Claudia Andujar Horizontal 2 from Marcados series (1981-1983) Courtesy Galeria Vermelho

Claudia Andujar Horizontal 2 from Marcados series (1981-1983) Courtesy Galeria Vermelho

Room 11 in Artist and Society

Portraits and Community

Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi

Sheba Chhachhi, Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi  1986, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

1/26
artworks in Portraits and Community

Sathyarani - Anti Dowry Demonstration, Delhi

Sheba Chhachhi, Sathyarani - Anti Dowry Demonstration, Delhi  1980, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

2/26
artworks in Portraits and Community

Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

© Paz Errazuriz

License this image

3/26
artworks in Portraits and Community

Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

© Paz Errazuriz

License this image

4/26
artworks in Portraits and Community

Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

© Paz Errazuriz

License this image

5/26
artworks in Portraits and Community

Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

© Paz Errazuriz

License this image

6/26
artworks in Portraits and Community

Urvashi - Staged Portrait, Gulmohar Park, Delhi

Sheba Chhachhi, Urvashi - Staged Portrait, Gulmohar Park, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

7/26
artworks in Portraits and Community

Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

These intimate portraits show cross-dresser and transgender sex workers going about their everyday lives in Santiago, Chile. Living in the community for four years, Errazuriz was able to document it from within. She recalled, ‘I found a family that I wish had always been my own’. She took photographs in their homes, on the streets in their neighbourhood, and with friends and family. Under the military dictatorship (1973–1990), gender nonconforming people risked persecution. For nearly two decades the political situation prevented the images from being circulated. Only the underground and artistic communities were aware of their existence.

Gallery label, December 2019

© Paz Errazuriz

License this image

8/26
artworks in Portraits and Community

Adam’s Apple

Paz Errazuriz, Adam’s Apple  1983, printed 2008

© Paz Errazuriz

License this image

9/26
artworks in Portraits and Community

Urvashi - Street play, ‘Om Swaha’, Mehrauli, Delhi

Sheba Chhachhi, Urvashi - Street play, ‘Om Swaha’, Mehrauli, Delhi  1982, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

10/26
artworks in Portraits and Community

Sorry, no image available

Susan Meiselas, 20 dirhams or 1 photo?  2014

Meiselas made this work during a two-week residency in Morocco. She set up a pop-up photographic studio in a spice market in Marrakech. Working with Moroccan photographers Imane Barakat and Laila Hida, she invited women who worked there to have their portrait taken. Each participant was given a choice: she could either receive the print of her portrait or a payment of 20 dirhams (approximately £1.60). By accepting the payment, a participant gave the artist permission to keep and exhibit the print. Through this process Meiselas raised questions about identify and the ownership of one’s own image.

Gallery label, December 2019

11/26
artworks in Portraits and Community

Radha - Staged Portrait, Anandlok, Delhi

Sheba Chhachhi, Radha - Staged Portrait, Anandlok, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

12/26
artworks in Portraits and Community

Urvashi - Anti Dowry sit-in, 1982

Sheba Chhachhi, Urvashi - Anti Dowry sit-in, 1982  1990–1991

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© reserved

License this image

13/26
artworks in Portraits and Community

Shanti - Staged Portrait, Dakshinpuri, Delhi

Sheba Chhachhi, Shanti - Staged Portrait, Dakshinpuri, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

14/26
artworks in Portraits and Community

Shahjahan Apa - International Women’s Day gathering, Dakshinpuri, Delhi

Sheba Chhachhi, Shahjahan Apa - International Women’s Day gathering, Dakshinpuri, Delhi  1980, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

15/26
artworks in Portraits and Community

Sathyarani - Staged Portrait, Supreme Court, Delhi

Sheba Chhachhi, Sathyarani - Staged Portrait, Supreme Court, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

16/26
artworks in Portraits and Community

Shanti - With children, Dakshinpuri, Delhi

Sheba Chhachhi, Shanti - With children, Dakshinpuri, Delhi  1989, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

17/26
artworks in Portraits and Community

Devikripa - Staged Portrait, Seemapuri, Delhi

Sheba Chhachhi, Devikripa - Staged Portrait, Seemapuri, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

18/26
artworks in Portraits and Community

Shahjahan Apa - Staged Portrait, Nangloi, Delhi

Sheba Chhachhi, Shahjahan Apa - Staged Portrait, Nangloi, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

19/26
artworks in Portraits and Community

Sathyarani - Staged Portrait, Punjabi Bagh residence, Delhi

Sheba Chhachhi, Sathyarani - Staged Portrait, Punjabi Bagh residence, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

20/26
artworks in Portraits and Community

Devikripa - Sit-in, Family Planning Centre, Nandnagari, Delhi

Sheba Chhachhi, Devikripa - Sit-in, Family Planning Centre, Nandnagari, Delhi  1988, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

21/26
artworks in Portraits and Community

Devikripa - Sikh widow, Trilokpuri

Sheba Chhachhi, Devikripa - Sikh widow, Trilokpuri  1987, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

22/26
artworks in Portraits and Community

Shardabehn - Staged Portrait, DTC bus, Terminus, Delhi

Sheba Chhachhi, Shardabehn - Staged Portrait, DTC bus, Terminus, Delhi  1990, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

23/26
artworks in Portraits and Community

Shardabehn - Public testimony, Police Station, Delhi

Sheba Chhachhi, Shardabehn - Public testimony, Police Station, Delhi  1988, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

24/26
artworks in Portraits and Community

Radha - Staged Portrait Set-up, Anandlok, Delhi

Sheba Chhachhi, Radha - Staged Portrait Set-up, Anandlok, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

25/26
artworks in Portraits and Community

Shahjahan Apa - Staged Portrait set-up, Nangloi, Delhi

Sheba Chhachhi, Shahjahan Apa - Staged Portrait set-up, Nangloi, Delhi  1991, printed 2014

This series includes both staged and documentary images. Chhachhi selected them from a body of work that records her long-term engagement with the feminist movement in India. Chhachhi’s images were used in posters, pamphlets and street theatre campaigns to end violence against women. In 1990 she reshot portraits of fellow activists taken years earlier. She encouraged the sitters to pose with objects of personal value. Chhachhi calls this ‘an invitation to perform the self’. She saw this collaboration as a way of redressing ‘the balance of power’ between artist and sitter.

Gallery label, December 2019

© Sheba Chhachhi

License this image

26/26
artworks in Portraits and Community

Art in this room

Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi
Sheba Chhachhi Shahjahan Apa - Anti Dowry Public Testimonies, India Gate, Delhi 1986, printed 2014
Sathyarani - Anti Dowry Demonstration, Delhi
Sheba Chhachhi Sathyarani - Anti Dowry Demonstration, Delhi 1980, printed 2014
Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008
Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008
Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008
Adam’s Apple
Paz Errazuriz Adam’s Apple 1983, printed 2008

You've viewed 6/26 artworks

You've viewed 26/26 artworks

We recommend

  • TateShots

    Introducing Sheba Chhachhi

    Meet the New Delhi-based artist, photographer, writer and activist

  • Art Term

    Photojournalism

    Photojournalism is a form of journalism which tells a news story through powerful photography which traditionally are black and white …