Inverse Journal: A New Era Begins — by Rajath Suri
July 1, 2024
Rajath Suri, our new international editor, discusses Inverse Journal’s long-awaited and necessary migration to Canada as we begin a new era of publication and cultural engagement between diverse contributors and readers alike.

Thematic discourse has proven that dislocation, integration and the displacement of marginal communities and cultures has risen to the fore with greater force over the last few years. In fact, a few years ago, Amjad Majid and I entered dialogue regarding the future of Inverse Journal as the online publication introduced a unique critical platform for those experiencing similarly aligned situations. The experiential wed with the thematic core of his journal, then established in Kashmir and with a vested interest in the diffusion and dissemination of events, artistic and cultural, into the world at large.

Impressed by the visceral content and veracity of the testimonials, critical essays and polemical research by authors whom he had published, Inverse Journal made an indelible impression on me throughout years of critical observation. The diversity and depth of the vestige he created, as founder, which heralded the plight of voices otherwise oppressed around the world in engagement with those of countless others deeply concerned, led to an open dialogue with the editor about inclusiveness and a-hierarchy, the ethos of the journal he had established in February 2019.

Despite the intentions to obtain an international locus and the diverse and inclusive manner of presentations on essentially cultural affairs, the undercurrent of political narratives which bespoke the essentiality of art and cultural platforms as being of great necessity, became evermore evident and prescient. An unwavering editorial ethos has demarcated the exemplary nature of this unique virtual publication, keeping its discursive aspect intact along with its endurance despite the apparent machinations of censorship, while remaining loyal in adherence to Bakhtin’s exemplary humanitarian equality. My engagement with the journal as an ardent follower led to our collaboration, detailed discussions, and strategic use of limited resources to transition the journal’s status and direction, aiming for a broader and more appreciative audience.

The intensity of Amjad’s efforts as a founding editor redoubled and due to his assiduity and professional acumen, we have now been able to consolidate a foundation, Inverse Praxis, as the governing body towards the successful transition and establishment  of Inverse Journal to Canada, specifically, the pluralistic city of Montréal. The effort towards sustainability and flexibility of spirit thus required have been near insurmountable, yet we are now able to assure for a strengthened editorial mandate courtesy of our partnership with the esteemed post-academic author, activist and theorist, Yasmin Jiwani, and myself acting in capacity as the international editor.

As a triumvirate of diverse origins and varying professional histories and skill sets, we have sought to enable a new discourse which opts to afford the direct narration, archive of and inclusion of a plethora of cultural genres. Contributors and cultural producers whose expertise lies in literary, poetical, emancipatory projects, curatorial stance and cinematic or visual production have been openly welcomed and we are at a crucial phase of momentum and implementation on the virtual nebula of a domain that is situated in the cultural specificity of its contributors  amid the intersectional spaces that a cosmopolitan city such as Montréal epitomizes.

Since its launch, Inverse Journal has been visited by more than 200K unique readers, visiting from 205 territories and countries while counting on a growing community of 146 contributors (including myself) from 21 different countries. As is observable, since its inception, Inverse Journal’s international and inclusive approach to bringing diverse readers and contributors together is in complete alignment with the intersection of the cosmopolitan and the provincial, to bring about a society that has served as refuge to many people and where, conversely, assimilation and integration prove to be perpetual challenges for those from the diaspora.

Keeping in mind Inverse Journal’s Kashmiri roots, its South Asian origins and its dedicated effort to connect the Himalayan Valley to the rest of the world, our approach to the journal remains focused on future endeavors as essentially transnational and beyond the facile dichotomies imposed by categorical national identification, individual subjectivism, and inherited colonial cartographies. Inverse Journal aspires to grow as a core platform which might offer critical analysis, performative or theoretical, with an international contingency of contributors at various stations of expertise and stages of their professional development.

With all the aforementioned aspects and key points of reflection in mind, Inverse Journal begins a new era of publishing and sharing of knowledge, keeping in high regard its origins as an independent publication to its development into a sustainable platform that will include multiple participants from an editorial and managerial angle. The transition also attempts to solidify the publication process and fortify the position of Inverse Journal from an institutional approach with the final goal of providing greater publication opportunities to enhance its original vision of encouraging a multiplicity of dialogues at the intersection of literature, art, culture, film, music, poetry, and academic  and contemporary thought.

This piece was updated on July 3, 2024.

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About the Contributor

<a href="" target="_self">Rajath Suri</a>

Rajath Suri

Rajath Suri is an art critic, researcher and curator. Of Canadian origin, his work has been presented in China, Quebec and internationally. First involved in galleries in Montreal, he then worked for eighteen years as a curator in China. He is the author of critical texts on art, theater and Butoh, published in China and active in samizdat journals. He has worked in the world of art publishing and experimental literature, in the fields of cinema and television, experimental theater and contemporary dance as artistic director and advisor. Rajath Suri est critique d’art, chercheur et commissaire. D’origine canadienne, son travail a été présenté en Chine, au Québec et à l’international. D’abord impliqué au sein de galeries à Montréal, il a ensuite travaillé durant dix-huit années comme commissaire en Chine. Il est l’auteur de textes critiques portant sur l’art, le théâtre et le butô, publiés en Chine et parfois dans des journaux samizdats. Il a œuvré dans le milieu de l’édition en art et en littératures expérimentales, dans les milieux du cinéma et de la télévision, du théâtre expérimental et de la danse contemporaine à titre de directeur artistique et de conseiller.