Wednesday, November 5, 2014

Gallery Espace celebrates 25th year with mega-show on drawings by over 100 artists: Nov 10-28

New Delhi: To celebrate its 25th anniversary this year, Gallery Espace is hosting one of the most ambitious shows ever featuring drawings by over hundred Indian contemporary artists. Titled Drawing 2014: Seven Decades of Indian Drawing, the show is co-curated by Prayag Shukla along with Annapurna Garimella and Sindhura Jois DM from Jackfruit Research and Design, Bangalore, and will be on at The Exhibition Hall, 11, Mansingh Road, Indira Gandhi National Centre for Arts (IGNCA), Mansingh Road, New Delhi from November 10 till November 28, 2014. 11a.m. to 7 p.m.
Artists whose works will be showcased are Jogen Chowdhury, Ganesh Pyne, Bikash Bhattacharya, Ambadas, Ganesh Haloi, K G Subramanyan, Shyamal Dutta Ray, Somnath Hore, Arpita Singh, Meera Mukherjee, Chtrapatti Dutta, Dharamnarayan Dasgupta, Bhupen Khakar, Jeram Patel, Nagji Patel, Jyoti Bhatt, Nasreen Mohamedi, Ghulam Muhamed Sheikh, Nilima Sheikh, Amit Ambalal, Vivan Sundaram, Amitava Das, Manu Parekh, Madhvi Parekh, Himmat Shah, Mona Rai, Manjit Bawa, Shobha Broota, Jai Zharotia, Anupam Sud, Krishen Khanna, Ram Kumar, Jatin Das, K K Hebbar, F N Souza, Tyeb Mehta, Navjot Altaf, G R Santosh, Laxma Goud, K C S Panniker, S G Vasudev, Zarina Hashmi, Prabhakar Kolte, Prabhakar Barwe, Sudhir Patwardhan, Surendran Nair, Siddharth, Anwar Chitrakar, Akshay Rathore, Adip Datta, Anju Dodiya, Atul Dodiya, Bhajju Shyam, Basant Peringod, Dhruvi Acharya, G R Iranna, Jagadesh Tammineni, Jitish Kallat, Lavanya Mani, Meghana Bisineer, Manisha Parekh, Manisha Gera Baswani, Moutushi Banerjee, Mithu Sen, Manjunath Kamath, Mekhala Bahl, Nikhil Raunak, Naini Arora, Nityanand Ojha, N S Harsha, Om Soorya, Riyas Komu, Ravi Kashi, Poonam Jain, Paula Sengupta, Puneet Kaushik, Pratik Prabhakar, Rakhi Peswani, Rakshit Kadlar, Ramesh Pithiya, Shreyas Karle, Sonia Khurana, Snehal Chordia, Sumakshi Singh, Sisir Thapa, Samit Das, Tushar Joag, Umesh Madanahalli, Vibhuti Sharma, Vijay Hagargundgi, Valsan Koleri, Waswo and Rakesh Vijay, Subodh Gupta, Chinan Upadhyay, Rohini Sen, Rollie Mukherjee, Probir Gupta, Birendra Pani, Shailesh, Shanti Swaroopini.
 “Drawing is the foundation of all art and the basis of all disciplines,” says Renu Modi, Director, Gallery Espace. “It was the legendary M.F Husain who introduced me to the finer nuances of drawings and the intimate, small format nature of this genre has remained a personal favourite with me ever since." Gallery Espace held a show on Drawings as far back as 1994 and it’s only natural that its 25th anniversary show should celebrate the genre with greater aplomb. Apart from this expansive show, there will be several collateral/outreach events that will reflect on the significance of drawings in art and other disciplines.
Incidentally, Gallery Espace was started in 1989 by Renu Modi at the suggestion of the Husain himself and was one of the first art galleries in India to introduce variable lighting and sound systems, in recognition of the crucial factor that is the environment within which a work of art is displayed. In a similar vein, Gallery Espace was a pioneer when it came to video installations, going so far as to organize a first-of-its-kind monthly out-reach programme (Video Wednesday I, 2008-09 and Video Wednesday II, 2011-12) in order to bring artists working in new media into the spotlight.
Drawing 2014 will showcase more than 100 artists from India and features works dating from 1947 to the present in which drawing is presented as a broad and inclusive practice. Along with works on single sheets of paper, there will be artists’ books, studies for other projects, multiples, laser drawings, animation and more. This breadth allows curators and viewers to understand how an academic practice moves between the pedagogic and the conceptual realms and between established and experimental ways of working.
Gallery Espace has served as a launch pad for emerging artists of promise (several of whom are now established names in the art world), whose work reflects their individual internal journeys of growth and self-discovery, resulting in a truly eclectic and protean collection. While the focus is predominantly on Indian artists, Gallery Espace has also promoted international artists and recently has diversified into displaying South-East Asian art. Gallery Espace laid the groundwork for curated exhibitions featuring leading art commentators and journalists. Past themed exhibitions like Drawing ’94, Sculpture ’95, Mini-Print ’96, Kitsch Kitsch Hota Hai ’01 and Bronze ’06 have explored different forms of artistic creation. Rather than using exhibitions as a marketing tool, Gallery Espace believes in creating opportunities for growth, showcasing new talent and enriching the world of art in India, thus becoming an important link between artists and buyers, viewers and auction houses.

Vadehra Art Gallery presents A Ramachandran's retrospective at Lalit Kala Akademi

November 4, 2014: Vadehra Art Gallery and Lalit Kala Akademi present an exhibition of major Indian artist A Ramachandran in two parts: A Retrospective: Drawings, sketches and studies 1958 - 2014 and Ekalinji Fantasy: Paintings and sculptures 2009 - 2014

Born in Kerala 1935, Ramachandran studied art in Santiniketan where the cultural and intellectual milieu of Santiniketan drew him closer to the art traditions of India and other civilizations and began his lifelong research on mural paintings of Keralan temples.
Ranesh Ray, Exhibition Curator comments;
“The deep-rooted influences of Kerala combine with a grounding and assimilation of values of Santiniketan in Ramachandran. He embodies the values that formed the foundation for education, in Santiniketan, imbibed from his teacher Ramkinkar Baij and Nandalal Bose. Literature, nature, social and political concerns and people have shaped his views. These are reflected in dynamic expressions of changing perceptions through the decades. The challenge has been to communicate these through an exhibition.”
The Retrospective is structured chronologically and thematically and moves from 1958 to the present and Ekalinji Fantasy presents a body of his recent works. A prolific artist, the selection of nearly 1200 drawings, sketches and studies have been taken from a pool of 5000 works, a telling indicator of the extraordinary scale of Ramachandran’s output. 
Ramachandran’s drawings span 56 years and form invaluable records of his observations that provide the foundations for his paintings and sculptures.  It is perhaps the first time that such an extensive retrospective of drawings and studies of a leading artist have been on show in New Delhi.
The exhibition traces the artist’s journey of creative expression based on observations and influences from life experiences, literature and the essences of developing ideologies. They trace his journey from childhood in Attingal, Kerala (1958) through his student days in Santiniketan, West Bengal (1958 - 1964) and finally to Delhi (1964 to the present).
His mediums for drawing are simple: ink, pencil and watercolour on paper, often in a variety of combinations.  Accompanying the drawings are brief texts by Ramachandran taken from his forthcoming book A Ramachandran: Life and Art in Lines, edited by R. Siva Kumar which will be launched at the start of the exhibition.
Ramachandran’s studies on human suffering, his reflections on social and political environments, often satirical, and his interpretations of literary works and mythology represent some of the facets explored in the exhibition.  His transformation from a socio-political figurative painter to an artist of human life integrated with nature started in the vicinity of Ekalinji, a temple town close to Udaipur in Rajasthan from where he has derived great inspiration. It is from here that he becomes a “magical realist” which he integrates into his art, expressed through metal sculptures and large oil paintings.
A Ramachandran comments: “The large paintings and sculptures are centred around a small temple town Ekalinji, where the ancient ruined temples surrounded by Bhil villages have become a focal point for my work. The changing seasons, festivals and the lives of the tribals have become a recurring motif to recreate a magical realism from a study of this environment.”
Born in the Kerala in 1935, Ramachandran received a Master's degree in Malayalam literature from Kerala University in 1957. He joined Kala Bhavana at Visva Bharati University, Santiniketan to study 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 began his lifelong research on mural paintings of Kerala temples. He joined Jamia Millia University, New Delhi as a lecturer in art education in 1965 and continued to work here for 28 years developing it into a full-fledged faculty of fine art. He retired as a Professor in 1992 to devote himself full time to his creative pursuits. His first solo exhibition was at Kumar Gallery, New Delhi in 1966. Since then, he has held more than fifteen large solo exhibitions of paintings, sculptures, water-colors, graphics and drawings in major Indian cities. These include three retrospective exhibitions in 1978 (New Delhi), 1983 (Mumbai) and 2003 (New Delhi).  

Photo credit: A Ramachandran and Vadehra Art Gallery

BRUNO ART GROUP Presents ISRAELI POP ART @ Visual Arts Gallery: Nov 9-23

New Delhi: Bruno Art Group presents Israeli Pop Art, a group exhibition featuring six leading modern pop artists from Israel. Curated by Motti Abramovitz (Director, Bruno Art Group), the show will be on at Visual Arts Gallery, India Habitat Centre, New Delhi from November 9 to November 23, 2014, 10 a.m. till 8 p.m. Phone @ 43662024.
 Yellow Shirt, 3 D metal art by David Gerstein

The six participating Israeli artists are established international names: Yaacov Agam is celebrated as the father of kinetic art, David Gerstein is known for his vibrant 3-D metal art, Calman Shemi developed the unique technique of ‘window’ and ‘lacquer’ paintings while Dganit Blechner, Yuval Mahler and
Raphael Abecassis are internationally renowned for pioneering a new language in pop art.
Says Motti Abramovitz, Director, Bruno Art Group and curator of the show: “Bruno Art Group maintains a dynamic international program, taking its artists to the world’s leading international art fairs, including MiArt Milan, Estampa Madrid, Art Expo NY, Art Stage Singapore, Affordable Art Fair in Hong Kong and Singapore, India Art Fair and beyond. We have also shown David Gerstein’s solo show in Delhi earlier this year to a fabulous response. In this group show of Israeli pop art, artists experiment with displaying the modern side of Israeli art using innovative techniques and original material. The use of a bright, vibrant colour palette and 3-D methods all contribute in creating a unique art collection.”
Israeli artist Yaacov Agam, 86, who lives and works in Paris is the pioneer of kinetic movement in art and its most outstanding contemporary representative as well as the highest-selling Israeli artist. An outsize kinetic painting done in oil on a wood panel, which was shown at the 1980 retrospective at the Guggenheim Museum, estimated at $150,000 to $250,000, was sold at Sotheby’s in 2009 for the record-breaking sum of $698,000. His art work has been displayed in museums around the world, including the Guggenheim Museum and Museum of Modern Art in New York.  His work plays with colour, form, time and movement which makes his art four-dimensional and fundamentally changes the accepted idea of art as a fixed image. His art constantly transforms and gleans inspiration from sources as diverse as religion and physics.  

Born in 1939, Calman Shemi is an Argentinean-Israeli sculptor and painter who developed two unique techniques of paintings: his ‘lacquer paintings’ and ‘window paintings’. His ‘lacquer’ and ‘window’ paintings are reminiscent of ancient techniques used to create art in Japan and China centuries ago. He graduated from the School of Sculpture and Ceramics in Mendoza, where he was a student of the Italian-Argentinean sculptor, Libero Badii, and the German-Israeli sculptor, Rudi Lehman. In 1961, Shemi settled in Israel. There he worked as a sculptor with wood and clay. Several of his large-scale projects are situated in various public buildings all over the world. Though sculpture dominated his early years as an artist, Shemi developed the idea of the ‘soft painting’ medium in 1977. Beginning with a colour drawing done to scale, Shemi layers irregularly shaped pieces of variously textured and color fabrics. Between 1991 and 2003, Shemi executed artwork for eight of Carnival’s Cruise Liners where he created large paintings for public spaces and paintings for the cabins and suites. 
Born in 1957 in Tel Aviv, Israel, Dganit Blechner studied at the Camera Obscura College of Visual Arts, at the Avni Institute of Arts in Jaffa, and at the Ramat-Gan College for the Art. Dganit got her world-wide reputation for using vivid, bright and cheerful palette of colours in her works, together with extraordinary compositions. The collection consists of icons from movies, singers, and others, related to the world of arts by expressing a unique perspective of urban life. Her collages of cities around the world have won her an exclusive style, which is admired and loved by art collectors all over the world. She is among the first artists to combine video art integrated into a traditional artwork. A variety of techniques are used in her works: prints on different kinds of media, see-through thin fabric, complex laser-cuts on wood and fabric – all with her personal touch and hand work. Blechner works and lives with her family in Tel Aviv, and her artwork can be seen in private collections and galleries around the world.
Born in 1951 in Haifa, Israel, Yuval Mahler studied graphic design and animation at the School of Visuals Arts in New York City. He draws upon a rich supply of wry humor, satire, caricature, and comedy to produce his insightful studies of human behaviour. His paintings explore human relationships under various conditions of life all over the world and sometimes exploring Jewish life. Mahler’s work appeals to the child in us all. He works in a variety of mediums including fiberglass, acrylic, gouache, metal Cutting, 3D lithographs, serigraphs and Giclee. His paintings have been shown in galleries and exhibitions in many countries, including Israel, U.S.A., Canada, Germany and Switzerland. One of Mahler’s greatest achievements is that Swatch Watches chose him from all of the Israeli artists to design their stores in Israel.
Born in Marrakech, Morocco, 1953, Raphael Abecassis immigrated to Israel at age 3. His name means “storyteller” in Arabic, which suits him as his artworks each tell a story. A world-renowned Sephardi artist, he combines Biblical symbols and Sephardic motifs in his work. He started painting at age 21 when he began studying to become an art teacher. He began with a decorative Ketuba (Jewish marriage contract) for his wife and now creates personalized Ketubot for brides and grooms, in addition to his artwork. Armed with a vivid, dynamic painting style, he says that “My mission is to paint today as the old Biblical masters painted hundreds of years ago. I feel I could be the reincarnation of a Biblical painter from previous centuries.” Thousands of images pass through his mind while he’s painting; he captures hidden visualizations from Kaballah (Jewish mysticism) and organizes them into stories or vignettes. He paints with no preparatory sketches; never erases any element, to keep the flow of inspiration alive. This show will have both his decoupage works (an ancient artistic technique of gluing multiple layers of varying media for a unique effect) and mixed media (gouache and collage on cardboard) works.
David Gerstein is considered a pioneer of 3D metal art who also works in a large spectrum of media such as wall sculptures, paper cuts, prints and photographs. Gerstein makes art that speaks to everybody because it is about our daily lives. His art is about good-hearted objects that convey a certain irony and humour, which grows more and more convoluted and yet for him, at least, remains simple and innocent, as it was during his childhood in the 50’s. Gerstein was born in Jerusalem in 1944 and studied in Jerusalem, Paris, New York and London and started exhibiting his work in 1971. He is most famous for his large, Fauve-like outdoor installations, which are very much part of the Israeli landscapes. Says the artist: “My work is characterised by multi-layered, multi-coloured and multi-themed pieces - a perfect fit for India – a nation monumentally rich in vibrancy and colours.”

Tuesday, October 28, 2014

Vadehra Art Gallery presents Atul Bhalla’s latest show Ya Ki Kuchh Aur!

New Delhi: Vadehra Art Gallery presents Atul Bhalla’s latest show, ‘…या की कुच्छ और!’(ya ki kuchh aur!), which opens to the public from November15, 2014, to January 2, 2015. Comprising photographs and videos, the exhibition presents the artist’s continuing dialogue with different environments while addressing issues surrounding water politics, wastage and consumption, and the human disengagement from nature. The show documents works that have been created 2012 onwards focusing specifically on three critical projects in three diverse locations, Inundation in Hamburg, Germany, Deliverance in New Delhi, India and Contestation in Johannesburg, South Africa.
The principal work in the series Deliverance depicts a boat suspended mid-way between the sky and water. Bhalla spent 2013 working with traditional boatsmen to craft a boat with twin rudders, which also led to an extensive documentation of the process and dying culture and craft of the Mallah community. In the image, Bhalla focuses on this frozen moment when the wooden structure is being lowered into the river and will assume its identity as a boat. One could read this image in many ways – that potent moment when an object realises its own identity or equally an immobilized being in a state of eternal suspension, echoing the physical stagnation of the river as it encounters the city. By using images of daily acts, the artist refers to the associated belief systems and processes images that could potentially generate discourse around ecological issues.
A similar referential model is visible in the series Contestation where the artist engages with the South African context. Bhalla spent three months in Johannesburg as part of a residency in 2012 and was struck by the large-scale privatisation of land and resources. He condenses his experiences in a photographic series that documents a white chair located at different points in the landscape. The chair, a metonym of white, male authority, brings into focus the harsh racial history that till date is the reality of this country. Contestation refers to the ongoing issues around land privatisation and ownership, and the violent political and social history of South Africa.
Finally, in the series entitled What will be my defeat? - II, an outcome of the Inundation series, the artist’s conscious placement of his body in relation to the river Elbe generates a visceral, physical experience. Central to Bhalla’s practice is the act of immersion. For Bhalla, immersion is not merely a physical performance but a constant exploration and re-exploration, of a place or an action that facilitates an organic development of the work. In the context of the print series What will be my defeat? – II, the act of immersion takes the shape of the artist becoming one with the city’s cultural fabric and it sites of memory and rituals. In a contrasting manner, the conspicuous absence of the body in the works Inundation I, II, III, leaves the viewer to his own devices when it comes to negotiating with the image and the endless expanse of the river merging into the sea.
Atul Bhalla comments: “My work is in the documentary mode but it is not a documentary itself. Research alone does not work, what is important for me to produce work is engagement. I need to engage with different environments, visit and revisit places and people that I find will lead me to the next step. This is what I mean by immersion again, this constant exploration. Be it the boat making or me carrying a chair around an African landscape, these are very corporeal experiences for me. I need to be there doing it, sometimes again and again.”
Atul Bhalla (b. 1964) is a conceptual artist who has been working with environmental issues for more than two decades. Known for his sustained preoccupation with the eco-politics of water, Bhalla invites the audience to engage directly with urban and metropolitan spaces, particularly water resources in his home city, New Delhi and those that he visits during the course of international exhibitions and residencies. Questioning distribution, regulation, commoditization and pollution of water, Bhalla has over the years explored its physical, historical, spiritual and political significance in relation to the population of New Delhi. His personal negotiation of water provides a stage from which to address larger political issues concerning bodies of water and the urban environment.

Tuesday, October 21, 2014

India Art Fair 2015: Curated Focus Brings Increased Diversity and Enhanced Quality Under One Roof

New Delhi, 20 October 2014: India Art Fair, India’s premier modern and contemporary art fair, is pleased to announce its 7th edition taking place from 29 January – 1 February 2015 (with a VIP Preview by invitation on 29 January). YES Bank is Presenting Partner for the 7th Edition of India Art Fair.
Neha Kirpal, Founding Director, India Art Fair says "India Art Fair has taken stock of the way the world is looking at India and the way in which India presents itself to the world. As more international fairs representing emerging markets are established, the desire for collectors is not necessarily to follow the same artists and galleries around the globe, but to engage at a deeper level with each region. This is the approach that India Art Fair is embracing. It is the approach that brings out the unique offering of India, thereby establishing India’s place on the global art map. In line with the positive trends in the market, the fair presents a balanced range of contemporary, modern and classical art, engaging an increasingly broad audience. There is something for everyone and that is what is needed. India Art Fair acts as a catalyst for progress, driving deeper understanding of the country’s artistic history as well as the latest contemporary work from across India, stimulating dialogue, debate, understanding and interaction not only with art specialists, but with the wider public and collectors of tomorrow.”
Sandy Angus, Co-Owner, India Art Fair commented “In my experience of running art fairs in several emerging markets around the world, I can see that collectors today travel the globe to be able to see art from different regions and have a distinguished experience wherever they may go. The desire is to see fresh new works and art forms from exciting emerging markets. India has a lot to offer in terms of its rich art history and its dynamic contemporary art scene, and India Art Fair is focused on bringing together the broadest representation of quality works in a well curated and presented environment that will appeal to a cross section of collectors and the general visiting public alike.”
India Art Fair remains unchallenged as the most important stage for facilitating dialogue and art trade in the region. 85 exhibiting galleries in a total of 90 booths will showcase a breadth of modern and contemporary art practices including painting, sculpture, new media, installation and performance art.
One significant new element introduced to India Art Fair is the appointment of Girish Shahane as Artistic Director. Directing both the Artistic Projects and the Speakers’ Forum, Shahane will integrate a closely curated artistic programme with the fair itself, bringing a focus to the talks and projects to make them directly relevant to the galleries and artists exhibiting onsite and more accessible for visitors within the context of the fair.
The 2015 Speakers’ Forum will engage the entire range of stakeholders in the visual arts – artists, curators, critics, administrators, academics, gallerists and collectors, as well as covering a wide spectrum of artistic practices. Speakers will include Adam Szymczyk, Artistic Director of documenta, the world’s largest and most prestigious contemporary art exhibition; Dr. Venu Vasudevan, Director General of the National Museum, Delhi; Jeremy Deller, leading artist and creator of the British pavilion at the 2013 Venice Biennale; Sheikha Hoor al Qasimi, Director of the Sharjah Biennale and curator of the UAE pavilion at the next Venice Biennale; and Julian Stallabrass, Professor at the Courtauld Institute London, lecturer and writer on modern and contemporary art.
For the 2015 Artistic Projects an extensive programme spanning the outdoor and indoor fair space will present a range of work from high profile Indian and international artists. Highlights of the programme include renowned French artist Daniel Buren’s massive installation work, supported by the French Embassy in India and specially designed for the art fair facade. This is the first of an annual artist-led facade installation project at the fair. Atul Bhalla is creating a walkthrough maze of turnstiles, an interactive work that is both fun and thought-provoking and Chitra Ganesh and Dhruvi Acharya will create a collaborative painting on site, giving visitors an insight into the processes contemporary artists employ in their work. The painting will unfold over four days from a blank canvas to the finished composition. A further dramatic project comes in the form of Francesco Clemente’s tent installation. For 40 years Clemente, one of the worlds most renowned painters, has collaborated with a range of Indian artisans in Chennai, Orissa, Varanasi and Jodhpur creating his series of tents using a range of techniques such as embroidery, block printing and his own spectacular paintings.
In addition, Presenting Partner YES Bank will be hosting a series of talks and events in the YES Bank Lounge, including conversations with Jeremy Deller, workshops with the Asia Art Archive and book launches for Arpita Singh with Vadehra Art Gallery, and Forms of Devotion with Sushma Bahl and the Museum of Sacred Art.
In a re-calibration of the India Art Fair layout, additional exhibition space has been added to the two main tents, and the permanent structure has been re-commissioned to host the largest ever exhibition in a public space on the history of India’s modern and contemporary art. Presented by Delhi Art Gallery, this comprehensive review will showcase the full range of India’s most important artists.
Along with the new design elements to the fair, this year sees expanded restaurant offerings from Delhi’s most popular venues as well as live music at the fair, all of which will enhance the overall experience for our growing audiences from both India and abroad.
India Art Fair is a trademarked event property owned by Seventh Plane Networks. Its Founding Director Neha Kirpal launched the fair in 2008, and has been instrumental in steering the fair’s unprecedented growth over 6 years into becoming the premier destination for art in the region. In 2011, Neha Kirpal was joined by new strategic partners; Sandy Angus (Chairman of global exhibitions group Montgomery Worldwide which has launched several art fairs around the world) and Will Ramsay (Founder of PULSE Art Fairs, and Affordable Art Fairs). Mr. Angus and Mr. Ramsay are also co-founders of the Hong Kong International Art Fair and bring in their global expertise in exhibitions and events, and the support of a truly global network to India Art. For the 7th edition, YES Bank will be Presenting Partner. YES Bank's association with India Art Fair is part of the Bank's Retail and Wealth Management initiative.India Art Fair is also supported by BMW as mobility partner, ABSOLUT as Associate Partner, and other partners are Panerai, Le Meridian and Conde Nast India.

Monday, October 13, 2014

KNMA presents ‘Visions of interiority: interrogating the male body’ Rameshwar Broota: A Retrospective (1963-2013)

Preview: Monday, 13th October 2014, 6:30 pm
Opens to Public: 14th October – 30th December at KNMA, 145, DLF South Court Mall, Saket, New Delhi- 110017
October 9, 2014, New Delhi. Kiran Nadar Museum of Art (KNMA) is pleased to announce the preview of Rameshwar Broota: A Retrospective, curated by Roobina Karode on 13th October 2014 at KNMA, Saket from 6:30 pm onwards. With an artistic career spanned over five decades now, the retrospective at KNMA will showcase the artist’s works spanning from 1963 - 2013 that transformed and marked a seminal development in the evolutionary journey of the artist.
Rameshwar Broota comments on his retrospective:
“I have come to believe that the amount of effort and commitment towards organizing a retrospective with such huge works  brought together on loan is an incredible exercise which only a private museum can do and the Kiran Nadar Museum of Art  has proved it once again with my retrospective. This is an opportunity for a whole lot of people to see my works as they have seen it only in the few exhibitions that I have done over the last 50 years.”  
Highlights of the retrospective include works from various series created by Rameshwar Broota including the Man Series, and theMetamorphosis series. In the Man Series the artist delineates a prototype of a universal man, one who has withstood various trepidations and challenges put forth by time. Often dressed only in a vest, his nakedness is exposed to the viewer, but what is most overbearing is his loneliness and vulnerability. The Metamorphosis series transports the viewer into a primordial landscape where the surface is layered with a dense carpet of flesh and veins, and at other times, a monolithic phallic structure dominates the picture. WithCounterparts, a series executed in 2009, Broota once again altered the formal structure of his compositions. The dark cosmic void encountered in the previous paintings has been replaced by a pristine white background that further enhances the monumentality of the rendered objects.
A number of awards have been bestowed upon the artist, including: ‘Kala Vibhushan’, All India Fine Arts and Crafts Society, New Delhi (1997); LN Gupta Memorial Award (1988); Senior Fellowship of the Government of India (1987, 88); National Award, Lalit Kala Akademi, New Delhi (1980, 81 and 84); Hyderabad Art Society Award for Graphics (1976) and All India Fine Arts and Crafts Society Award, New Delhi (1973, 75).
Born in 1941 in Delhi, Rameshwar Broota’s artistic career, spanning for almost six decades now, has seen the germination of many novel series and a creation of an immensely inspiring and massive gamut of work. After completing his graduation from College of Art in 1954, Broota began his career as an academic portrait painter but soon realized a pull towards a more intellectual language. His initial works were enriched with symbolic imagery, narrating the socio-economic upheaval the country was experiencing in 1960’s which also marked the end of post-independence Nehruvian socialism.

About Kiran Nadar Museum of Art
The Kiran Nadar Museum of Art, established in January 2010, is India’s first philanthropic museum that creates a site for confluence of modern contemporary art in India. An initiative of the Shiv Nadar Foundation, KNMA aims to instill a deep sense of appreciation for contemporary art by making it accessible to everyone.

About Shiv Nadar Foundation
The Shiv Nadar Foundation ( has been established by Shiv Nadar, Founder, HCL - a $6.3 billion leading global technology and IT enterprise, with over 90,000 employees across 31 countries. Founded in 1976, HCL is one of India's original IT garage start-ups and offers diverse business aligned technology solutions spanning the entire hardware and software spectrum, to a focused range of industry verticals.
The Foundation is committed to the creation of a more equitable, merit-based society by empowering individuals to bridge the socio-economic divide. To that purpose the Foundation is focused on the underdeveloped disciplinary areas in India related to transformational education, creativity and art.
The Foundation set up the SSN Institutions ( in 1996, comprising the SSN College of Engineering (already a highly ranked private engineering college in India), in Chennai, Tamil Nadu. The Foundation has also set up VidyaGyan, a residential leadership academy for meritorious rural children, at Bulandshar and Sitapur in Uttar Pradesh. In addition, the Foundation runs the Shiv Nadar University (, an international multi-disciplinary university with strong research orientation located in Greater Noida in India’s National Capital Region and the Shiv Nadar School (, a network of progressive urban schools across India aimed to provide children with education that creates lifelong learners. The Foundation has also set up the Kiran Nadar Museum of Art (, India’s largest private philanthropic museum in modern and contemporary art with the vision to take art to the common public.

Wednesday, October 1, 2014

The Art Route presents Prarambh, India’s first students’ arts festival at IGNCA from October 9-12

 Ajmer SIngh, Life On A Broken Twig

New Delhi: The Art Route presents Prarambh, India’s first students’ arts festival where over two hundred budding artists will be showcasing their works. Prarambh will feature nearly 350 artworks in mediums as diverse as drawing, painting, printmaking, illustrations, digital art, sculpture, photography, installation, new media and mix media. The show will be held at Indira Gandhi National Centre for Arts, Janpath, New Delhi from October 9 till October 12, 2014, 11 a.m. till 7.30 p.m. Entry is free.
Participating students are from art colleges from across the country, including Kala Bhavan, Visva Bharati University (Shantiniketan); College of Art (New Delhi);   Jamia Milia Islamia University (New Delhi); Faculty of Visual Arts (BHU); Department of Fine Arts (Kurukshetra University); Department of Fine Arts Aligarh Muslim University); Indira Kala Sangeet Visva Vidyalaya (Chhatisgarh); College of Arts and Crafts (Lucknow University); Government College of Arts (Chandigarh); College of Fine Arts (Trivandram); Faculty of Fine Arts (MSU, Baroda); Department of Visual Arts (Silchar, Assam); International Institute of Fine Arts (Modinagar); College of Arts & Crafts (Kolkata), Government Institute of Fine Arts (Gwalior); Government Fine Arts Institute (Indore) and Department of Fine arts (University of Hyderabad)  to name a few. 
Says Lubna Sen, Co-Founder, The Art Route: “Our vision is to create a vibrant artistic environment through a continuous exchange of ideas between communities of different backgrounds. We want to build a platform where artists and individuals from different cultures, geographies and disciplines meet and explore different approaches to the creation of art. We believe art today should be for the masses and thus aim to broad-base public interest in art through education and promotion. With a strong belief that art can contribute to the overall development of the society, we aim to explore various social issues through the medium of visual art.”
Adds Ujjwal Ankur, Co-Founder, The Art Route:Prarambh will be a platform for young students of visual arts to showcase their talent and receive real market exposure. It will provide them hands-on practical experience and prepare them for their future career. Students will have the opportunity to receive critical feedback of their art from peers, experts and public. Through the works of their contemporaries, they will be exposed to a different approaches and philosophies in art.”

Monday, September 22, 2014

Art Alive presents P.R. Daroz | Wednesday September 24, 2014

Celebrating Indigenous Printmaking I Spl. Exhibition at NGMA, New Delhi | September 18, 2014

KNMA opens third and final chapter of Nalini Malani’s major Indian retrospective ‘You Can’t Keep Acid in a Paper Bag’

Chapter III, Nalini Malani: You Can’t Keep Acid in a Paper Bag’
​A Retrospective (1969-2014) in three Chapters
​❖     Thursday, 25th September 2014, Kiran Nadar Museum of Art, 145, DLF South Court Mall, Saket, New Delhi 110017
     Ashish Rajadhyaksha will be in conversation with Nalini Malani at 6:00 pm, before the Opening Preview from 7:00 pm
     Open to Public: 26th September – 30th November 2014
September 18, 2014, New Delhi. Kiran Nadar Museum of Art (KNMA) is pleased to announce the preview of the third and final chapter of Nalini Malani’s first ever Indian retrospective on 25th September 2014 at KNMA, Saket from 7:00 pm onwards. The evening will commence with a conversation between renowned writer and senior fellow at Centre for study of Culture and Society, Ashish Rajadhyaksha and the artist Nalini Malani at 6:00 pm.
After a spectacular year of international exhibits and successes Nalini Malani is back in the country to open Chapter III of the seminal Indian exhibition ‘You Can’t Keep Acid In a Paper Bag’ - a retrospective in three chapters, at the Kiran Nadar Museum of Art. The retrospective has significantly brought home some of the artist’s major installations and international projects that have never been shown in India before along with important material from the artist’s archive spanning  a period of fifty years.
Nalini Malani on her retrospective.
 “Retrospective exhibitions are a landmark in an artist's vocation as they bring together works made sometimes over many decades, and provide an invaluable historical survey for the artist. Memory is the scribe of history.I have been fortunate to have this retrospective in my lifetime and not when I am dead and gone. At KNMA looking at the span of my work from 1969 to 2014 what is revelatory has been the red line that has passed through these 50 years. My concerns in the 60s remain intact till today.”
Highlights of Chapter III include the video/shadow play ‘Transgressions III’ (2001/2014) and a multi-panel painting installation ‘Twice upon a Time‘ (2014), both of which will premiere exclusively at KNMA. This installation, taking up an entire room, is in the style of the reverse-painting for which Malani received international acclaim at the Venice Biennial in 2007. The video/shadow play that combines video projections with rotating reverse-painting have in last 15 years become a global trademark of Nalini Malani’s artistic practice. The international success of this medium helped secure places for her work in premium collections such as MoMA (Museum of Modern Art) New York and the Centre Pompidou in Paris, as well as important exhibitions such as Documenta 13 (2012).
For more than four decades, Nalini Malani has addressed through her experimental art social, political and societal issues surrounding the Indian subcontinent, including the conflict between India and Pakistan, the abuse and rape of women, and the struggle for democracy. Starting out as a painter, Malani was one of the first Indian artists who broke out of the classical painting frame in the late eighties to reach a wider audience, with installations, theatre, ephemeral wall drawings, erasure performances and video/shadow plays. Malani’s intense and committed art reveals her search for the profound certainties of life, of society, of experience-persisting 'evidence', which is encountered and felt.
Nalini Malani’s largest public presentation took place on August 4th 2014 at the Scottish National Gallery in Edinburgh, where she was selected to make a special commemoration project for World War One. The artist projected ‘In Search of Vanished Blood’ in a new avatar, at the Western and Southern wing of the gallery. This large scale work by Malani covered over ten thousand square feet, and has since received significant national and international acclaim.
In addition to this accolade, Malani was also recently awarded St. Moritz Art Masters Lifetime Achievement Award created by Cartier (2014). Other past awardees include Ai Weiwei (2013, China), Oscar Niemeyer (2012, Brazil), William Klein (2011, USA), Ilya & Emilia Kabakov (2010, Russia), Richard Long (2009, England), Robert Indiana (2008, USA). In 2013 Nalini Malani won the Fukuoka Prize for Art and Culture.
Born in 1946 in Karachi, Undivided India, Nalini Malani secured a Diploma in Fine Arts from Sir JJ School of Arts, Bombay (1969) and the French Government Scholarship for Fine Arts to study in Paris from 1970 to 1972. In 2010 she was conferred an Honorary Doctorate in Fine Arts from the San Francisco Art Institute.
About Kiran Nadar Museum of Art
The Kiran Nadar Museum of Art, established in January 2010, is India’s first philanthropic museum that creates a site for confluence of modern contemporary art in India. An initiative of the Shiv Nadar Foundation, KNMA aims to instill a deep sense of appreciation for contemporary art by making it accessible to everyone.
About Shiv Nadar Foundation
The Shiv Nadar Foundation ( has been established by Shiv Nadar, Founder, HCL - a $6.3 billion leading global technology and IT enterprise, with over 90,000 employees across 31 countries. Founded in 1976, HCL is one of India's original IT garage start-ups and offers diverse business aligned technology solutions spanning the entire hardware and software spectrum, to a focused range of industry verticals. The Foundation is committed to the creation of a more equitable, merit-based society by empowering individuals to bridge the socio-economic divide. To that purpose the Foundation is focused on the underdeveloped disciplinary areas in India related to transformational education, creativity and art.
The Foundation set up the SSN Institutions ( in 1996, comprising the SSN College of Engineering (already a highly ranked private engineering college in India), in Chennai, Tamil Nadu. The Foundation has also set up VidyaGyan, a residential leadership academy for meritorious rural children, at Bulandshar and Sitapur in Uttar Pradesh. In addition, the Foundation runs the Shiv Nadar University (, an international multi-disciplinary university with strong research orientation located in Greater Noida in India’s National Capital Region and the Shiv Nadar School (, a network of progressive urban schools across India aimed to provide children with education that creates lifelong learners. The Foundation has also set up the Kiran Nadar Museum of Art (, India’s largest private philanthropic museum in modern and contemporary art with the vision to take art to the common public.

Saturday, August 23, 2014

Wednesday, August 13, 2014

G for Gandhi Opens in Bengaluru on August 14, 2014

Late Bimal Dasgupta's show of watercolours titled Innerscapes @ Gallerie Ganesha

Sublime Landscapes of a Recluse Mind: Innerscapes by Late Bimal Dasgupta @ Gallerie Ganesha from August 14 till September 22
 New Delhi: From afar, they look like a series of Rorschach inkblot cards, but look closer and they cease to be the any such psychological test cards. These are the most delicate watercolours by late artist Bimal Dasgupta who had mastered the technique of abstraction to perfection. Around twenty of these paintings are being exhibited in a show titled Innerscapes at Gallerie Ganesha, E-557, Greater Kailash II, New Delhi from August 14, 2014 till September 22, 2014, 11 a.m. to 7 p.m. Phone@ 29217306.
Fondly known as Bimal da, Dasgupta was known for his fantasy-inspired, highly introspective landscapes. Says Shobha Bhatia, Director, Gallerie Ganesha: “An unsung master of ethereal landscapes, Bimal Dasgupta died in a car crash in 1995 at the age of 78 and one has seldom seen his works since. It is in this context that the upcoming show at Gallerie Ganesha holds great significance.”
In his depiction of landscapes which are abstracted and highly stylised, signs of human habitation or suggestions of old structures and ruins are also noticeable. Or, in the midst of green and grey forests and wild growths, an illuminated face of Devi - in fine red line – peeps through. Such dreamy, fantasy-inspired landscapes were his oeuvre for many decades – whether it is trees in full bloom, or stony boulders inspired by ruins of Tughlakabad. His canvases abound with great mountains and forests of lost geological epochs, huge floating icebergs as well as miniature flowers and fossil impressions of the ferns of a lost millennia.
Dasgupta began the journey with watercolours as a student of art in Kolkata. His student years were spent with an uncle in Behrampore when he joined the Government Art School, Calcutta in 1937 but could not complete the six year course due to financial restrictions. It’s been said that his parents discouraged him to become an artist and since there was no money for buying colours and canvases, he did several part time jobs to fund his art education. He painted landscapes that gave full rein to his penchant for nature and its fanciful shapes and colours, with the ocean being an endless source of fascination. In fact, his first lesson in art was in the form of creating animal motifs with tamarind seeds in Behrampore which shaped him as a landscape artist of the future. Several of his paintings are surrealistic and abstract in his depiction of the teeming life underwater.
Dasgupta’s abstract paintings are a sublimation of his visual experience, transmitting the power that commands the seas, the sky, the woods, the green grass, or the stark ridges. In each of his works, there is a juxtaposition of the horizontal and the vertical which showcases a consummate artistry over his medium of watercolours. Irrespective of its external identity, the image grows into a harmonious whole. The artist’s dexterity converts mass into transparency, prosaic idols into poetry. The most remarkable aspect of his art is that it reflects the true Indian ethos, one strong enough to assimilate tradition and modernity.
Dasgupta felt that the decorative elements of his works or his material success were incidental. Standing before a dreamy mountain scene, one does not look either for the mountain or the monetary value of the piece. Each painting is like an encounter with an inner reality where there is no action, no pontificating. The only criterion is the ultimate truth. Earlier in his career as an artist, Dasgupta had also worked in oils and acrylics. He had to give up oils, when he developed an allergy to turpentine and linseed oil. Thereafter, he took up acrylic. But his preferred medium always remained watercolour.
He is quoted to have once said, “I believe if an artist has mastered one medium, he can work in the others as well. I paint only when I am in the mood. The colours are always there in my heart, an unseen power in the background drives me to put them down on canvas.”
Later, he also taught at the Delhi Art College and moving slowly, but surely, from realistic images to the completely abstract, Dasgupta used textural changes and sharp-defined colour schemes, making his landscapes come alive with shifting shapes and barely visible forms. The Lalit Kala Akademi conferred a National Award on him in 1956 and a fellowship in 1989. In 1961 he was given a Government scholarship for a six month stay in Europe.

Thursday, August 7, 2014

Photography Exhibition by Asian Photography from August 16 to 26, 2014, at Piramal Gallery

KNMA invites you to a talk by Amar Kanwar on his work The Lightning Testimonies, Friday August 8, 2014

Tagore's art remembered in distant Slovenia

 An exhibition of prints of selected paintings by Tagore and his contemporaries begins on Thursday, his death anniversary, in Slovenia.
 The anniversary of the passing away of Indian Nobel laureate Rabindranath Tagore will be remembered in Slovenia from August 7, his death anniversary, to Sep 4, with a unique exhibition of prints of selected paintings by Tagore and his contemporaries —— provided by the National Gallery of Modern Art in New Delhi.
The exhibition displays representative works of Rabindranath, Abanindranath and Gaganendranath Tagore, along with those of Abdur Rahman Chughtai, Jamini Roy and Amrita Sher—Gil.
The uniquely curated exhibition will be on display at the house of culture in the world heritage village of Smartno in the municipality of Goriska Brda on the western border of Slovenia with Italy, according to a statement issued by the Indian embassy in Slovenia.
The village of Medana in the municipality of Goriska Brda was the natal home of poet and jurist Alojz Gradnik, who was the most prominent translator of Tagore’s works into the Slovenian language from 1917 onwards.
Gradnik’s translation of “Gitanjali” into Slovenian was published from Ljubljana in 1924. The memory of Gradnik is kept alive by the international festival of poetry and wine at Medana every August and by the “Gradnik evenings” in November each year.
This is the first time that the memory of Tagore is being so honoured in the birthplace of his major Slovenian translator after Tagore visited Yugoslavia in 1926. Slovenia, a country of two million people in Central Europe, is one of the breakaway countries of the original Yugoslavia.
By 1926, the Indian Nobel laureate’s works, translated by Gradnik and others, had generated an unprecedented response in Slovenia. Slovenian identification with Tagore and his people derived from a perceived common goal of striving for political and cultural independence.
“One of Tagore’s aphoristic poems has been carved into a signpost in the mountains above the town of Polhov Gradec. Maribor city has installed a bust of Tagore in a central park,” said Sarvajit Chakravarti, the Indian ambassador to Slovenia, and the brain behind the exhibition.
The Slovenian ministry of education, science and sports hosted the first commemorative concert of Rabindra Sangeet in Ljubljana on Tagore’s birth anniversary May 7 this year. The municipality of Maribor also hosted an exhibition of prints of paintings by the three Tagores.
Following the widespread influence of Indian spiritual ideas in the West, British art teacher Ernest Binfield Havell attempted to reform the teaching methods at the Calcutta School of Art by encouraging students to imitate Mughal miniatures. Havell was supported by Abanindranath Tagore, a nephew of Rabindranath Tagore. Abanindranath painted a number of works influenced by Mughal art, a style that he and Havell believed to be expressive of India’s distinct spiritual qualities, as opposed to the “materialism” of the West.
The mantle of the Bengal school was taken up by Santiniketan, a university focused on the preservation and uplift of Indian culture, values and heritage, which Rabindranath Tagore established. It included the art school Kala Bhavan, founded in 1920—21.

Saturday, July 5, 2014

Sky by Samit Das in Chennai

Pradeep Puthoor: New Paintings

Pradeep Puthoor: New Paintings
Opening on Saturday, July 5th, from 6 to 8 pm.
Exhibition continues to Saturday, August 2nd.

New Delhi: Nature Morte is pleased to present a solo show of new paintings by Pradeep Puthoor.
In fabulous, mural-size paintings, Pradeep Puthoor seems to suggest a meeting of art, computer science, and biological engineering. Sumptuous colors come together into evocative forms that hover between anatomical elaborations and botanical follies. Iridescent vessels contain a myriad of pulsating, vibrating creatures: hothouse flowers, internal organs, robotic insects, nuclear paramecium, alien genitalia. The artificial illumination within these paintings can be a day-glow moonlight or the electrified, blinking neon of the Las Vegasstrip. With over-arching structures and containers of organic grids, the works also feel like urban mega-structures, orbiting space colonies, and hypothesized internet communities. Puthoor’s works are paintings to swim in and get lost, to drown in their luscious complexities.
Born in 1965 in Puthoor, Kerala, Pradeep holds a BFA from the Collegeof Fine Artsin Trivandrumand has received a Fellowship from the Pollock/Krasner Foundation in New York. He lives and works in Trivandrumand has had solo shows at the Noble Sage Gallery in London, the ShrishtiArtGalleryin Hyderabad, and the Museum Art Galleryin Trivandrum.

Tuesday, June 24, 2014

Experimenter announces a stellar line-up of curators who will be participating at the 4th edition of the Curators’ Hub on July 25-26, 2014, in Kolkata

Experimenter Curators’ Hub
25th & 26th July 2014
In continuation with its commitment to curatorial practice, Experimenter Curators’ Hub (ECH) will take place this year on July 25-26, 2014.
Started in 2011, the Experimenter Curators' Hub has over the last three years emerged as one of the most significant, critical engagement with curatorial practice in the country. ECH is a platform to discuss, debate and present the most contemporary thought behind curating exhibitions in today's context. Curatorial practice in India is at a crucial juncture and it is important to talk about its current state and its future development, especially through conversations between curators who are pushing the boundaries of contemporary art.
The Hub also acts as a platform for exchange of thoughts, views & possibilities of collaborations between the curators, between public and private organizations and the various institutional frameworks that coexist in the art world. The hub will have two days dedicated to individual presentations of the 10 curators’ own practice and its development with specific focus on exhibitions curated in the last two years. The final day of the event will culminate in an open session where artists, thinkers, collectors, writers, other curators, filmmakers, gallerists and other individuals from the arts will interact with each other to take the conversations productively forward.
The fourth edition of the Experimenter Curators Hub spread over 2 days will be dedicated to intense individual presentations by the 10 curators, describing their own practice and its development with specific focus on exhibitions curated in the last three years. The aim is to comprehend the theoretical aspects of the process of curating while discussing their challenges and concerns. At the end of every day, will be one open session each where the presenters get into discussions and with the active participation of the audience, take the conversations productively forward.
The participating curators are Adam Szymczyk, Alexander Koch, Eungie Joo, Grant Watson, Pooja Sood, Ranjit Hoskote, Riyas Komu, Shuddhabrata Sengupta, Yuko Hasegawa and Magdalena Ziolkowska. A short biography of each curator is attached below.

Experimenter Curators’ Hub will be held between 11am – 7pm on both 25th & 26th July at Experimenter – 2/1 Hindusthan Road, Kolkata 700029. The Experimenter Curators Hub is being presented in association with Pro Helvetia – The Swiss Arts Council. Supported by British Council, Polish Institute, Japan Foundation, Goethe Institute and Sharjah Art Foundation. The hospitality partner for the Hub is The Park, Kolkata and Take on Art is the media partner.
Curator’s Profiles:
Adam Szymczyk (1970)
Adam Szymczyk (born 1970 in Piotrków Trybunalski, Poland) is Artistic Director of documenta 14 and until the end of this year Director and Chief Curator at Kunsthalle Basel. He was a co-founder of the Foksal Gallery Foundation in Warsaw, at which he worked as Curator from 1997 till 2003, when he assumed his new post in Basel. At Kunsthalle Basel, he organized exhibitions including Piotr Uklanski: Earth, Wind and Fire (2004); Tomma Abts (2005); Gustav Metzger: In Memoriam and Lee Lozano: Win First Don't Last Win Last Don't Care (both 2006); Micol Assaël: Chizhevsky Lessons (2007); Danh Vo: Where the Lions Are (2009); Moyra Davey: Speaker Receiver (2010); Sung Hwan Kim: Line Wall (2011); Paul Sietsema and Adriana Lara: S.S.O.R. (both 2012), as well as group shows including Strange Comfort (Afforded by the Profession) (with Salvatore Lacagnina, 2010), How to Work/How to Work (More for) Less (both in 2011). In 2008 he co-curated with Elena Filipovic the 5th Berlin Biennial for Contemporary Art under the title When Things Cast No Shadow and in 2012 he curated Olinka, or Where Movement Is Created at Museo Tamayo in Mexico City. He is a Member of the Board of the Museum of Modern Art in Warsaw. In 2011, he was recipient of the Walter Hopps Award for Curatorial Achievement at the Menil Foundation in Houston.
Alexander Koch (1973)
Alexander Koch studied visual arts in Dresden and Leipzig (1994–99) and taught at the Leipzig art academy until 2005. He has worked as a curator and editor on various exhibitions and publications. Koch is a frequent lecturer and author - the dropping out of art, the economic and institutional transformations within the art world, and the societal significance of artistic practices have been main concerns in his theoretic writings. In 2003 he co-founded the Galerie Jocelyn Wolff in Paris, and in 2008 he co-founded KOW, a Berlin based gallery specialised on socially oriented art, representing international artists like Santiago Sierra, Franz Erhard Walther, Alice Creischer, Clemens von Wedemeyer, Chto Delat? and others. Since 2008 he is co-initiator and chairman of the NEW PATRONS program in Germany, which he also initiates in Africa since 2013: in Nigeria, Cameroon and South Africa. More countries will follow in 2014 and 2015.  
Eungie Joo
Eungie Joo is curator of the forthcoming “Sharjah Biennial 12: The past, the present, the possible” (5 March-5 June 2015) in the United Arab Emirates. From 2012 – 2014, Joo was Director of Art and Cultural Programs at Instituto Inhotim, Brumadinho, Brasil. She was Keith Haring Director and Curator of Education and Public Programs at the New Museum from 2007-2012, where Joo spearheaded the Museum as Hub program; commissioned the monthly seminar Night School by Anton Vidokle (2008-9); edited the volume Rethinking Contemporary Art and Multicultural Education (2009); and published the Art Spaces Directory(2012), a guide to over 400 independent art spaces from over ninety-six countries. Joo was curator of the “2012 New Museum Triennial: The Ungovernables”and served as commissioner of the Korean Pavilion at the 53rd Venice Biennale in 2009, where she presented “Condensation: Haegue Yang.” Joo was founding Director and Curator of the Gallery at REDCAT, Los Angeles, from 2003 to 2007, where she developed residencies and exhibitions by SUPERFLEX, Damián Ortega, Sora Kim, Apichatpong Weerasethakul, Kara Walker, and others.
Grant Watson
Grant Watson works as a freelance curator, writer and researcher internationally and (part time) as Senior Curator at the Institute of International Visual Arts in London. Recent projects include there search collaboration International Practice with Iaspis (Sweden) Casco (Holland) and Raw Material (Senegal) looking at experimental structures developed by artists to connect internationally, Tagore Pedagogy and Contemporary Visual Cultures with Goldsmiths College (London)the touring exhibition Social Fabric investigating links through textiles between Britain and India, and the Exhibition Keywords: Art Culture and Society in 1980s Britain at Tate Liverpool. As curator at the Museum of Contemporary Art Antwerp (M HKA) 2006 – 2010 his projects included the exhibitions Santhal Family Positions Around an Indian Sculpture, Cornelius Cardew and Textiles Art and the Social Fabric. He was previously the Curator of Visual Arts at Project in Dublin between 2001 and 2006 where he focused on solo commissions from contemporary artists. Watson has worked with Indian art since the mid 1990s researching this subject for Documenta 12. Watson studied Curating and Visual Cultures at Goldsmiths College London where he is currently a PhD candidate, he is ‘Researcher in Performance’ with If I Can’t Dance (Amsterdam) developing the two-year interview project How We Behaveand is Visiting Professor at the Dutch Art Institute (Arnhem).
Magdalena Ziółkowska
Magdalena Ziółkowskaholds a PhD inArt History, is a curator and graduate of the Institute of Art History, University of Warsaw, School for Social Research in Warsaw, and Curatorial Training Programme (de Appel arts centre, Amsterdam, 2006/07). Between 2006–10 she worked as guest curator in Van Abbemuseum, Eindhoven where she realised such projects as Notes From the Future of Art. Selected Writings of Jerzy Ludwiński (2007) and Andrzej Wróblewski. To the Margin and Back (2010), both accompanied by publications. Since 2008 she work in Muzeum Sztuki in Lodz where she initiated and curated a number of projects and publications, among them international platform for researching Central- and Eastern European practices Art Always Has Its Consequences (2008–10), Working Title: Archive (2008–09), individual show by Sanja Iveković. Practice Makes the Master (2009), Eyes Looking for a Head to Inhabit (co-curator, 2011), Hüseyin Bahri Alptekin. Facts, Incidents, Accidents, Circumstances, Situations (co-curator, 2013–14). In 2013 she was the editor of the anthology of texts by the artist Zbigniew Dłubak Teoria Sztuki Zbigniewa Dłubaka. In 2012 she co-founded Andrzej Wróblewski Foundation ( – a NGO devoted to develop and popularise the knowledge about life and work of one of the most inspiring and remarkable post-war Polish artist. Beyond the solo show Andrzej Wróblewski. Constantly Looking Ahead (National Museum, Krakow 2012–13), the Foundation co-published recently with Adam Mickiewicz Institute a bilingual monography Avoiding Intermediary States. Andrzej Wróblewski (1927–1957), worldwide distributed by Hatje Cantz. Her research and writing focus on history of exhibitions and display, artists' writing and post-war museology.
Pooja Sood
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Pooja Soodis a founding member and Director of Khoj International Artists Association and an independent curator, she was appointed Artistic Director and curator of 48C and lives in New Delhi. Sood has Masters in Art History and Business Management. She is a Chevening scholar [on the Clore Leadership programme, UK 2009-2011].From 2000-2010, she was the Regional Coordinator of the global Triangle Arts Trust, UK, where she researched and facilitated the establishment of independent not for profit visual art organizations in Sri Lanka, Pakistan, Bangladesh and Nepal called SANA( South Asian Network for the Arts). She was appointed Artistic Director and curator of 48C. Public Art. Ecology, a public art project across 10 public sites in New Delhi commissioned by the Goethe Insitut and GIZ New Delhi in December 2008. She was Curator of the Apeejay Media Gallery, the first dedicated space for new media in India from 2002-2007 and of the Eicher Gallery from 1994-1998. She is also the Director of the programme. ( She curated KHOJ LIVE08, a week long live arts Festival in March 2008. She has co curated the exhibition “Have we met?” with curators from Indonesia, Japan and Thailand for the Japan Foundation in 2004. She was invited to curate a video art exhibition for the Musee D’ Ethnographie in Geneva in 2004 and was a guest curator for InteractiveA03 , a video art festival in Mexico in 2003 and the Freewaves Media Festival in Los Angeles, USA., 2004.

Ranjit Hoskote
Ranjit Hoskote is a cultural theorist, curator and poet. With Nancy Adajania, Hoskote is co-author of The Dialogues Series (Popular, 2011), an unfolding programme of conversations with artists. With Maria Hlavajova, he is editor of Insurgent Publics: A Critical Reader in Contemporary Art (BAK, forthcoming 2014).
Since 1993, Hoskote has curated or co-curated 30 exhibitions of contemporary art, including two monographic surveys of Atul Dodiya, a lifetime retrospective of Jehangir Sabavala (National Gallery of Modern Art, Bombay and New Delhi, 2005-2006), a historical survey of Indian abstraction, Nothing is Absolute (with Mehlli Gobhai; CSMVS/ The Prince of Wales Museum, Bombay, 2013), and a contextualisation of 150 years of art by Parsi artists within the narrative of an emergent Indian modernism, No Parsi is an Island  (with Nancy Adajania). Hoskote co-curated the 7th Gwangju Biennale (Korea, 2008) and was curator of India’s first stand-alone national pavilion at the Venice Biennale (54th edition, 2011). Hoskote was also co-convenor, with Maria Hlavajova, Boris Groys and Kathrin Rhomberg, of the exhibition-conference platform Former West Congress: Documents, Constellations, Prospects (Haus der Kulturen der Welt, Berlin, 2013).
Hoskote has been a Fellow of the International Writing Program, University of Iowa (1995), an Associate Fellow at Sarai/ CSDS, New Delhi (2006-2007), and writer-in-residence at Villa Waldberta, Munich (2003), Theater der Welt, Essen/ Mülheim (2010) and the Polish Institute, Berlin (2010). Jointly with Nancy Adajania, he has held a research residency at BAK/ basis vooractuelekunst, Utrecht (2010; 2013). Hoskote sits on the academic advisory board of the Asia Art Archive (Hong Kong); the international advisory board of the 1st Bergen Triennial (Norway); the advisory board of the Jehangir Nicholson Art Foundation (Bombay); and the programme advisory board of the Haus der Kulturen der Welt (Berlin).
Riyas Komu (1971)
Riyas Komu is a multi-media artist and an activist working towards developing the art infrastructure in India. His critically acclaimed political works have been exhibited extensively in India and abroad, which include several key works that focus specially on the political and cultural history of Kerala. His works are part of the larger narrative of the making and unmaking of artistic influences and also reflects the current issues in global context. In 2007 he was one of two artists from India to be selected by curator Robert Storr for the 52nd Venice Biennale. Have participated in Jogja Biennale, Indonesia. Exhibitions include shows at the GEM Museum for Contemporary Art (The Hague, The Netherlands, 2009), The Astrup Fearnley Museum of Modern Art (Oslo,Norway, 2009), the Shanghai Museum of Contemporary Art (Shanghai, China, 2009) and the Gwangju Emerging Asian Artists Exhibition (Gwangju, Korea, 2010). Solo exhibition, „Safe to Light‟ in Iran (Azad Art Gallery, 2010). Significant works focusing on football include “Mark Him”, with the Indian National Football Team and “Left Legs” with the Iraqi National Football Team (2008/2010). His works were recently showed at Tel Aviv Museum of Art, Israel and the Centre Pompidou, Paris, as part of their “Paris-Delhi-Bombay” exhibition. Solo shows include, Ambulance 2002, Faith Accompli 2004 - 2005, Systematic Citizen 2007, Related List, 2008. Subrato to Cesar 2010.
Shuddhabrata Sengupta
Shuddhabrata Sengupta is an artist and curator with the Raqs Media Collective and an independent writer. The hybrid practice of the Raqs Media Collective (formed in 1992 by Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta) sets itself apart through its insistence on occupying a ground that is as expressively poetic as it is rigorously analytical. Raqs follows its self-declared imperative of 'kinetic contemplation' to produce a trajectory that is restless in terms of the forms and methods (sound, image, video, text, object, gesture) that it deploys even as it achieves a consistency of speculative procedures. Raqs enjoy playing a plurality of roles, often appearing as artists, occasionally as curators, sometimes as philosophical agent provocateurs. Their work has been shown at - Documenta, the Venice, Istanbul, Taipei, Liverpool, Sydney and Sao Paulo Biennales, amongst others. Centre Pompidou (Paris), Tate Britain (London), Art Unlimited (Basel), Mori Museum (Tokyo), SALT (Istanbul) and at the Hayward and Serpentine Galleries (London), amongst others. They curated 'The Rest of Now' for the 7th edition of Manifesta in 2008, Sarai Reader 09: The Exhibition at the Devi Art Foundation, Gurgaon in 2013 and INSERT 2014 at the Indira Gandhi National Centre for the Arts, New Delhi in 2014.
Yuko Hasegawa
Yuko Hasegawa is Chief Curator of the Museum of Contemporary Art, Tokyo (MOT) and Professor of the Department of Art Science, Tama Art University in Tokyo.Since 2008, Yuko has been a member of the Asian Art Council at the Solomon R. Guggenheim Museum (New York). She is Artistic Director of Inujima Art House Project (2011-present) and Curator forArt Basel in Hong Kong Encountersto be held in May 2014.Her recent projects includeBUNNY SMACH– design to touch the world (2013),ARCHITECTURAL ENVIRONMENTS for TOMMORROW (2011)at Museum of Contemporary Art Tokyo, and Trans Cool Tokyo(2010-11) at Singapore Art Museum. At the 21st Century Museum of Contemporary Art, Kanazawa where she was appointed as Founding Artistic Director, she curated Matthew Barney: Drawing Restraint (2005). She was Curator of 11th Sharjah Biennial (2013), Artistic Advisor of 12thVenice Architectural Biennale (2010), Co-Curator of 29th São Paulo Biennial (2010), Commissioner of Japanese Pavilion of 50th Venice Biennale (2003), Co-Curator of the 4th Shanghai Biennale (2002) and Artistic Director of the 7th International Istanbul Biennial (2001). Her publications include ‘Modern Women: Women Artists at the Museum of Modern Art,’ Museum of Modern Art, 2010, pp334-351 and ‘Kazuyo Sejima + Ryue Nishizawa: SANAA,’ Phaidon Press, 2006.