The show consisted of photos from four different series - Performing the Goddess, The Green Room of the Goddess, The Epic and the Elusive, and In a Cannibal Time - which are like four distinct avenues leading us to the core of Kishore's oeuvre as a photographer.
Always a trigger. A context. For bearing, yes, for bearing witness. The 'when' is not always important. Nor are 'labels' that mark a particular moment of atrocity. Inflicted by nation states, by states within states, by people like you and me on those they see as the Other, an Other like you and me.
Artists respond. To the flashpoints of their times. Genocides. Riots. Wars.
This body of work by Naveen Kishore is an attempt to create awareness. Of such moments in time. Both as witness and helpless bystander. A set of photographs. Dark. More black than white.
The trappings of theatre are always present in Kishore's work-shadows in smoke, projections, harsh beams of light, dust and ashes, all combine to suggest the apocalyptic.
He looks for the ghosts; he digs them up and puts them together in a room. He takes their portrait. As population, as victim, as perpetrator. As all of us.