Nihaal Faizal is an artist based in Bangalore, India. In 2018, he founded Reliable Copy, a publishing house for works, projects, and writing by artists. Between 2013-16, he organised G.159, a project space in Yelahanka New Town.


upcoming:

Total Runtime 01:13:00 curated by Reliable Copy at Amant, New York (11 May 2024)


ongoing:

Studio & Research Residency at Amant, New York (1 March - 31 May 2024)

Network Culture at 421 Arts Campus, Abu Dhabi (11 February - 28 April 2024)


online:

The Hindu - Tiki Rajwi on ‘Mohammed Rafi Fan Blog’ (2017)

Contemporary Art Library - (video art) at Bill’s PC, Western Australia

Artforum - Mario D’Souza on red curtains opening at Chatterjee & Lal, India

TAKE on Art - Arushi Vats on ‘Mohammed Rafi Fan Blog’ (2017)

Printed Matter - ‘POLITE’ (2021) and ‘Biennale Artist’ (2022)

ASAP | Art - Samira Bose on Special FX at Blueprint12, India

BOMB - Anisha Baid interviews the artist on Special FX at Blueprint12, India

The New Indian Express - Dyuti Roy on Special FX at Blueprint12, India

IDEAS Journal - Samira Bose interviews the artist and Sarasija Subramanian on Reliable Copy

Rhizome - ‘MK Stickers (2021) in First Look: New Art Online at New Museum

ASAP | Art - ‘Esther’ (2014) and ‘The Representational Artist’ (2014)

MARCH - Arushi Vats interviews the artist and Sarasija Subramanian on at the kitchen table at 1Shanthiroad Studio/Gallery, India

HOAX - ‘TP S3’ (2018)

TransAsia Photography - Mallika Leuzinger on Haleema Hashim

ASAP | Art - Anisha Baid on ‘Landscape Photographs’ (2014)

PROPRIOCEPTION - Charu Maithani interviews the artist on ‘PowerPoint Animation Effects’ (2014)

Temporary Art Review - Anisha Baid on Final Review at G.159, India


contact: 

nihaalfaizal@gmail.com 



Sci-fi Drawings
2017
series of drawings
edition of 3 + 2 AP
10 x 7 inches

"I do drawings every day but I never know what they're of."
- AVA VERSION 9.6 in Ex Machina, 2015

The images presented in Sci-fi Drawings are copies of drawings that originally appeared in popular commercial science fiction films. Within each of the selected films, the drawing was originally created by an artificial intelligence - most often a robot, but sometimes also an operating system.

Within these films the act of drawing performs a variety of roles - from expressing creativity to recording dreams - and serves as a way by which the artificial intelligence presents its proximity to humanity. My act of re-drawing these images becomes a way of bringing these diverse intentions and images under the authorship of a single individual - one that is human, but one that ultimately fails in representing the drawings even remotely as well as his A.I. counterparts.


Her, 2013


I, Robot, 2004


A.I. Artificial Intelligence, 2001


Ex Machina, 2014


Enthiran, 2010


Bicentennial Man, 1999


The Machine, 2013


Hot Bot, 2016


Making Mr. Right, 1987

Class of 1999, 1990