Judging from this mini survey of Kawita Vatanajyankur’s video-performances, she has no intention of vacating the dazzling dayglo universe into which her practice has bedded over the past decade or so. It is, after all, what gives her endurance art – which resembles bright, acerbic billboard adverts and reifies the societal oppression of female workers (and the objectification of women in general) – its sociocritical bite. Covering Nova Contemporary’s exterior window is a still from The Carrying Pole (2015), in which her carefully balanced and outstretched body holds two bamboo baskets of bananas aloft against a lurid pink background. And in a dark room inside are recent works such as Flight (2025), a lightbox still in which she is a loaded arrow presented against a solid blue, and Echoes (2025), a video in which she is a bell clapper being violently rung (in a manner not dissimilar to Florentina Holzinger’s recent Venice Biennale performance) against a deep green. But while the striking formal qualities of her work, her high-gloss backgrounds and commitment to machinic performances, appear largely unchanged, close watching – and listening – reveals a
