Wednesday, June 29, 2016

K.G Subramanyan - 1924-2016

K.G Subramanyan in his studio at the Faculty of Fine Arts -
Photographed by Jyoti Bhatt

Monday, June 27, 2016

Sunil Gawde’s id – od & other dimensions at Aicon Gallery, New York


Sunil Gawde id – od & other dimensions at Aicon Gallery, New York
July 7-August 6, 2016
35 Great Jones St., New York NY 10012
New York: Aicon Gallery New York is proud to present id od & other dimensions, the first major U.S. solo exhibition of Mumbai-based artist Sunil Gawde. Since his participation in 2009’s Venice Biennale, Gawde has become internationally recognized for his unique sculptural and installation-based works, which blur and question the boundaries between the physical reality of everyday objects and our subjective perceptions of them. Whether embarking on a philosophical exploration inspired by an object itself, or creating an object or tableaux born of an idea, Gawde’s works serve as complex, yet often humorous, visual allegories exposing the absurdities and dualities inherent in our struggle to come to terms with both our history and contemporary life.
The ‘id – od’ of the exhibition’s title, standing for ‘inner dimension – outer dimension’, is taken from a series of newly created mid-scale sculptural works in which many-layered, often ironic narratives have been spun outwards from objects ranging from the everyday to the iconic. Herds of hand made  miniature elephants roam amidst the domestic trappings of modern Indian life, while kinetic installations endlessly perform simple repetitive actions, which in turn lead to Sisyphean loops of contemplation in the viewer. The familiar objects juxtaposed in these works project a series of surreal fables and warnings outwards for our interpretation, while simultaneously turning our gaze inwards upon our traditional understanding of their meanings. It is this parallel and two-way exploration of perception versus reality that remains central to Gawde’s practice.
Accompanying the ‘id – od’ series on display are a selection of important large-scale installation pieces spanning the last decade of Gawde’s career. These works not only dig deeper into the dualities and contradictions explored in the works mentioned above, but also highlight the artist’s masterful manipulation of materials in pursuit of the illusionistic perfection required to cement our belief in the physical possibility of the objects and installations themselves. As Gawde has stated:
“…the marriage of philosophy, technique, aesthetics, and material is the foundation of my creative process. An essential element of my sculptures is also the technical skill of the experts I work with. While canvases are a solitary effort, sculptural creations, which have to be aesthetically and structurally sound, require a skillful combination of engineering and art.”
Anchoring these two sets of sculpture in the current exhibition is group of new work building upon Gawde’s past experiments with butterfly forms made of mirrored stainless steel in works such as Virtually Untouchable (2004) and Conquer (2012). These remarkably beautiful organic creatures, precision-cast from cold, glistening, industrialized steel, incorporate Gawde’s recurring motifs of razor blades, swords, and daggers, though which he again plays with dueling notions of beauty and danger, desire and pain, and, more broadly, perception and reality.
Born in Mumbai in 1960, Gawde graduated in Fine Art from the J.J. School of Art in 1980. In 1995, he received the British Council’s Charles Wallace Award for 1995 -96, and spent a year as a visiting artist at the Glasgow School of Art, Scotland. Since 1990, Gawde has held more than 11 solo exhibitions worldwide and, in 2009, he was invited to participate in the 53 Venice Biennale, curated by Daniel Birnbaum. His works were show in Centre Pompidou, MOCA Taipei, Kunst Museum Bocham among others.  His work has been collected by the National Gallery of Modern Art, the Kiran Nadar Museum of Art,  and the Devi Art Foundation in India, as well as by important international private collections. This is his first major solo exhibition in the United States and his first exhibition with Aicon Gallery.

Rhetorical Amendments to the [REDACTED] l The Guild, Alibaug


The Guild Art Gallery is pleased to present, Rhetorical Amendments to the [REDACTED], organized by Hive Voices, exhibiting the works of MAP Office (Valerie Portefaix and Laurent Gutierrez), Chelsea Rae Klein, SAHMAT/Ram Rahman and Sreshta Rit Premnath.
Rhetorical Amendments to the [REDACTED] takes as its aesthetic/performative gesture, redaction, staging both resistance and vulnerability. It mimics a gesture of surrender to the inevitability of power censoring voice, while turning self-redaction into a refusal to engage on power’s terms. The works in the exhibition in contrast, utilize aesthetic gestures, layering, proclaiming, informing, and witnessing, as a voice that speaks despite the ubiquity of censorship.
MAP Office’s video, Under the Umbrella is a witnessing of the Umbrella Revolution, a series of sit-in protests that took place in Hong Kong (HK) in 2014, protesting reforms to the electoral system that would have curtailed the rights of HK citizens to select their candidates for public office. MAP Office deftly records the protests as an assemblage of political, social and biopolitical bodies, activities, objects and spaces. The physical location of the camps on the main throughways of HK, forming a biopolitical infrastructure able to produce a communal reproduction of life, including food, and sanitation, echoing the island – as a protest camp, and the city itself - as a space for communal living.
Chelsea Rae Klein’s My Sweet Love, comprised of a three part video (Won't Stain My Soul, Boko for Bananagrams, and Abundance) addresses gender inequality in education and attempts to disarm the pervasive silencing of women and girls that is the result of the deprivation of the right to education.
SAHMAT and Rahman’s posters draw on India’s secular heritage engaging in important social and political debates. The posters indicative of a grassroots level engagement and activation, provide historical, cultural and political perspective.
Sreshta Rit Premnath’s To Destroy is Also to Make Visible, underlines the rhetoric of the masses with the ink of redaction and witness. The piece uses a video-still of Hindu fundamentalists vandalizing M.F. Husain’s Amadavadni Gufa to think about the status of an artwork at the moment of its destruction and the meanings generated by an image’s evacuated presence.
The exhibition concludes on Sunday, July 31 and will thereafter be exhibited on Hive’s website (www.hivevoices.org) for a limited period.
Hive Voices is a digital publishing platform that focuses on contemporary epistemologies and systems, image making and representation, and social and political action, utilizing these as integral and core functions in the making and remaking of narratives, the social contract and constituent power. Hive is Founder/Editor Renuka Sawhney and Narratives Editor Hira Cheema. (www.hivevoices.org)
MAP Office is a multidisciplinary platform devised by Laurent Gutierrez (1966, Casablanca, Morocco) and Valérie Portefaix (1969, Saint-Étienne, France). This duo of artists has been based in Hong Kong since 1996, working on physical and imaginary territories using varied means of expression. MAP Office projects have been exposed in over 100 exhibitions at prestigious venues including the MoMA and the Guggenheim Museum (New York), the Georges Pompidou Centre (Paris) and the Ullens Centre for Contemporary Art (Beijing), around 30 Biennales and Trienniales around the world with for example five contributions to the Venice Biennale in Art and Architecture (2000, 2003, 2007, 2008, 2010). Their cross-disciplinary practice has been the subject of a monograph, MAP OFFICE – Where the Map is the Territory (2011). MAP Office was the recipient of the 2013 edition of the Sovereign Asian Art Prize. (www.map-office.com)
Chelsea Rae Klein is the recipient of The San Francisco Arts Commission's Individual Artist Commission (2013-2014) and her projects have twice received award from The Zellerbach Family Foundation's Community Arts Grant (2011, 2014). Her work has recently been exhibited with The International ArtExpo in Venice at Palazzo Ca’ Zanardi, at Con Artist Gallery, The Cristin Tierney Gallery and Aperture Gallery in New York and at Select Fair and Art Place Wynwood during Art Basel, Maimi. She has received her Masters in Arts Politics/ Art and Public Policy from Tisch School of the Arts, NYU and a BA in Journalism with an emphasis on photojournalism. She currenlty lives and works in Brooklyn, New York.
Klein's work addresses concepts of the other, violence against women, learned male-role behaviors, the queer body and the body memory including the residual and internalized impact of forced silencing, hiding and violence. Incorporating new, appropriated and archival materials, her work traces invisible histories to reform an identity landscape largely inhabited but widely unseen. Interweaving traditional craft, storytelling and new media, works question dominant social and political constructs by asserting individual and collective memory, spinning a new history that reveals denied voicing and counters static and normative social identity constructs. (http://chelsearaeklein.com/)
SAHMAT Collective / Ram Rahman  has promoted the secular and pluralist culture and traditions of the sub-continent through converts, seminars, workshops, and exhibitions in different parts of the country, and has mounted several protest actions in support of freedom of expression. Animated by the urgent belief that art can propel change and that culture can reach across boundaries, Sahmat has offered a platform for an expansive group of artists and collaborators to present powerful works of art that defend freedom of expression and battle intolerance within India's often divisive political landscape.
Sahmat's projects are defined in part by their consistent stance against the threat of religious fundamentalism and sectarianism—known in South Asia as "communalism"—in public life. Collaborations have cut across class, caste, and religious lines and have involved artists, performers, scholars, and a wide array of other participants, such as the Hindu, Sikh, and Muslim auto-rickshaw drivers in the contest Slogans for Communal Harmony. Projects also have sought to counter political distortions to India's history, most notably in Sahmat's multifaceted response to the demolition of Babri Masjid in Ayodhya. In other cases, Sahmat has sought to celebrate India's cultural diversity and democratic ideals, engaging artists to create work that responds to ideas of national history and individual identity.
Sreshta Rit Premnath has had solo exhibitions at Kansas, New York; Galleryske, Bangalore; The Contemporary Art Museum St. Louis; Tony Wight Gallery, Chicago; Galerie Nordenhake, Berlin; Wave Hill, New York; Art Statements, Art Basel; as well as numerous group exhibitions at venues including Queens Museum, New York; YBCA, San Francisco; Galerie Balice Hertling, Paris; 1A Space, Hong Kong and Thomas Erben Gallery, New York. He is the founder and co-editor of the publication Shifter and co-organizes the ongoing Dictionary of the Possible. Premnath completed his BFA at The Cleveland Institute of Art, his MFA at Bard College, and has attended the Whitney Independent Study Program, Skowhegan and Smack Mellon. He has received grants from Art Matters and the Civitella Ranieri Foundation, and was awarded the Arthur Levitt Fellowship from Williams College. Based in Brooklyn, Premnath is Assistant Professor at Parsons, New York. (sreshtaritpremnath.com)

Monday, June 13, 2016

Peers 2016, a group show of artworks by five recent art graduates @ Khoj Studios from June 16-20, 2016


New Delhi:  Khoj International Artists’ Association presents Peers 2016, a group show of artworks by recent art graduates at Khoj Studios, S-17, Khirkee Extension, New Delhi from June 16 to June 20, 2016 from 11 a.m. to 7 p.m. The critic-in-residence for PEERS 2016 is Satyajit Dave from Maharaja Sayajirao University, Baroda.
Says Promona Sengupta, curator at Khoj: “Peers has been a one of Khoj's pioneering programmes, and this year is the 13th edition of Peers. It is a unique residency model, closely curated for recent graduates and young artists starting their professional careers. The aim of the Peers programme is to provide infrastructure, inspiration and mentorship to emerging artists and art practices.”
Anuradha Upadhyay, an MFA in Fine Arts from Maharaja Sayajirao University, speaks about creating work that consistently references the socio-politics of the contemporary times and deeply engages with her own subjectivity as a woman and feminist politics within the society. For PEERS 2016, Upadhyay is painting mask-like faces on small sculptural objects that will be displayed as part of her other drawings and writings.
Smita Rajmane, an MFA from Shiv Nadar University, is equally articulate about dealing with issues of “being the outsider”. She came to the University from Pune and had to deal with what it was like being one. To add to this, incidents in Dadri (where she has now been living for two years) and JNU inspire the major themes of her work which are surveillance, the gaze, and voyeurism. For her project at PEERS 2016, she has chosen to focus on the Khirkee mosque area and the used threads to measure boundaries of nearly 60 houses in and around the dilapidated site. She will then create metal bars using the same measurements to create a maze-like installation inside Khoj studio.
Kolkata’s Manojit Samanta completed his M.V.A from Government College of Art and Craft Kolkata in 2014 and his visual repertoire borrows heavily from his work as a cartoonist at an illustration firm in Kolkata. His earlier works represent the secluded lifestyles within the clustered urban dwellings. The everyday routine train trips to office and back has exposed him to heavy junk, pressure and extremely crowded situations which in turn has exerted tremendous influence on his composition. For Peers 2016, he exhibits a three-dimensional jigsaw like puzzle of cardboard cut-outs that depict the chaotic, unruly life of Khirkee Extension.
Johnson Kshetrimayum is a resident of Manipur and completed his M.V.A from the Faculty of Fine Art, Maharaja Sayajirao University Vadodara in 2016. In an extremely personal comment on racial discrimination, he talks about incidents of abuse and torment he faced as a student.
Arijit Bhattacharyya, deals with migration and contemporary urbanism. His works are often proposals for design solutions regarding the people living in temporary shelters. For Peers 2016, he has created a leatherite bag that transforms itself into a superhero rubber suit which can be worn during fires.
Peers 2016 has been supported by the Inlaks Shivdasani Foundation.
Khoj Receives support from The Royal Norwegian Embassy.

Ghulam Mohammad Announced as Winner of Jameel Prize 4


Ghulam Mohammad has won the £25,000 Jameel Prize 4 for his five works of paper collage, four Untitled and one with the title Gunjaan (2014). Ayşe and Ece Ege, founders of Turkish fashion label Dice Kayek and winners of Jameel Prize 3, presented Ghulam Mohammad with the Prize at a ceremony at the Pera Museum, Istanbul, on Tuesday 7 June.
The judges felt that Ghulam Mohammad’s work stood out for its excellence of concept and execution. He trained in the Islamic tradition of miniature painting, and, in his diminutive works in paper collage, he developed a medium that reflects that tradition in terms of his approach and the scale on which he works. Yet his practice has a striking character of its own. His craftsmanship is impressive, and it reflects many virtuoso traditions in the Islamic world, especially those associated with calligraphy. His way of working resembles a meditative process, during which he translates real text from discarded books into the language of art. His work is remarkable for its multi-layered meanings, his avowed concern being with the hierarchy of languages in Pakistan and his personal experience of it. The judges were particularly moved by the paradox between the intensity and the modesty of his collages.
Martin Roth, Director of the V&A and chair of the panel of judges, said, “As in previous Prizes, selecting the winner was extremely difficult, given the very high standard of the shortlisted work. Over the four cycles of the Jameel Prize so far, the award has been made to artists and designers at every stage of their creative lives. I am pleased to see that Jameel Prize 4 has been won by such a promisıng young artist at the beginning of his career.”
Mr Fady Jameel, President of Community Jameel International, said “We would like to  congratulate Ghulam Mohammad, the first artist from Pakistan to win the Jameel Prize. Using second-hand books, Mohammed’s intricate collages of paper cuttings of Urdu script pasted on Wasli paper create new meanings and celebrate the great heritage of Islamic art, craft and design. The vision of the Jameel Prize is to promote artists who explore traditional Islamic influences through contemporary art”.

Ghulam Mohammad’s four works Untitled (2014) and one with the title Gunjaan (2014) demonstrate his highly intricate work, taking individual paper cuttings of Urdu script and adding components of gold and silver leaf and ink to complete his collages.
The Pera Museum, Istanbul, Turkey presents an exhibition of works by the winner and the ten other artists and designers shortlisted for the fourth edition of the Jameel Prize until 14 August 2016.  They are: David Chalmers Alesworth, Rasheed Araeen, Lara Assouad, CANAN, Cevdet Erek, Sahand Hesamiyan, Lucia Koch, Shahpour Pouyan, Wael Shawky and Bahia Shehab.
Awarded every two years, the Jameel Prize, founded in partnership with Art Jameel, is a £25,000 international art prize organised by the V&A, for contemporary artists and designers inspired by Islamic traditions of art, craft and design. This is the first time that the Jameel Prize is launched at an external venue and the exhibition will in future rotate between the V&A and guest venues around the world. 
The winner was decided by a panel of judges chaired by Martin Roth, Director of the V&A. The judges are potter Alan Caiger-Smith, Ece and Ayşe Ege, founders of the fashion label Dice Kayek and winners of Jameel Prize 3, Rose Issa, curator, writer, publisher and producer and Hammad Nasar, curator, writer, Head of Research and Programmes at Asia Art Archive AAA), Hong Kong.
Launched in 2009, the winner of the first Jameel Prize was Afruz Amighi for her work 1001 Pages (2008), an intricate hand-cut screen made from the woven plastic used to construct refugee tents. In 2011 Rachid Koraïchi was awarded the prize, for his work Les Maîtres Invisibles (The Invisible Masters, 2008), a group of embroidered cloth banners which display Arabic calligraphy and symbols and ciphers to explore the lives and legacies of the 14 great mystics of Islam. In 2013 the winner of Jameel Prize 3 was Dice Kayek, a Turkish fashion label established in 1992 by Ece and Ayşe Ege for their work Istanbul Contrast, a collection that evokes Istanbul’s architectural and artistic heritage. This was the first time the Jameel Prize was awarded to designers. Ayşe and Ece Ege, are on the judging panel for this year’s prize.
The Jameel Prize is supported by Art Jameel. The prize was conceived after the renovation of the V&A’s Jameel Gallery of Islamic Art, which opened in July 2006 and will be celebrating its tenth anniversary this summer. The gallery is an outstanding presentation of the rich artistic heritage of the Islamic Middle East, and the Prize aims to raise awareness of the thriving interaction between contemporary practice and the great historical legacy of the region. It has also contributed to a broader understanding of Islamic culture as well as its place in the contemporary world.
The Jameel Prize 4 exhibition is curated by Tim Stanley, senior curator for the V&A’s Middle Eastern collection, with Salma Tuqan, the V&A’s curator of Middle Eastern contemporary art and design.
A series of specially commissioned short films on each artist and via designer are available online at www.vam.ac.uk/jameelprize4

An Inner Retrospective by K. Laxma Goud @ Gallery Sumukha


Bengaluru: Gallery Sumukha marks its 20th year since 1996 and are delighted to announce this celebration with the opening of 'An Inner Retrospective', A Solo by K. Laxma Goud, with curatorial inputs from Marta Jakimowicz.
From June 11 to July 16, 2016 (10:30 am to 6:00 pm), Closed on Sundays.
K. Laxma Goud, Born in 1940, Nizampur, present Telangana.
Laxma completed his Diploma in Drawing and Painting from the Government College of Fine Arts and Architecture, Hyderabad (1962) & Mural Designing, Painting & Drawing from Maharaja Sayajirao University of Baroda under Prof. K. G. Subramanyan (1965). He was also invited to set up the Post Graduate Fine Arts College in 1989 (now called the Sarojini Naidu School of Performing Arts and Communication) & retired as a Dean of the school in 2001.
Laxma has exhibited solo's widely in India & Abroad some of the important being Gallery Chemould, Mumbai (1972); Andsell Gallery, London (1973); Surya Gallerie, Friensheim, West Germany (1974); Black Partridge Gallery, New Delhi (1976); Royal Academy, London (1982); Lalit Kala Academy, New Delhi (1985); Gallery Sumukha, Chennai (2008); 'Intaglio Prints 2007', Gallery Space, Hyderabad (2008); Gallerie 88, Kolkata (2009); Art Musings, Mumbai (2011) and others.
He has been part of major group shows some of them namely Sao Paulo Biennale, Brazil (1977); Tokyo International Print Biennale (1977); 'Contemporary Indian Art', Grey Art Gallery, New York (1985); 'Indian Art Tomorrow', The Philips Collection, Washington DC (1986); 'Contemporary Indian Art', The Herwitz Collection, Worcester Art Museum (1986); 'Wounds', Centre of International Modern Art (CIMA), Kolkata & National Gallery of Modern Art (NGMA), New Delhi (1993); 'The Active Line: Five Idioms of Drawing', The Guild Art Gallery, Mumbai (2001); The Naked Line: Drawings by Early Works, The Guild Art Gallery, Mumbai (2003); 'Laxma Goud 40 Years: A Retrospective', Aicon Gallery, New York (2007);12 Artists', Delhi Art Gallery, New Delhi (2006); 'From The Vault', Aicon Gallery, London & New York (2007); 'Anecdotes', Sakshi Gallery, Mumbai (2011) & several others.
His works are part of several important collections both in private & museums all over the world namely Ebrahim Alkazi & Art Heritage, New Delhi; Masanori Fukuoka & Glenbarra Art Museum, Japan; Salarjung Museum, Hyderabad; Peabody Essex Museum, Salem, USA; Sara Abraham Family Collection, Chennai; Griffelkunst, Hamburg, Germany; Chester & Davida Herwitz Collection, USA; National Gallery of Modern Art, New Delhi; Victoria & Albert Museum, London; Delhi Art Gallery, New Delhi; Anju Poddar, Hyderabad & many more.
Laxma Goud has been honoured with several prestigious awards for his immense contribution to art with the most recent being the Padma Shri by the Government of India (2016); Telangana State Award (2015); Prafulla Dahanukar Lifetime Achievement Award (2015); Gagan Abani Puraskar from Viswa Bharati University, Shantiniketan (2013); Gold Medal, Annual Exhibition, Lalit Kala Academy, Andhra Pradesh (1971); Gold Medal, Hyderabad Art Society, Hyderabad (1969); Silver Medal, Hyderabad Art Society. Hyderabad (1968); Annual Exhibition Award, Lalit Kala Academy, Andhra Pradesh (1966-70).
Artist will be present on the occasion.

Thursday, June 2, 2016

Sudarshan Shetty to join the Rolls-Royce Art Programme


New Delhi, June 2, 2016: Rolls-Royce Motor Cars is delighted to announce that Sudarshan Shetty will be the next artist to be commissioned for the Rolls-Royce Art Programme. Shetty is one of the most renowned Indian artists of his generation and is acclaimed for his artistic practice, which includes enigmatic sculptural installations that reflect on urban contemporary life.
Shetty’s new work will take the form of a two-channel film, anchored by two sculptures. The commission will be based on an Indian folk tale and is slated to be presented in Mumbai on November 5, 2016, alongside his existing ‘Flying Bus’ public art project at the Maker Maxity in Bandra-Kurla Complex, Mumbai. The new commission will then move to New Delhi.
Shetty will become the first artist from India to join the Rolls-Royce Art Programme, founded in celebration of the marque’s commitment to creating unique, rare and aesthetically powerful motor cars, which transcend the world of conveyance to become works of art themselves. He has recently been appointed as Artistic Director of the Kochi-Muziris Biennale, which opens in December 2016.
The new commission will take inspiration from a popular South Indian folk tale that is an allegory for artistic expression and the importance of creativity. Two structures will represent the home and public space featured in the story, whilst the film will depict the tale of a husband and wife, at a moment when the wife envisions a story and a song from her breath whilst sleeping.
The sculptures will represent key moments in the tale and will be rigorously handcrafted reflecting the art of craftsmanship. Shown across two screens, the film will convey a sense of unfolding time whilst exploring the narrative as it comes into the world through language and music.
 Rolls-Royce has a shared ethos with the world of art, each Rolls-Royce motor car is Bespoke, commissioned for its aesthetic power out of the finest materials, and has its own story to tell. Therefore, a common philosophy was found between the marque and the artist. Shetty’s work raises the questions about the moment in the creative process of when a story becomes a story and when a song becomes a song.  His belief is that an artist carries a story and it is imperative for him to express it.
 Torsten Müller-Ötvös, Chief Executive Officer, Rolls-Royce Motor Cars, commented, “Sudarshan Shetty has been recognised as one of the most innovative artists in India for his generation. I am delighted to welcome Sudarshan to the Rolls-Royce Art Programme; he is an artist whose work reflects our own striving for perfection. India is an important part of Rolls-Royce’s heritage and it gives us great pleasure that Sudarshan will weave Rolls-Royce into the thriving Indian arts scene.”
 Sudarshan Shetty visited the Home of Rolls-Royce on the Goodwood Estate in West Sussex, UK, to inform the creation of this new work, taking inspiration from the meticulous standards set by the marque’s artisanal craftspeople. The Rolls-Royce commission will enable him to explore new dimensions of his work, including an in-depth exploration of new methods of filming.
Sudarshan Shetty commented, “Rolls-Royce is, for me, a model of craftsmanship and technological advancement. It is a matter of privilege and also a challenge to create a new commission for Rolls-Royce and to be able to try to match its high standards. Through this new commission, I am seeking to find a meeting point between the innovation of Rolls-Royce and my own imagination as an artist.”
Sudarshan Shetty joins Emirati artist Mohammed Kazem as a member of the Rolls-Royce Art Programme for 2016. Kazem has been commissioned to create a sculpture for the Programme which will be presented in late 2016 alongside a Bespoke motor car that has been inspired by the new work. Sudarshan Shetty presented a successful Art Talk in Sydney to coincide with the 20th Biennale of Sydney in March 2016 for the Rolls-Royce Art Programme.

Art and creative endeavour are at the heart of Rolls-Royce and their motor cars are commissioned for their aesthetic power. They are created out of the finest materials at the hands of skilled artisans who, in turn, produce rare, unique and ultimately beautiful automobiles. By creating an Art Programme, Rolls-Royce has formally acknowledged this unique shared ethos with the world of art.
The Art Programme comprises new works commissioned in situ, partnerships with leading organisations, art talks with emerging and established artists, art drives, art walks and art receptions around the world. It fosters creativity and enables artists to realise new projects and to explore new areas of their practice.
To date, Rolls-Royce has worked with leading international artists and key figures from the contemporary art world including: Isaac Julien, Ana Maria Tavares, Morgan Wong, Carlos Rolón/Dzine, Angela Bulloch, Ugo Rondinone, Michael Zavros, Regina Silveira and Will Cotton.

Sudarshan Shetty’s recent solo shows include Shoonya Ghar at the National Gallery of Modern Art New Delhi, Mimic Momento at Galerie Daniel Templon, Brussels (2015), who must write these lines at GallerySke Bangalore (2015), every broken moment, piece by piece at GallerySke New Delhi (2014), the pieces the earth took away at Galerie Krinzinger, Vienna (2012), and Between the teacup and a sinking constellation at Galerie Daniel Templon, Paris (2011). Shetty’s work has featured in major group exhibitions including Passage to India, Staatliches Museum Schwerin, Schwerin (2015), Art Walk: Water, curated by Gayatri Sinha, Europalia India, Liege (2013-14), the Kochi- Muziris Biennale (2012), Paris-Delhi-Bombay..., Centre Pompidou, Paris (2011), Contemplating the Void: Interventions in the Guggenheim Museum, curated by Nancy Spector at the Solomon R. Guggenheim Museum, New York (2010) and in Indian Highway, a traveling exhibit (2009-2012). In 2010, Shetty’s House of Shades, commissioned by Louis Vuitton, was unveiled at Galleria Vittorio Emmanuele in Milan. In 2012, Shetty unveiled The Flying Bus, a public art work at Maker Maxity, Mumbai, a significant public work in the country. He has a project at the 20th Biennale of Sydney curated by Stephanie Rosenthal (2016). Shetty has been appointed artistic director and curator of the third edition of the Kochi Muziris Biennale which will open in December 2016. He lives and works in Mumbai.

Bose Krishamachari to curate inaugural edition of Yinchuan Biennale


Co-founder of the Kochi-Muziris Biennale will provide artistic leadership to biennale in China
Kochi, May 31: Internationally acclaimed artist and co-founder of the Kochi-Muziris Biennale (KMB) Bose Krishnamachari will curate the inaugural Yinchuan biennale in China, shaping the city’s first foray into the global art scene along a roadmap set by India’s only Biennale.
Titled For An Image, Faster Than Light, Krishnamachari has already chosen 40 out of the 80 international artists who will showcase their works within the dramatic environs of the Museum of Contemporary Art Yinchuan (MOCA Yinchuan) from September 9 to December 18, 2016.
The featured artists will explore a range of contemporary issues, in keeping with the breadth of Krishnamachari’s creative vision and the cosmopolitan ethic that is also the hallmark of the Kochi-Muziris Biennale. The extensive and pluralistic list of participating artists includes Ai Weiwei, the iconic Chinese dissident artist; Anish Kapoor, Riyas Komu, co-founder of the Kochi-Muziris Biennale, and Sudarshan Shetty, curator of the 2016 edition of the Biennale in Kochi. 
 Speaking of his curatorial concept, Krishnamachari said, “This biennale in China can postulate different themes, including spiritual and social consciousness, an examination of political narratives and critical global engagement and an acknowledgment of a collective responsibility therein.”
“A light to be seen through art’s eyes. It is indeed a circle in which we seek, from beginning to end, a light to hold within the image of a finger bowl,” he added, noting the potential of a cultural extravaganza to create discourse and frame conflicts confronting the modern world.
The biennale will also see a host of cultural activities like music programmes and seminars on the various aspects of the concept note.
Krishnmachari’s oeuvre includes drawing, painting, sculpture, photography, design, installation and architecture. His works have shaped the direction of contemporary Indian art. He has exhibited in several important solo and group exhibitions in Amsterdam, Norway, Denmark and Rome. He has also undertaken many curatorial projects apart from being the artistic director of the first KMB in 2012.
The Museum of Contemporary Art Yinchuan is the first contemporary museum along the Yellow River in the northwest of China. It is considered among the best new museums in China. Many of the site-specific works will involve artistic residencies in MOCA Yinchuan’s International Artist Village.

Tuesday, May 3, 2016

Invitation for Bruna Rotunno


Exhibition walkthrough by artist Ravi Agarwal | Saturday, May 7, 2016, 12 - 3 pm


MOA interaction Nakul Dev Chawla, Founder and CEO of Global Art Hub



Global Art Hub, an online marketplace for art, presented Art Exhibit 2016 - Masters of Modern Art, a three day(April 8-10, 2016)selling exhibition with more than 100 artworks by 46 masters, including F.N. Souza, Jehangir Sabavala, M.F.Husain, Manjit Bawa, J Swaminathan and SH Raza. With a total sale estimate of IRs 20 Crore this carefully curated selection of works of Modern Indian masters sourced from leading art galleries and private collectors was showcased in a space conceptualized by designer Varun Bahl at Dalmia House, 27 Akbar Road, the iconic Lutyens Delhi residence of one of the capital’s oldest industrialist families. MOA interacted with Nakul Dev Chawla, Founder and CEO of Global Art Hub just before the show opened…


Eminent artist Anjolie Ela Menon at the exhibition
MOA:  Global Art Hub’s three-day exhibition – Art Exhibit 2016 - Masters of Modern Art, with more than 100 artworks by 46 masters, is rather an ambitious one. Tell us more about this show.
Nakul Dev Chawla:
The three day event brought the highest calibre works, from a selection of the best art galleries in an integrated exhibition format, as opposed to presenting individual gallery booths.  In order to  promote discussion and discourse around the art of collecting we also organised a range of talks at the venue by leading members of the arts fraternity including Krishen Khanna and Anjolie Ela Menon to name a few, which lead to debate and conversation around several engaging issues. We had a great response to the works and the format of the event, attracting seasoned collectors and art enthusiasts young and old. 

MOA: The paintings which you are going to display in this exhibition are all from renowned masters. Which are your favourite painters/works in this exhibition?
Chawla:
It's difficult to choose but I particularly like British Raj by MF Husain and Caverns Measureless to Man II by Jehangir Sabavala. 

MOA:  Your total sale estimate is about Rs 20 crore. This is almost the same estimate as the online auctions conducted by a reputed Mumbai auction house. In reality, how much do you think you will be able to sell in these three days?
Chawla:
The difference between this format and an auction is that we have a longer time period to sell and are not confined to 3 days. 

MOA: Are you focusing on domestic buyers or international buyers for this particular exhibition?
Chawla:
We are targeting a range of buyers. We ​aim to bring all the leading galleries of the country onto one platform. Our vision is to create a property which brings together exceptional works and makes them accessible in a physical space whilst also providing online access for buyers worldwide. 

MOA: Any particular reason why you have included only modern art and not conceptual art/artists, which also are in demand?
Chawla:
Our strength is in the Moderns though we will always work with the galleries to show the best of Indian art through our website and events. 

MOA: Tell our readers briefly about Global Art Hub since its inception.
Chawla:
Global Art Hub works with the leading art galleries of the country to showcase the highest quality works ​with impeccable provenance. ​We work closely with them to present a selection of works in an integrated exhibition format. With authenticity and quality as the pillars of our company, ​our aim to provide a unique online market place for art galleries and art buyers​ alike​ in India and globally as well as one off events like this to showcase works in a physical space 

MOA: What does future hold for Global Art Hub?
Chawla:
We are getting a great response so far to this initiative and ​w​e are looking forward to doing more curated events like this to engage with broader audiences in different locations. And of course we hope to continue to build our online presence globally.

Monday, April 18, 2016

Nepalese artist Uma Shankar Shah’s first solo show in the city titled Roti- Beti @ Visual Arts Gallery: April 18-24


New Delhi: Gallerie Ganesha presents Roti-Beti, a solo show of paintings and etchings by Nepalese artist Uma Shankar Shah at Visual Arts Gallery, India Habitat Centre, New Delhi from April 18 to April 24, 10 a.m. to 8 p.m. This is his debut solo show in New Delhi and Shah is also exhibiting an 18-feet long, three-dimensional train installation - in fibre and metal - which will bring alive the whole rail experience for the viewers.
Says 51-year-old Shah, a Fine Arts Lecturer at Tribhuwan University: “Nepalese have been astonished by trains ever since their introduction in India by the British and it became a symbol of a search for new life in the hearts of Nepalese people.”
The establishment of the Indian Railway, which was to be an asset for the British economy at the time, brought about a variety of changes to Indian Sub-continent. Nepal too benefited from this establishment as a number of financial opportunities with India were created. In the Rana regime, trains primarily served a purpose of transporting timber, wheat, jute as commanded by the British. The public was so intrigued by this system that people would climb on top of the goods that such trains carried. People would often travel from Raksaul to Amlekhgunj via train at the time, and crossed the hill Bhimphedi to travel to Kathmandu to get to the temples of Pashupatinath. The Railway system from Jainagar to Janakpur too started carrying people. This was called the Nepal Janakpur Jainagar Railway (NJJR) and was later extended all the way to Bijalpura.
 “While all this was happening and the railway system was becoming a center of attraction for the Mithila region people, I was also fascinated by trains as a kid and every day I would go to the railway station to watch the trains pass by,” shares Shah, born in Janakpur. “My happiness had no limits if I ever had the opportunity to touch those trains. In the 40 years that I have grown up with these trains, I have developed a sense of empathy with them where it feels as if I understand the moods of happiness, sadness, uselessness, loneliness of these machines and this is what I have presented in these works.”

Vadehra Art Gallery Presents Earthen Pot - Image Poems 2016 an exhibition of twenty one drawings by A. Ramachandran


Earthen Pot – Image Poems 2016
A Ramachandran

20 April – 21 May 2016

Monday to Saturday | 11 am -7 pm

Vadehra Art Gallery, D-40
, Defence Colony, New Delhi - 110024
New Delhi: Vadehra Art Gallery is pleased to present ‘Earthen Pot - Image Poems 2016’ an exhibition of twenty one drawings by artist A. Ramachandran. The works were made in North America, on one of the artist’s visits to the country. Ramachandran refers to his earlier series of works on Udaipur and recreates aspects of fertility, memory, through landscapes which were central to the series. Three motifs recur predominantly in the colored drawings: that of the tree and the vitality of nature; the self portrait of the artist as if enveloped inside the womb of the earthen pot; and the woman as the central figure.
His research and keen study of the Barahmasa and Ragamala paintings as well as the mural painting traditions has informed Ramachandran’s works in subtle and yet telling ways. The Ragamala and Barahmasa paintings, known to represent the ragas in Indian Classical Music through the different times of the day and the evocation of different moods during the changing seasons in twelve months of the year - Ramachandran seeks to experiment with the visual dictionaries that these medieval era paintings have created.
The series explores ‘mood’ as evoked visually and through compositions. Balanced, and detailed, the drawings essentially are about a longing and yearning to be in the midst of nature as if dreamt by the artist. The central figure of the woman is again a reference to and a derivation from his earlier works as the symbol of fertility, while different kinds of birds and creatures also add to the mystery of the works. The contrast of colors that defines most of his other drawings and paintings subsides to give way to a subdued color palette which defines the drawings in a much more fluid manner. Filled with textures the details create complex and invigorating body of work.
A recipient of the Padma Bhushan in 2005, Ramachandran has several other prestigious awards to his credit. Some of them include the Raja Ravi Verma Puruskar in 2003 and the National Award for Painting in both 1973 and 1969. As a student at Kala Bhavan in Santiniketan, Ramachandran studied art under masters like Ramkinkar Baij and Benodebehari Mukherjee. The cultural and intellectual milieu of Santiniketan drew him closer to the art traditions of India and other eastern civilizations and it is here that he began his lifelong research on the Mural Painting tradition of temples in Kerala.
Ramachandran initially painted in an Expressionistic style that reflected the angst of urban life, particularly the suffering he saw when visiting the city of Kolkata, but by the 1980s his style had undergone a vital change. From urban reality he moved his focus towards tribal community life, especially the tribes from Rajasthan, whose lives and culture gripped his imagination. The vibrant ethos of Rajasthan and his research on the mural paintings of Kerala influenced his expression. The decorative elements and myths became an integral part of his works and his powerful line along with a greater understanding of colour and form created a dramatic ambience. His sculptures, which he made in the later years, were almost three dimensional translations of his paintings, containing multiple narratives and mythological interpretations.
The artist lives and works at New Delhi

Vasudeo Santu Gaitonde: Sonata of Solitude Launch at the Kiran Nadar Museum of Art


April 2016: Bodhana Art & Research Foundation in collaboration with Kiran Nadar Museum of Art and The Raza Foundation is delighted to announce the book launch of Vasudeo Santu Gaitonde: Sonata of Solitude authored by Meera Menezes and conceptualized by Jesal Thacker on April 22, 2016, at Kiran Nadar Museum of Art, New Delhi. The book has been researched and published by Bodhana Art & Research Foundation with support of The Raza Foundation.
Vasudeo Santu Gaitonde: Sonata of Solitude — The first book in the Sonata three part series includes a preface by Krishen Khanna, a contribution from New York based critic and cultural theorist G. Roger Denson entitled From the Upanishads to the Modernist Painting:  Vasudeo Gaitonde brings India to Global Agora and a biography of the modern master Gaitonde by eminent art scholar and author Meera Menezes.  Through her biography, Meera erases the existing myths about the artist and successfully attempts to produce a factual document on his life and journey including stories known and unknown since his childhood through his formative years in the Sir J. J. School of Art, his struggles and eventually taking leave of the family to permanently settle in Delhi.
 Meera Menezes, Author, commented: "The main reason for my writing this book has been to create a better understanding of the man, his artistic trajectory and his seminal contribution to the idiom of Indian contemporary art."
Later in the year the other volumes will be released as well as a documentary film. The second volume Vasudeo Santu Gaitonde: Sonata of Light authored by Roshan Shahani and Narendra Dengle positions Gaitonde within a watershed moment of contemporary Indian art and the final book of the series Vasudeo Santu Gaitonde: Sonata of Consciousness co-authored by international art critic and cultural theorist G. Roger Denson and eminent architect Narendra Dengle is a comparative study between the oeuvre of Gaitonde and the aesthetics of visual art, the mythology of creation or the cosmogony and varied philosophies that surfaced themselves in the corresponding period world-wide.
The enigmatic life of Gaitonde will be presented in the form of a documentary at the end of the year entitled Vasudeo Santu Gaitonde: Reeling a Sonata featuring an exclusive set of interviews with family, friends like Krishen Khanna and A. Ramachandran as well as close confidantes like Ashok Vajpeyi.  The film expands and exposes the anecdotes that will delight viewers who want an insight into Gaitonde’s life, narrated by his friends and close associates. The film also includes opinion and comment from contemporary artists like Bose Krishnamachari among others.

Monday, April 11, 2016

Gauri Gill | The Mark on the Wall | Preview on April 14, 2016 | 6:30 – 9:30 pm


Padmashri Shobha Deepak Singh’s book launch of Musicscapes (The Multiple Emotions of Indian Music) Curated by Dr Alka Pande

April 8th, 2016 and exhibition until April 14th, 2016 at Visual Arts Gallery, India Habitat Centre, New Delhi
 “Music is the mediator between the spiritual and the sensual life.”
–Ludwig van Beethoven
New Delhi: Indeed the mediator between the spiritual and sensual life stand poignantly captured by Padmashri Shobha Deepak Singh’s lens eye in her spectacular coffee table book compilation, Musicscapes, a rare anthology of 250 photographs of the great Indian music maestros, emoting the multiple emotions of Indian music. Musicscapes follows close on the heels of Shobha Deepak Singh’s Theatrescapes (2014) and Dancescapes (2013). In this final trilogy she turns her unerring eye to the world of music, a world that is very dear to her heart.
What gives Shobha Deepak Singh’s endeavours a winning edge are primarily her injecting her compilations with the passion of a firsthand exposure to the finer nuances of the subject she elects to present. Her mastery over the medium of photography, proximity to the cultural maestros of the country and her complete fearlessness around technology endow her creations with a distinct character. Growing up in a family, that gave passionate patronage to the arts, she found boundless joy in performances by eminent musicians, hosted in her very own home, even benefitting from lessons from some of the masters. Thus, Musicscapes becomes a homage to her deepest and most long engaging love, her passion for music.
The stalwarts, who find pride of pride of place in Shobha Deepak Singh’s, Musicscapes include Abdul Rashid Khan, Ajoy Chakrabarty, Ali Akbar Khan, Amjad Ali Khan, Anoushka Shankar, Ashwini Bhide, Ayaan Ali Khan, Balasaheb Poonchwale, Bhimsen Joshi, Bhuvanesh Komkali, Bismillah Khan, Biswajit Roy Chowdhury, Chhannulal Mishra, Gangubai Hangal, Girija Devi, Umakant and Ramakant, Gundecha, Hariprasad Chaurasia, Jasraj, Kaushiki Chakraborty, Kishori Amonkar, Kumar Gandharva, Mallikarjun Mansur, Manjiri Asnare, Mukul Shivputra, Purbayan Chatterjee, Rahul Sharma, Rajan and Sajan Misra, Rakesh Chaurasia, Rashid Khan, Ravi Shankar, Ronu Majumdar, Shahid Parvez, Shanti Sharma, Shivkumar Sharma, Shubha Mudgal, Shujaat Khan, Sultan Khan, Uday Bhawalkar, Ulhas Kashalkar, Veena Sahasrabuddhe, Vilayat Khan, Vishwa Mohan Bhatt and Zakir Hussain, panning a quarter of a century, capturing myriad moments.
Musicscapes published by Roli Books, was launched by Smt. Shiela Dixit and Sh. Shekhar Sen, Chairman, Sangeet Natak Akademi, at Visual Arts Gallery, India Habitat Centre, New Delhi. An exhibition of 60 photographs of the country's music luminaries, put up by the curatorial expertise of Dr Alka Pande, will be on until April 14, 2016.
Shobha Deepak Singh reflects, “I realised that though the musical notes are the same, Indian music is unique because it is evolved, sophisticated and the melodies are improvised.” She continues, “When I did my first two books Dancescapes and Theatrescapes, I thought I covered the canvas of emotion and motion. But as I looked through many of these photos, I realised that there was SO much-unsung emotion that I thought I was singing with them as I went through these photos. But what classical music does best and continues to do, is to show a kind of transformation of moods, to show a very wide psychological voyage. And I think that’s something that classical musicians have done in an exemplary way.”
Says Dr Alka Pande the illustrious curator of the Musicscapes exhibition, “Just as Shobha Deepak Singh has painstakingly documented them, I have painstakingly selected 43 of these great legends who are resplendent in the images for the purpose of this show. Among them the brightest jewels are Pandit Jasraj, Pandit Ravi Shankar, Ustad Ali Akbar Khan, Pandit Kumarjee, Pandit Bhimsen Joshi, Anoushka Shanker and Pandit Mallikarjun Mansur, all of whom have contributed magnificently to the vocal and instrumental musicscape of India. This is a survey of her work as she captures moments, iconic and unusual, greats rubbing shoulders with greats, candids and portraits. Shobha Deepak Singh, is one of those rare individuals, a consummate artist, whose love for music began even as she was in the womb. It was in her bloodstream even before she was born.
Growing up in a deeply musical family she took great joy in the performances by eminent musicians hosted in their very home, even benefitting from lessons from some of the masters. Thus, Musicscapes becomes a homage to her deepest and most long engaging loves, her love for the arts.”
Musical compositions in the Hindustani tradition are associated with a prevailing mood or emotion. Specific times of day are assigned to specific pieces of music to create the appropriate atmosphere, for example the playing of ragas Bilawal and Kalyan during the night to saturate the mind with the shringara or erotic rasa. The prahar classification divides the day into eight three hour-long divisions, four belonging to the day and four belonging to the night. Our visual journey begins with the first prahar at the brahma-mutra, the vedic start of day, and carries forward the spectator through the various divisions whilst experiencing the stimulating ragas associated with them.”
Says Shanta Serbjeet Singh, “What seems to me to be the most difficult to shoot is the art of the dancer, the musician and the actor. Its fragility and fleeting quality brooks no repetition, no intrusion, no second and third takes, certainly no press of the ‘back’ button to recover that image, so heart achingly beautiful, so profound but now gone forever…
It is this art in which Shobha has specialised, taking pictures that help you recover the magic of that special, solitary live moment when you and the artist were one. In her entirely self-taught journey she has, no doubt, stepped on many toes, some of them acclaimed such as those of Ebrahim Alkazi who presents her current show.”
Quite like Henry Ward Beecher, Padmashri Shobha Deepak Singh through Musicscapes emotes, “Music cleanses the understanding; inspires it, and lifts it into a realm which it would not reach if it were left to itself.”