Nihaal Faizal is an artist based in Bangalore, India. In 2018, he founded the publishing house Reliable Copy and between 2013-16, he organised the project space G.159.


Currently:

Dummy at Bill’s PC
17th November 2024 to 5th January 2025
8 and 10 Phillimore Street,
6160, Fremantle, Western Australia

Book Show-I at W.I.P. alt FEST
curated by Priyesh Gothwal
Bangalore: 1st to 7th December 2024 
New Delhi: 9th to 15th December 2024 


Publications:

The Real Taste of India
(with Chinar Shah)
Reliable Copy, 2023


red curtains opening
Chatterjee & Lal, 2023

Special FX
Blueprint12, 2022

Biennale Artist
self-published, 2022

The Supernatural Spectacular (PDF)
self-published, 2021

POLITE
self-published, 2021


MK Stickers (PDF)
Rhizome, 2021

Landscape Photographs
self-published, 2016


Contributions:

Acts of Departure: Dispatches from The Last Emporium
Publication Studio Pearl River Delta, 2023

TAKE on Art: Issue 28 (insert)
Take on Art, 2022


Group Catalogues / Anthologies:

Points of View: Defining Moments of Photography in India
Kiran Nadar Museum of Art, 2022

View India: Contemporary Photography and Lens-based Art From India
Buchhandlung Walther König, 2019

#exstrange: A Curatorial Intervention on eBay
Maize Books, 2017

To Make a Public: Temporary Art Review 2011-2016
INCA Press, 2016

Double Road
Goethe-Institut / MMB, 2016


Press:

Rhizome
Anisha Baid, 2024

The Hindu
Tiki Rajwi, 2024

Artforum
Mario D’Souza, 2023

TAKE on Art
Arushi Vats, 2022

ASAP | Art
Samira Bose, 2022

BOMB
Anisha Baid, 2022

The New Indian Express
Dyuti Roy, 2022

IDEAS Journal
Samira Bose, 2022

ASAP | Art
Anisha Baid, 2021

PROPRIOCEPTION
Charu Maithani, 2017

Temporary Art Review
Anisha Baid, 2016


Contact:

nihaalfaizal@gmail.com


Carbon Copy
2020
series of drawings
carbon transfer on paper
8.27 × 11.69 inches

Carbon Copy brings together replicas of the various embellishments and designs found on commercially available carbon paper sheets.

In an act of copying, located between those of drawing and printing, these design patterns are carefully transferred through pressure upon a blank sheet of paper. Composed entirely of the residual carbon imprinted, the drawings function as material records of this almost obsolete technology of copying, as well as of the commercial brands that manufactured and marketed this technology.


Further Reading:
Guide to DCAW - Shaikh Ayaz, Architectural Digest