Beirut-born, Mumbai-bred, Vikram Divecha works between New York and Dubai. He holds an MFA in Visual Art from Columbia University (2019) and is currently a participant of the Whitney Museum’s Independent Study program (2019-20). Divecha’s projects often bring invisible structures into plain view, to raise questions about agency, ethics and value. This he arrives at by challenging the nature and modes of artistic production. By pushing the means of production into a social realm Divecha’s projects turn into sites for new relationships - where authorship and aesthetics are questioned, while agency gets shifted. Meaning making is not limited to the reception of the artwork but emerges within the social processes of artistic production itself - for more than participants he seeks an aesthetic participation. Divecha has come to define this conceptual and collaborative approach around what he calls 'found processes’ - those forces and capacities at work within state, social, economic and industrial spheres. Working with available material, space and labour Divecha attempts to realign the social and urban systems we inhabit by introducing alterations and interventions. Disrupting maintenance rigor with vernacular gestures, Beej (2017) activates the potential for farming amongst Sharjah’s municipal gardeners. Delaying a train in Paris by 5 minutes was an artistic gesture Divecha orchestrated for Train to Rouen (2017) that questions our relationship with time, light, and the railway industry. For Warehouse Project (2016) Divecha bartered the exhibition space with a trading company to re-contextualize the ebb and flow of goods, allowing the market’s hand to govern the aesthetic output. His ongoing documentary Veedu (2016) examines the influence of Gulf architecture in Kerala by closely following the design exchanges between an architect and an Indian client over AutoCAD renderings. His recent inquiry extends to museum display, which has led Divecha to propose an ambitious light intervention at the MET for his work titled Gallery 354 (2019). The changes he initiates are not simply injected into a system and then showcased, rather, Divecha's are slow processes, capable of enduring well beyond the time/space framework of what is 'exhibited', in some cases generating sustained social associations. Despite interacting with largely invisible systems, his works have a definite materiality and formal rigour. Divecha’s engagements translate into site-specific works, public art, installations, video, photography and drawings.

Exhibitions include: Towards Opacity, Gallery Isabelle van den Eynde, Dubai (2020); Second Hand, Jameel Arts Center, UAE (2019); Living Room: UIT (Use it together), ISCP, New York (2019); Who Are We Now?, Land Art Mongolia 5th Biennial, Mongolia (2018); Rock, Paper, Scissors: Positions in Play, National Pavilion UAE, 57th Venice Biennale (2017); Tamawuj, Sharjah Biennial 13 (2017); Co-Lab, Louvre Abu Dhabi, UAE (2017); Binary States India-UAE, Kochi (2016); Warehouse Project, Alserkal Commission, (2016); DUST, Centre for Contemporary Art, Ujazdowski Castle, Warsaw (2015); Accented, Maraya Art Centre, Sharjah (2015). Recipient of the 2014 Middle East Emergent Artist Prize, he has also created projects for The Arab Fund for Arts and Culture's public art commission InVisible in 2014.