts. Intended by her to revisit and update the debates surrounding this tension, and to generate a new discourse in the field, this cycle of meetings included the national-level seminar, 'Should the Crafts Survive?', which dramatised the rival claims on the terrain of the contemporary, made by academy-trained metropolitan artists and artists of rural, tribal or folk background articulating their own modernity (1995).
Nancy Adajania (born Bombay, 15 December 1971) is a cultural theorist, art critic and independent curator based in India.
