Monday, November 30, 2015

Range Opens its Doors with Soft City

December 19, 2015– January 30, 2016
Press Preview – December 16, 2015, 6-8 p.m.
Range, 54, Lower Range, Kolkata 700019
Kolkata: Soft City, the premiere presentation at Range, puts forth a series of exploratory musings on Kolkata.

A work by Rajib Bhattacherjee
To thus turn to the city as a subject remains a longstanding convention among new artistic undertakings. Much like them the current presentation is also undercut by questions about what ‘new’ thing can be said about a city that has so often been the subject of art. This aspiration for novelty is shared by all makers of art. In her attempts to create the artist must continue to grapple with the knowledge of doing and saying what has certainly been done and said before. For how can the intensely repeatable experiences of the human condition, the basis of all art, be recast and revisited in ways entirely unique?
The city too thrives on the idea of the new. It is relentlessly re-imagined therefore its landscape remains ever-changing. Cities are malleable, both as an idea and a place. We mould it in our own image, remaking and recasting it into forms we can inhabit. It changes because we change, we change because it does. This circular, dynamic relationship between the self and the city is at the core of Soft City.
Like many of us the eleven contributing artists in the show dwell in and on the city. As a result the history of the city they portray is often a personal history. The spaces they depict or are inspired by are personal spaces. Given this intimacy the hints of disenchantments sting with ferocity. The whisperings of future imaginings, nostalgic reminiscence are riddled with anxiety and longing. The city is so very familiar it can be imagined to house the unfamiliar without alienating us. The works displayed glimpse at and peek into it from various vantages, from above and under. But even as they dig away at the city to uncover secrets unknown, sights unseen, the revelation turns out to be the comfort offered by what one knew was always there.
In his 1974 book ‘Soft City’ Jonathan Raban described the experience of living in a city as an art. Only through the vocabulary of art can the peculiar relationship between man and material in the context of urban living be described, he had concluded. The present exhibition is an attempt at capturing this incessant creative play between the two. Tellingly the works displayed are almost all monochromatic, portraying perhaps the tonal uniformity of the city today. Or perhaps the parameters of colour are found inadequate for describing the visual experience urbanity. These contradictions and ambiguities the exhibition holds up, it is hoped, will serve as a challenge to the univocality of the designed urban spaces we encounter in the present context.
Contributing artists at the exhibition include Jayashree Chakravarty, Debnath Basu, Adip Dutta, Aditya Basak, Chandra Bhattacharya, Chhatrapati Dutta, Debashish Barui, Pankaj Panwar, Rajib Bhattacherjee, Sanjeet Chowdhury and Srikanta Paul. The exhibition opens on the December19, 2015, and
will continue till the January 30, 2016. The gallery will be open Monday to Saturday from 11 a.m. to 7 p.m. For further details, press related queries, requests for visitor or student walk-through kindly write to or call on +91 9830049825.

KNMA Talk Series: A talk by Tushar Joag followed by a conversation with Anita Dube | Thursday, December 3, 2015, 6:00 pm | KNMA, Saket

Achia Anzi solo exhibition at 24 Jorbagh with Outset India

New Delhi: Outset India is pleased to announce, ‘The Silent Call of the Earth’ a solo exhibition by Achia Anzi at 24 Jor Bagh, New Delhi.
On view from December 2 to 27, 2015. “In the shoes vibrates the silent call of earth, its quiet gift of the ripening grain and its unexplained self-­refusal in the fallow desolation of the wintry field.”— Martin Heidegger.
Every object possesses its own aura and mystery. By simply existing, each object reveals something that cannot be revealed through science or even philosophy. To paraphrase German philosopher, Martin Heidegger, it is the ‘thingness’ of the object that remains its secret, one that is shared and revealed, only if you spend time with it. Then you may hear some of those secrets whispered to you in the abandoned room, with the metronome ticking softly and the parking meter, transported from foreign lands, standing still in time.
Israeli artist, Achia Anzi, has taken over the Gujral Foundation house at 24 Jor Bagh, that has played host to Sonia Khurana and Raqs Media Collective, as part of an ‘open studio’ project. It is here that he stages his artistic interventions. He has quoted the incongruent and the surreal to create a dialogue around the changing significance of the earth in relation to mankind, as an investigation into ‘what is art and how we can re-discover its wonderment.’
Anzi has drilled holes into the floors and walls resembling secret routes of transit, tiles were excavated and crushed to create a crackling sound when one treads upon them in the dark evoking fear, surprise and wonderment. Shooting out of a void around the stairwell is a 20-foot brick kiln chimney that ends just short of the ceiling. It creates an air of claustrophobia and brings to mind the brick industry that leaches the land of its fertility.
The exhibition can be described as a laboratory of sorts where Anzi has experimented with various objects, like the kiln, the disused parking meter, an excavated gas marker and a large rectangular structure that hangs in the centre of one of the rooms. Made of gobar and mitti, (cow dung and mud) it is an unlikely chandelier of sorts.
Meanwhile outside in the garden, metal rods ‘grow’ in a patch of overturned earth, replacing the fields of wheat, rice and barley that are usually cultivated on agrarian pastures. Through this work Anzi addresses the tug between settled and developed cities and the rural life of agrarian society. He does so while examining mankind’s changing relation to earth which, as mentioned earlier has its own innate quality that perhaps we tend to ignore or overlook.
Politically Anzi, who lives and teaches in Delhi, has been engaging with movement between borders, the journeying of sand bags across the boundaries of India and Israel the dislocation of stones and earth, all which then becomes part of his artwork. In his recent exhibition at Threshold Art Gallery Anzi’s solo The Land of Nod, dealt with the navigation of dreams, between states of sleeping and waking, travelling and remaining still. In those works his focus was on his own journey as a migrant diaspora from Israel, living in a state of self imposed exile in India.
Now he turns his attention to the objects touched in the process of moving and living. He enquires into their innate significance. In this process Anzi quotes heavily from the 1930’s German philosopher whose seminal work "The Origin of the Work of Art" (“Der Ursprung des Kunstwerkes”) guides many of Anzi’s ponderings over art.
In his treaties Heidegger explains the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which "that which is" can be revealed.
It is this act of revealing that Anzi has been engaged in and hopes to share these revelations with his viewers.
Born in Israel, 1979. Achia Anzi did his MFA & BFA in Sculpture from the University of Rajasthan, in 2004- 2010, Diploma and BA in Urdu Honors, from The National Council for Promotion of the Urdu, in 2008. He also obtained MA in History of Art from the National Museum Institute, New Delhi, 2011 and has been living in India for the last 10 years.
His first solo was “Peaceful be your return O lovely bird, from warm lands back to my window…” at Gallery Threshold, in March ’12. The artist deals with the spiritual crisis (besides the political and the Social) Israel is experiencing and also his own personal feelings towards the place he hails from. Many in Israel claim that the Zionist dream is over, that now one stands on a different point, which could be called post Zionism. The Artist desires to reflect again, through his sculptures, on those old ideals and vision, not in order to reawaken them from their eternal sleep but as a gesture of mourning and longing. He uses  iron, plaster, tin sheet and scrap materials for his sculptures and sculptural installations. The works are crude, coarse as to convey feelings of pain and destruction. His second solo exhibition “Land of Nod“ was at Gallery Threshold, New Delhi in January 2015.
Select group shows are, Artist House, "Nimrod Descendants", curated by Gideon Ofrat, Jerusalem, Israel, 2011. "Lost Sparrow", Threshold Gallery & India Habitat Centre, New Delhi, India, 2011. Graduates Exhibition, University of Rajasthan, Jaipur, India, 2008. Graduates Exhibition, University of Rajasthan, Jaipur, India, 2008.
Select publications, articles and books in Hebrew are: Manto Short Stories in Editing, HaKibbutz HaMeuhad, translation from Urdu into Hebrew, 2011. Goddess of the Mountain: Goddess Gohna Celebrations, NRG Online Magazine, Daramkut, India, 2010. Freestyle Monks: Indians End the Cumbamelah, NRG Online Magazine, Haridwar, India, 2010. Ritual Bathing & Chai, NRG Online Magazine, NRG Online Magazine, Haridwar, India, 2010. What Do You Know? The Sufi Mystic is not in search of Knowledge, NRG Online Magazine, India, 2009. The Poet that Drowned in the Sea of Love (with translation of Hazrat Ameer Khusrau from Urdu and Persian), NRG Online Magazine, India, 2008. The Holy Revolution (with translation of Kabir from Hindi), NRG Online Magazine, Israel, 2007. When The Israeli met The Other, YNET Magazine, Israel, 2007.
His Residencies and Awards include: Administrative Office Assistant at The Sufi Saint School for Promotion of Hindu-Muslim Inter-religious Education & Support of under-privileged children, Ajmer, India, 2006. Indian Sculpture (Shiva) Order, Erez Israel Museum, Tel Aviv, Israel, 2009. Supported Residency at Jawahar Kala Kendara studio, Jaipur, 2007. Product Designer & Developer at the Jaipur Sculpting Studio Workshop, Jaipur,India, 1998. Israeli Defence Force Leadership Award, 2006-08.
Achia is a visiting Professor of Hebrew at Jawaharlal University and lives and works in Delhi.
Please join us for the private preview and opening reception of Legacy of Photojournalism: The Deepak Puri Collection at the Harrington Street Arts Centre in Kolkata.
Produced as part of Tasveer’s 10th anniversary celebrations, this exhibition includes a selection of works from thirty photographers, including internationally acclaimed seminal photojournalists such as James Nachtwey, Sebastião Salgado and Raghu Rai, to name but a few. Enabled by Deepak Puri’s generous donation to the Museum of Art and Photography (MAP, Bangalore), of one of the most important archives of 20th century journalism in the country, this exhibition will make the collection available to public view for the first time.
Representing the heart of Time Asia for a whole host of people, Deepak Puri, its iconic photo-editor for many years, was a wizard who made the impossible real, and ensured that the world saw the work of many photographic geniuses. His collection of photographs that includes the work of some of the best practitioners of the documentary aesthetic, is a sign of both friendship and gratitude to a true legend who enabled their work and touched their lives.
Bringing together a range of images made historically momentous not only by their content, but also their style, this exhibition not only re-emphasises the role of photographs as socio-historical documents, but also revisits the power of the still image and its affinity for story-telling — that cornerstone of the best of photojournalism.  

The Other Self. Solo Exhibit by Seema Kohli. Jehangir Art Gallery, Mumbai

Achia Anzi @ Outset , 24 Jorbagh on 2nd Dec'15

Saturday, November 28, 2015

Gayatri Sinha in Conversation with Riyas Komu

Riyas Komu's work on display at the India Habitat Centre, New Delhi.
Photograph: Anoop Kamath

Thursday, November 26, 2015

Chemould Prescott Road presents Archana Hande's I am a Landscape Painter opens on December 3,2015

I am a landscape painter
Archana Hande
December 3, 2015 - January 6, 2016
Chemould Prescott Road, 3rd floor, Queens Mansion | G. Talwatkar Marg | Fort, Mumbai 400 001 India | Call: +91 (022) 22000211 / 12
Mumbai: Chemould Prescott Road is pleased to present its forthcoming solo, I am Landscape Painter by Archana Hande, previewing on the December 3. The exhibition opens to public on December 4.
Hybridity. Exchange. Migration. These words coalesce around the human stories Archana Hande explores through mixed media in her upcoming show I am a Landscape Painter. A suite of photographs, videos, watercolours and textiles created as part of her travelogue, meanders through the journey of human identity impacted by geographical borders shifting in response to trade: be it from the port cities of Bombay and Calcutta, the Indian Ocean or from the cities across the Silk - Salt route and the Goldfields trail in Australia.
The Golden Feral Trail in Western Australia is narrated through Hande’s conversations with an ‘Afghan’s’ daughter, Dimple. Dimple’s concerns about her dubious heritage reflect today’s hesitation towards the Other. We live our deepest fears through Dimple’s dialogues with Archana.
The Salt-Silk Route traverses through parts of India, Pakistan, Nepal and Tibet, continuing the ‘Afghan’s’ journey across the trading communities which dot this area from the 12th century.
Textile mills in Bombay, Patola makers in Patan, merchant travelling in Tibet to salt trading in Nepal, complete the route.
Finally, Mumbai and Kolkatta are observed as ports for goods and humans, where the Cameleers Abdul and Akbar culminate in Hande’s memories.
The topographical contours of the earth reflect these in the form of digs, mines, hills; all of which hide and narrate stories. Collecting these stories made Archana Hande realize that she always wants to be a landscape painter, with or without borders.
Archana Hande (b) 1970, Mumbai. In 1986-1991 Archana completed her B.F.A, Printmaking at Visva-Bharati, Santiniketan and completed her M.F.A Printmaking at M.S. University, Baroda in 1993.
She has held several solo exhibitions from 1998 to 2014 with Gallery Chemould / Chemould Prescott Road, Mumbai; Lakeeren, The Contemporary Art Gallery, Mumbai; Sumukha Art Gallery, Bangalore; Jawaharlal Nehru University, New Delhi; Nature Morte, New Delhi; Z2O Galleria, Italy; International Art Space, Perth WA, Australia; LLCCA Laverton Outback Gallery, Laverton, Western Australia, Perth WA, Australia and the Dr Bhau Daji Lad Museum, Mumbai.
Selected exhibitions, and workshop include The Edge of Desire: Recent Art in India, Art Gallery of Western Australia, Perth, Australia; Asia Society and Museum, New York, Tamayo Museum, Mexico City; Museum of Contemporary Art (Marco), Monterrey, The University of California, Berkeley Art Museum and Pacific Film Archive, USA and the National Gallery of Modern Art (NGMA), Mumbai & New Delhi, India 2004-07 (Travelling exhibition); Art Circus, Yokohama Triennial, Yokohoma, Japan 2005; India Express, Helsinki City Art Museum, Helsinki, Finland; Rethinking Nordic Colonialism / A Postcolonial Exhibition', Project in Five Acts (Kuratorisk Aktion) for NIFCA, Nordic Institute for Contemporary Art, Finland; India Bollywood and Living Gods, The Museum of Far Eastern Antiquities, Stockholm, Sweden; Horn Ok Please, Narratives in Contemporary Indian Art, Kunstmuseum Bern; Tales of Patachitrakar & Victoria TV, Gävle Konstcentrum, Sweden and 007 Gallery, Oslo 2007; Farewell to Post-Colonialism, The 3rd Guangzhou Triennial, Guangdong Museum of Art, China; Gunjifa', International portfolio exchange project, Contemporary Indian Art, La Casa Encendida, Madrid, Spain 2008; So Close Yet So Far Away, Incheon Women Artists’ Biennale, Incheon Art Platform, Korea; Screening of An Epic, Museum of World culture, Gothenburg, Sweden 2009; SAMTIDIGT’, (concurrent), Kulturhuset, Stockholm, Sweden; Shadow Lines, Biennale Jogja XI 2011; Equator #1: Indonesia meets India, 2011; SAMTIDIGT, Helsinki City Art Museum, Helsinki, Finland; Against All Odds: A Contemporary Response to the Historiography of Archiving Collecting and Museums, India, 2011; Project Cinema City, Co-curated with film maker Madhusree Dutta, National Gallery of Modern Art, (New Delhi, Bombay, Bangalore) and FTII, Pune, India; Berlinale, Berlin, Germany; Social Fabric, Iniva (Institute of International Visual Arts), London, UK; Lunds Konsthall, Lund, Sweden; The Dr. Bhau Daji Lad City Museum, Mumbai, India; To Let the World In: Your Democracy, HIlmarfestivalen, Steinkjer, Norway; Trajectories: 19th -21st century printmaking from Pakistan and India, Sharjah Art Museum, Sharjah, UAE, Aesthetic Bind - Cabinet Closet Wunderkammer, 50years Chemould Prescott Road 2014, DonneXDonne, Galleria del Cembalo in Palazzo Borghese, Rome, Italy; Continuing traditions (Safar-Nama: journeys through a Kalamkari hanging), Indian Museum Kolkatta, India, 2014; One and one make eleven, Contemporary Art From India, Kunsthaus Langenthal, Switzerland; Continuing Traditions, Les Traditions Perpetuelle, Musee de la Toile de Jouy, Versailles, France; spaced 2: future recall, Western Australian Museum, Perth, Australia, 2015.
The artist lives and works in Bombay, India.

Vadehra Art Gallery opens second solo show by BV Suresh Chronicles of Silence (Khamoshi ki Daastan)

Chronicles of Silence (Khamoshi ki Daastan) by B V Suresh
Curator: Pushpamala N
December 3 – 31, 2015| Monday to Saturday | 11 am - 7 pm
Vadehra Art Gallery D-53, Defence Colony, New Delhi 110024
November 2015, New Delhi: Vadehra Art Gallery is proud to present the exhibition Chronicles of Silence (Khamoshi ki Daastan) by artist BV Suresh. The exhibition will be on view from December 3 till 31, 2015. Chronicles of Silence (Khamoshi ki Daastan) is an intermedia installation by BV Suresh curated by Pushpamala N, a well-known artist herself. This is Suresh’s second solo at the Vadehra Art Gallery, where he will be presenting an array of multimedia sculptures that have come to define his works.
In his second solo at the Vadehra Art Gallery in Delhi, BV Suresh transforms the gallery space into a spectacular if dystopian landscape of the contemporary, creating a veritable ‘Animal Farm’ of grunting and snuffling pig noises, radio speeches, kinetic machines, crashing weights, radars and laser beams. The sculpture of an albino peacock presides over the whole thing, a blanched version of the national bird: the picture of an ‘outsider’ whose body is washed by the colors of hypnotically flickering video images while bits of cotton and feathers fly around. The work reflects with anger upon the place of the farmers, the minorities, the dispossessed and the outsiders in our world today.
Mechanized cotton gins, cotton beaters, torn garden nets, and modified versions of agricultural grain separators filled with feathers tumble, beat and rotate, casting great shadows on the walls. A hundred old radios placed on a bed of cotton blare forth the talks of the Leader, alternating with interviews of farmers. The old fashioned radio, famously close to the farmer and known to broadcast agricultural programmes chatters on its own - activated by sensors, oblivious of distress. Banks of scarecrow-like figures fitted with speakers make obscene porcine noises. The white peacock is overwhelmed again and again by brilliant landslides of cotton heaps, while weights crash down with raucous shrieks. The installation pulsates like a satirical ‘sound and light show’ about darkness.
For more than a decade B V Suresh has been intensely engaged in reflecting on the place of the minorities, dispossessed and marginalized in his paintings, videos and installations. In 2006, this resulted in a major exhibition Facilitating the Beast held at Vadehra Art Gallery in Delhi which was a large installation around the metaphor of burnt bread, addressing the communal violence of 2002 in Gujarat. In the present exhibition, some of the burnt bread loaves made nine years ago in a local bakery are preserved in resin in little glass houses, and hung up with other miniature houses containing landslides of florescent saffron. Suresh as ‘artist-chronicler’ collects and distils these memories of the unspeakable.
For additional information, images or an interaction with the spokespeople please contact T: +919899598586
Event: Artist Talk by B V Suresh
Event Title: Mapping the Show: 'Chronicles of Silence (Khamoshi Ki Daastan)'
Date: 4th December 2015, Friday | 6 pm
Venue: KHOJ Studios, S-17 Khirkee Extension, New Delhi.
Event Information: Vadehra Art Gallery in collaboration with KHOJ International Artists' Association will be presenting an artist talk by B V Suresh. The talk will present the developments in BV Suresh's practice: across painting, video & installation. He will be discussing the varying dimensions that emerged in his work through the multi-media approach: technical explorations, critical negotiations and interventions between the materials and concepts. Presented in conjunction with the artist's solo show, 'Chronicles of Silence (Khamoshi Ki Daastan)' at Vadehra Art Gallery, which opens on December 3, 2015, the talk will map his recent work in the show.
B V Suresh is a rather elusive artist: though always seriously engaged in art making, his solo shows are rare. One of India's important artists Suresh works like a poet, creating intense metaphors out of ordinary objects. His paintings, installations and videos are adventurous in scale and intent. With their strong imagery and technical mastery, they make unambiguous statements about contemporary life, society and politics. Suresh was born in Bangalore and studied painting at Ken School of Art in Bangalore (1978) and completed his diploma and post-diploma at the Faculty of Fine Arts, Maharaja Sayaji Rao University, Baroda, in 1985. He later went on to do an MA in painting at the Royal College of Art, London, on an Inlaks Scholarship where he studied under Peter De Francia and Ken Kiff (1987). His artistic life extends beyond studio practice into teaching, theatre design and children’s book illustration. BV Suresh is Assistant Professor of Painting at the Faculty of Fine Arts, Maharaja Sayaji Rao University, Baroda and lives and works in Baroda. His work has been shown in important exhibitions in India and internationally.

Solo show | Astonishing Expendables | Anjaneyulu.G | November 20-December 3, 2015 | India Fine Art Gallery| Mumbai

Monday, November 23, 2015

Pond Near the Field: Five artists from Kerala in KNMA Noida

K.P. Krishnakumar | K.M. Madhusudhanan | Surendran Nair| C.K. Rajan | N.N. Rimzon
November 24, 2015 – March 30, 2016
KNMA Noida, Plot 3A, Sector 126, Noida.

‘Pond near the field’ suggests a place within a place, a setting, a social space for conversations and a resting spot; it speaks of magical stories, of nymphs and ghosts. Taking the title from N N Rimzon’s work, this exhibition layers these suggestions with specificities such as College of Fine Arts, Trivandrum and a peer group.
This exhibition brings together drawings, prints, collages and diaries of five artists who were alumni of the College of Fine Arts, Trivandrum, Kerala: K.P. Krishnakumar, N.N. Rimzon, Surendran Nair, K.M. Madhusudhanan and C.K. Rajan. The five artists were among the first few batches of this new Art
College formed in 1975, which was the first of its kind in the state. Rebelling against the outdated ideals of modernism and teachers from older generation, these artists along with fellow students were involved in a series of longdrawn strikes and agitations against the college authorities. The exhibition aims to reflect on the history of change and resistance in the academic pedagogy that were formulating among the youth of Kerala in the 1980s. It focuses on the generation inspired by Marxism, and followed the idea of commune, some of which attempts are now considered monumental in history of modern art such as the formation of Kerala Radical Painters’ and Sculptors’ Association.
The period from the early to mid1970s was also the time when the state of Kerala witnessed much political unrest, particularly with the extremist Marxist Leninist Maoist faction becoming a crucial political force.
Coupled with the unstable state of the nation with the declaration of national Emergency (1975-1977) by the then Prime Minister Indira Gandhi, paved the way for critical questioning and political articulation of these artists. The search for a new language and idiom to address these social issues became the driving force for creating such an artistic milieu. Late most of these artists went to Kala Bhavan, Santiniketan and Fine Arts Faculty Baroda for higher studies, continuing the correspondence with the subsequent batches.
The seminal 1987 exhibition ‘Questions and Dialogues’ of Kerala Radical Painters and Sculptor’s Association held at the Faculty of Fine Arts in Baroda brought together the works of K.P. Krishnakumar, Jyothi Basu, K. Hareendran, C. Pradeep, C.K. Rajan, Alex Mathew, M. Madhusudhanan, Pushkin E.H., K. Reghunadhan, K.R. Karunakaran and Anita Dube. A manifesto denouncing the commodification of art and challenging the privileged position of the middle class urban intelligentsia in artmaking accompanied this exhibition. The brief span of Kerala Radicals until its dissolution with Krishnakumar’s tragic death in 1989 forms the backdrop and undercurrent of ‘Pond near the Field’.
On one side the exhibition ‘Pond near the Field’ showcases Surendran Nair’s portraits of many of these Kerala Baroda artists, along with the larger group of classmates and friends including K.V. Sasikumar, Ashokan Poduval etc., done during the college years in Trivandrum and Vadodara. The simple daily act of sketching and drawing, observing ones surroundings and the persona of friends and family, studies get etched with acts of wit, humour and the absurd that Surendran packs into the realm of the everyday. This peer group, in this medley, acting within their environment offers nascent friendships and vulnerabilities, intellectual exchange, and discovering/reading cinema and literature together. While on the other side it exhibits works of three artists from Radical Artists’ Association– K.P. Krishnakumar, C K Rajan and K.M. Madhushudhanan–coupled with works of N.N. Rimzon who was also in close interaction with the informal group, and attempts to revisit the ideas and utopias presented by these artists.
The exhibition proposes to articulate this radical mix of political understanding, comradeship and artistic ambition. Presented together for the first time, these 200 works, pushes one to look through and analyse the shared vocabulary, conceptual premises, the wit and humour in the works of these five artists. C.K. Rajan’s series ‘In Search of Utopia’ (1989-90) painted onto the back of flattened out cigarette packets, hints at these utopias and aspirations of these group of artist idealists. He repositions everyday material (such as cigarette packets and household objects), twisting and playing with their cause effect relationship. The exhibition also includes Rajan’s extraordinary set of 40 collages from the series ‘Mild Terrors’ made between 1992 and 1996 with images gathered from newspapers and magazines. These collages offer commentaries on the social and political events, capturing the changes that took place in India during the first few years of economic liberalization, the aggressive pace of development within cities, and the growing social disparities.
The artist responds to a visual world that seems to have become unreadable due to startling, often uncomfortable juxtapositions, where the preindustrial, industrial and postindustrial coexist.
K.P. Krishnakumar’s powerful brush and ink drawings take us closer into his internal world that is exploding with beastman, minatours, imps, silhouettes, often inscribing himself within it, in the act of making art. Made mostly around 1982-83, there is an immediacy of asserting ‘self’ in these drawings as they point at elements and study notes for his later sculptures. The setting of many of these drawings is an artist’s studio, with maquettes, covered sculptures and models all around. According to Anita Dube (fellow artist and ideologue of Kerala Radical Artists’ Group), “Before leaving Trivandrum for Santiniketan, he (Krishnakumar) set himself the task of executing 100 drawings within a month, which he exhibited. Everything that instantly translated his emotion and thought, attracted him. These were also demonstrations of his intellectual and physical vitality, important ingredients in the construction of a heroic masculinity.”
K.M. Madhusudhanan is a highly regarded filmmaker on the international scene. His work confronts India’s film history, colonial period and contemporary war politics, with influences from Marxism and Buddhism. In his series of 60 drawings ‘The Logic of Disappearance: A Marx Archive’ (2014) is a dialogue with the historical personages like Karl Marx, Vladimir Lenin, and Joseph Stalin who appear as fragments from a certain past, yet perhaps they also point accusatory fingers at the turbulence of the neoliberal present, from Ukraine to the Middle East. It alludes to the fall of Soviet Union in 1991, following which enormous communist leaders’ statues started falling in many places. The backdrop of these drawings is the continuously shifting position of those bronze statues. Madhusudhanan explains, “There was a lighthouse on the shores of my birthplace; these drawings have been created as image fragments made visible by its sweeping light.” The series has been exhibited at the second edition of KochiMuziris Biennale (2014) and the 56th Venice Biennale (2015).
N.N. Rimzon’s artistic vocabulary is drawn from archaic motifs such as the earthen pot, the shell, stone and mountain that allude to ideas of fertility, departure, healing and violence. His drawings in the exhibition provide the mystical setting for an imaginary and metaphorical ‘remeeting’ of this peer group: rural landscapes with a compound, palm tree, shrines, ponds and fields under starry nights, while an ascetic/devotee or a traveller responds and animates it. Exhibition also includes N.N. Rimzon’s diaries from early 1990s onwards that provide insights into his process and sketches of some of his important sculptural installations.

Site Specific Installations by Pradeep Mishra in Mumbai

 Mumbai has a dialectical relation with the sea. It is at once abundant and scarce, a saviour and curse, an element of purity and contamination. We are engulfed by a bounty of water bodies that find their way into the very structure of the city, but at the same time, much of it cannot be consumed. Against this luxurious, unattainable basic commodity lies the landscape of the city, its growth ferocious and uncontainable. Between these two binaries lies a perpetual tension.
Along that blurred stretch whether land and sea collide, crossover and go their separate ways, we invite contemporary Indian artists and architects to examine this constant state of conflict and negotiation.
From November 18-28, 2015, Suruchi Choksi, Madhu Das, Ratna Gupta, Prashant Jogdand, Nuru Karim, Madhuri Kathe, Pradeep L. Mishra, Prajakta Palav Aher, Raktim Parashar, StudioX, Hema Upadhyay, Tyrell Valladares and Vidya Chitre Vaidya inhabit one of the city’s few lasting yet receding shorelines where they will probe the social, economical, ecological, spiritual implications of the sea. At the same time, the works provoke an engagement with joggers, families, lovers visiting the site and investigate the potentialities of what emerges when we begin to consider the possibility of humans actively participating in dialogues related to the nature of the city and its future.
This initiative is part of the Times Celebrate Bandra Festival promoted by Celebrate Bandra Trust and Fountainhead Entertainment Pvt. Ltd, curated by ArtOxygen.

Pradeep L. Mishra | Motherland
Taken from the artist’s latest body of work Motherland, Pradeep Mishra’s canvases are bleeding. He presents a giant blue whale at Carter Road, formed by soil sediment. Along the centre that depicts the mammal’s rib cage, lie a series of flags, each carrying a bloodied blue whale. Mishra’s works are concerned by the extinction of forests and its natural occupants (both animals and human beings) and tries to consider a balance between our natural and built environments.

Wednesday, November 18, 2015

Sandarbh International Artists Residency Jaipur

Vibha Galhotra's Absur -city -pity -dity in Jack Shainman Gallery, New York

Vibha Galhotra
Absur -city -pity -dity
October 29 - December 5, 2015
Jack Shainman Gallery, 513 West 20th Street, New York, NY 10011
Jack Shainman Gallery is now showing Vibha Galhotra’s second solo exhibition with the gallery. Galhotra’s large-scale sculptures address the shifting topography of the world under the impact of globalization and growth. For ABSUR -CITY -PITY -DITY, Galhotra focuses on the rapid environmental changes underway in India’s Yamuna River, which due to unregulated sewage dumping, has quickly become one of the world’s most contaminated rivers.
Majnu Ka Tila, 2015 is a tapestry comprised entirely of ghungroos, small metal bells worn on women’s bodies in traditional Indian dance. The scene depicts a sprawling building that has sprung up along the shores of the Yamuna. The composition is crowded, almost claustrophobic, as the structure sprouts out hive-like. The ghungaroos, objects of aesthetic and sonic appeal, betray their function through their menacing subject matter, failing to announce the doom that is forewarned.
The debilitating effects of this sort of dense urbanization are at the crux of 365 days, 2015. An extensive collection of water samples the artist amassed daily from the Yamuna during the course of the past year is accompanied by short texts from local inhabitants. Their day-to-day interactions reveal a complicated relationship with the river, saturated with equal parts necessity, denial, obliviousness, and absurdity. The repetition of 365 bottles of polluted water becomes an ominous pattern, and the systematic display a dogged attempt to classify and understand all the harm modern civilization inflicts on the earth.
While many of the works in the exhibition address the phenomena of overwhelming environmental catastrophe, Galhotra does leave room for optimism.  The short film Manthan, 2015 invokes a legend from Hindu mythology in which the gods churn the ocean to obtain the nectar of immortality.  Through a romanticized, performative gesture, the film examines the prospects of mitigating ecological threat and envisions a process of churning the deleterious out of the Yamuna. Manthan is a refusal to give up hope and implores us to find a solution before it’s too late.
Galhotra has shown extensively in India and internationally, including at the Colombo Art Biennale, Sri Lanka; San Jose Museum of Art, U.S.A.; Museum of Contemporary Art Shanghai, China; Soros Center for Contemporary Art, Kazakhstan; Gut Gasteil, Austria; Europos Parkas, Lithuania and Max Mueller Bhavan, India. In 2013, the Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, mounted a solo exhibition of her work, Vibha Galhotra: Metropia. Galhotra also participated in ICASTICA 2013 International Women's Art Biennial in Arezzo, Italy.
Galhotra has been awarded the Inlaks Foundation Award, MHRD National Scholarship, Artist Under 30 Year Award, and Chandigarh State Lalit Kala Academy Award, to name a few.
Concurrently on view is Carlos Vega’s Faith Need Not Fear Reason at 524 West 24th Street and Winter in America, a group exhibition at The School in Kinderhook, NY. Upcoming exhibitions at the gallery include Toyin Ojih Odutola at our 20th Street location and Odili Donald Odita at the 24th Street space, opening Friday, December 11th.  Gallery hours are Tuesday through Saturday from 10am to 6pm.

'Crossing the Lakshmana Rekha: Shakti, Sensuality, Sexuality' @ Visual Arts Gallery, India Habitat Centre, New Delhi from Nov 24-30, 2015

New Delhi: Katharina Kakar, born in 1967 in Germany, moved to India in 2003 with her husband, renowned writer and psychoanalyst Sudhir Kakar, to settle down in Goa. Armed with an eclectic educational background (she studied Comparative Religion, Anthropology and Indian Art History at the Free University, Berlin), Katha - as she is fondly known - is now bringing forth her deep understanding of Indian society and culture in a solo exhibition titled Crossing the Lakshmana Rekha: Shakti, Sensuality, Sexuality that will be shown at the Visual Arts Gallery, India Habitat Centre, New Delhi, from November 24 to November 30, 2015, 10 a.m. to 7 p.m. Curated by eminent art historian Dr Alka Pande and represented by Latitude 28, the show includes drawings and mixed media installations (wall and floor) and addresses and redefines issues around sensuality and sexuality and the constraints women face in the 21st century.  It looks at the different aspects of femininity from the female perspective to unseat the dominant male gaze.
Says Kakar: “I see myself as a cultural “bridge-builder” who understands myself and others within constantly shifting realities. Using materials I find in my immediate environment, such as spices, dried fish, ash and discarded things, and plastic items that I find on my walks, I experiment with new visual bodies, mainly installations, to address the changing global landscape of identities, including gender issues, for example reclaiming public space as a woman. Metal also plays an important part in my work, and I often integrate copper, iron or bronze in my installations.”

The different paths that have shaped her life and art are: being born in an artist family and exposed to art from early childhood; choosing to study comparative religion and anthropology; writing books on gender issues and teaching students; engaging deprived children in India with art through Tara Trust, an NGO; living in different cultures and marrying an Indian writer. She turned to full time art in 2012 and has since participated in Janela (a collateral event of Kochi Muziris Biennale, Kerala, December 2014 to April 2015) and United Art Fair, Pragati Maidan, (New Delhi, September 2013).
Crossing the Lakshman Rekha is her debut solo show featuring works done over almost two years. Desire (2014), Ink drawing on handmade paper, is a series of drawings dealing with women’s sensuality and sexual desires, drawing inspiration from the Indian concept of shringara. This particular drawing shows a young woman turning around, watching two parrots making love. “My ink drawings are based on motifs from Indian miniatures. I developed my own style or “handwriting” or “doodling” by creating patterns that are repeated in different drawings.” Sensuality (2015), an ink drawing on white paper, shows a young woman all by herself, smelling at a flower.
Shakti Peeth (2014) is a Wall hanging in copper, patina, acrylic paint in a wooden frame. India’s sacred geography is a web of interconnected pilgrimage places, worshipped by millions. It is believed that the falling body parts of the corpse of Sati have formed 51 mounts (peeths) across India, where the female power (shakti) is worshipped. “My series of Shakti Peeths relate to these “mounts” of female power.”  
Infinite Shakti (2015), a wall hanging in copper, horsehair, pepper, acrylic paint in a wooden frame, reflecting the idea of (feminine) power, related to nature and fertility. “This particular wall hanging belongs to a series of six where I play with expressions of heat, movement, creative power and other elements. In these wall hangings I use spices such as pepper, chillies and cloves as well as other materials to create an abstract visual body relating to the concept of shakti.”
Unheard (2015) is a wall hanging in copper, wax, LED-lights on wood. “In my social work with young women in India, I repeatedly observed a severe anger, based on feelings of injustice, which often remains hidden and bottled up. The inside of the copper pots (or openings) of this wall hanging reflect an orange light on a copper mount, giving the visual impression of a volcano or something boiling and glowing from within. Unheard relates to the many silent cries, the pains and internal conflicts that remain untold stories. It also relates to the power within and our need to be heard, in order to empower oneself.”
Memory of the Future (I and II) (2015) is a dual piece installation, the first made in copper cylinder, bronze skulls, burned clay; and the second a wall hanging of 144 wax skulls in a golden frame hanging above a copper table with a skull and an artificial butterfly in a jar, that starts moving when the copper lid of the jar is tapped. “With this installation I relate to the issue of missing girls. The gender gap in Indian society does not only reflect the preference of sons through selective abortion of female fetuses, but is also caused through neglect, such as less medical attention or less food for daughters in comparison to sons.”
December 26, 2012 (2015) is a floor installation of wooden items from a traditional metal workshop and copper rod. This work refers to the Nirbhaya rape case that triggered protests across the continent and lead to a heightened awareness of gender issues in India. The number of reported rapes and their brutality is alarming, so is other form of violence against women, such as acid throwing or bride burning. The ongoing disrespect and aggression towards women, who cross into public space, which in India is culturally “male space”, is addressed here.  
Screw You! (2015) is an Installation of reddish-purple female heads, made of wax, shiny copper nails driven into them like into voodoo dolls. “I refer to women, living life on their own terms, disregarding the unspoken cultural “contracts” of a deeply patriarchal society. They are often looked at with contempt and suspicion, and thus screwed as much as they screw the cultural expectations and role models imposed on them”.
Crossing the Lakshmana Rekha (2015) is an installation created out of Wax Body Parts and rose pedals. Crossing the Lakshmana Rekha, also the title of the exhibition, has become a powerful cultural idiom of crossing moral boundaries, referring to Lakshmana drawing a line which Sita is not allowed to cross. When she did, Ravana abducted her – a story of the Ramayana known by every Indian. “My installation consists of a large empty circle, filled with rose pedals, and several hundred wax body parts (of my own body) placed beyond the line drawn by Lakshmana. The installation not only refers to women’s vulnerability in public space, but also to the issue of public and private space and the growing visibility of women in that space. It was no coincidence that the crossing of the Lakshmana Rekha was quoted so often by politicians after the Nirbhaya rape case. Not only are women made partly responsible for violence happening to them, but they are also pushed back into private, “controllable” space and role expectations. For women to reclaim public space that is denied to them, becomes significant in redefining gender roles within modern Indian society.”
Flow of Power is a visual body referring to the Great Goddess through her vahana, the lion. A lion heads with open mouth, made of fiberglass and covered in ash, will be mounted on a pedestal. 64 tubes, referring to the stream of blood and its ambivalent power and potency, come out the lion's open mouth. Each tube filled with a blood like fluid, leads to a head of 64 female heads, also made of fiberglass and covered with ash, some of them turning red.
The installation titled Reinterpreting the Kamasutra consists of three iron tables with identical Kamasutra Picture Books, opened at different chapters. The first book has text stamped on the left side and a copper item on its right; the second book has the words “Kama interrupted” stamped at the left side and a screen set into the book on its right with manipulated photos referring to the vulgar side of sexual desire; the third book has text stamped on the left side and a copper breast on its right.

Ganges Art Gallery invites you to the opening of Convergence

Mezzaterra | Indrapramit Roy | November 20 to December 12, 2015, at Galerie-88

Opening at 5.30pm, November 20 to December 12, 2015 at
Galerie-88, Kolkata, 28B Shakespeare Sarani, Kolkata 70017. Tel: 033-2290 2274
This is Indrapramit Roy’s third solo-show with Galerie 88. After hosting his first solo ‘Invisible Cities’ in the city of his birth in 1994 and ‘Liminal Zone’ in 2012, we presenthis latest show ‘Mezzaterra’, previewing on 20 November, 2015.
Roy’s engagement with painting has always been with materiality; right from his very early experiments, his journey into multiple and shaped canvases, the corrugated cardboard carton period, and lately in his combination of drawing, marking, painting and overlaying actions that mark his watercolour series.
The artist takes away the human agency as the prime actors of the drama, but the human presence is everywhere. His spaces are frozen moments of cinematic tension that goes much beyond photo-based mediatic realism. These everyday spaces carry the empathy of intimacy achieved through experiences and memories.  They seem to want to tell a story and stay silent about what the story could be. A sense of silence, of foreboding, a hint of violence lurks just behind the surface of the quotidian.
Mezzaterra means common ground. It is an imagined territory, an idea, but a very real and pervasive one, where echoes and reflections add depth and perspective, where identities are malleable and overlapping and not clear cut and well defined, where binaries are not the only defining theme. Inhabiting the mezzaterra means one is both inside and outside of language, of culture and thestance can be both critical and empathetic. Roy also feels that this hospitable mezzaterra, where differences enrich rather than threaten and clash, is our civilizational legacy. It is under attack from all sides and needs to be defended.
Indrapramit Roy studied art at Santiniketan (BFA) and Baroda (MFA) andwent on to study for a further MA in Painting from Royal college of Art, London on Inlaks scholarship. While in RCA he received Erasmus exchange grants to study for a term each at Paris and Berlin. He has had 16 solo-shows all over India and in the US. He has participated in important group shows and workshops in important venues in India and abroad. Indrapramit is also a Fulbright scholar and in 2013 invited for a residency in Siena, Italy. Recently he has completed a large mural for the new Terminal T-2 of the Mumbai International Airport. He writes on art and has been teaching art at M.S. University of Baroda for the past 20 years.

India Art Fair 2016 consolidates position as pre-eminent platform for South Asian contemporary art

India Art Fair will take place from January 29 – 31, 2016, (with a VIP Preview by invitation on January 28), NSIC Grounds Okhla, New Delhi. BMW is the Presenting Partner of the 2016 edition.
New Delhi: Since its launch in 2008, India Art Fair has established and consolidated its position as South Asia's leading platform for modern and contemporary art. Engaging with the arts in the region at every level of the market, the fair has become the bedrock of a booming cultural community. India Art Fair is building on these foundations through a number of new initiatives and developments including the addition of BMW as Presenting Partner, and the appointment of Zain Masud as International Director. Zain has been instrumental in applying a refreshed curatorial approach to the gallery programming, Speakers' Forum, regional engagement and the overall programming of the fair. The fair will present new international participants along with some of the best programmes from the Indian subcontinent, emphasising diversity and quality across chronologies and media.
Acknowledging the fair’s strategic importance in the development of the South Asian arts, this year there will be a significant presence from Nepal, Bangladesh, Sri Lanka and Pakistan, notably through a new programme called Platform, which will represent young emerging artists, key artspaces and collectives who might never otherwise find their place at an art fair and among its audiences. Participants include Blueprint12 (India), Nepal Art Council (Nepal), Theertha Artists Collective (Sri Lanka), Taseer Art Gallery (Pakistan), Swaraj Art Archive (India) and  Bengal Art Lounge (Bangladesh).
With a shared purpose to promote cultural discourse in South Asia, and provide a platform for such discussion, Godrej India Culture Lab, Asia Art Archive and Art India are collaborating with the fair as academic partners of the acclaimed Speakers’ Forum, supported by Forum Partner The Goethe Institute. This broad and exciting programme of lectures and conversations will engage the entire range of stakeholders in the visual arts – artists, curators, critics, administrators, academics, gallerists and collectors in addition to a wide spectrum of artistic practices. Highlights of this year’s panels will include Stuart Comer (Chief Curator of the Department of Media and Performance Art at MoMA, New York) on the panel Artists’ Moving Image: Distribution and Collection; Thomas Girst (Head of Cultural Engagement, BMW Group) with Sangita Jindal (Chairperson, JSW Foundation) on the panel Towards a Culture of Corporate Patronage; Osman Waheed (Founder and Chair, Lahore Biennale Foundation) and Dina Bangdel (Nepal Arts Council) on Access and Integration in the Arts Across South Asia and Sunitha Kumar Emmart (Founder, GALLERYSKE) with Sudarshan Shetty (artist and curator of Kochi Muziris Biennale 2016) on the Artist and the Gallerist, presenting for the first time a direct conversation between an artist and their gallerist at the fair.
Building on India Art Fair’s ongoing work to stimulate and develop a new generation of collectors across the region, the Speakers’ Forum will also include a panel on Collecting and Public Engagement, with high-profile collectors and patrons such as Tariq al Jaidah (Founder of Katara Art Centre, Doha), Haro Cumbusyan (Patron and Founder, Collectorspace, Istanbul), and Lu Xun (Collector and director of the Sifang Art Museum, Nanjing). There is, in addition, a panel on A New Generation of South Asian Collectors, aimed at cultivating interest across a rapidly developing younger collector base.
These sessions complement the fair’s ongoing efforts to further cultivate its  Indian and international networks. This is reflected in a comprehensive VIP outreach programme that has this year connected and engaged with more countries, cultural institutions and collectors than ever before. Collector-based events and initiatives are planned with large groups and delegates from international institutions including The Guggenheim, New York, The Museum of Modern Art, New York, Carnegie Museum of Art, Pittsburgh, The Art Institute of Chicago, Chicago, Palais de Tokyo,Paris, The Victoria and Albert Museum, London, The Asian Art Museum, San Francisco and Boston Athenæum, Boston amongst others. Beyond institutional delegates, a range of high-end travel tours have been coordinated to bring new collectors to the capital through organisations such as The Cultivist, and Adventures in Art with Karen Stone Talwar.
As part of India Art Fair’s expanded programming this year, a number of leading international and Indian museums and foundations will also participate directly in the fair in a new programme Institutional. Presenting elements of their programmes or collaborations specially commissioned for the fair, participating institutions include the Delfina Foundation, Dr. Bhau Daji Lad Museum, Kiran Nadar Museum of Art, Jindal Art Center, Devi Art Foundation and the Korean Cultural Centre India.
Further initiatives at India Art Fair in 2016 include a designated space called IAF Atrium for the Spotlight Series which will host performances, book launches and talks. This new space will also showcase an inaugural Film Programme focusing on film as art curated by Shai Heredia (filmmaker and Director of Experimenta, India’s international festival for moving image art) . This practice draws attention to the materiality and experiential qualities of the moving image, turning form into the content of the work. For the first time India Art Fair will screen cutting edge film and video art from Asia and elsewhere.
With the new spaces at India Art Fair comes a strong design aesthetic, coordinated in collaboration with Architectural​ Advisors Morphogenesis, instilling a more experiential, interactive and dynamic design element to the 2016 edition of the fair.
The reach of design will be further expanded at the 2016 edition through India Art Fair’s Sponsors and Partners. Associate Partner JSW will integrate their JSW Cement and REBAR Steel into the fair’s seating and outdoor areas, whilst Presenting Partner BMW, ​as a part of their global cultural engagement will present the Cesar Manrique BMW 730i Art Car, reflecting the cultural and historical development of art, design and technology. To further their engagement at the fair, BMW will host India Art Fair’s first ever Collectors’ Lounge, creating an exclusive space for collectors to connect, share highlights and continue discussions. They will also host the IAF & BMW Annual Collectors’ Dinner in support and celebration of corporate collaboration and patronage of the arts. Visitors will have the opportunity to engage more directly in design when Preview Partner Officine Panerai presents a renowned watch-designer on the VIP preview day for an exclusive insight into the art of watchmaking and design, celebrating their eight year association with the fair.
For all updated India Art Fair news please visit, like us on Facebook or follow @indiaartfair on instagram, @India_ArtFair on Twitter.

Tuesday, November 17, 2015

Mapping with Figures: The Evolving Art of KS Radhakrishnan | November 21, 2015 at 6 pm | NGMA, Bengaluru

Raj Group presents Fibre Fables @ The Stainless

A work by Puneet Kaushik
New Delhi: Panipat-based Raj Group, one of the oldest home furnishing exporters from the area, is presenting in Delhi in November an exhibition of artworks that has emerged from a year-long interaction between eleven Delhi-based artists and factory weavers. The idea is to put the spotlight back on our weaving traditions that are slowly facing extinction in the face of competition from machine-made products.
Curated by Shailin Smith, the exhibition – titled Fibre Fables: An exhibition in collaboration with artists and weavers - including installations, photographs, video and sound art, will be held at The Stainless Gallery, Old Ishwar Nagar, New Delhi from November 21 till December 31, 2015.
The eleven participating artists are ​Abeer Gupta, Brahm Maira, Dhvani Behl, Durga Kainthola, Nidhi Khurana, Nikheel Apahle, Puneet Kaushik, ​Sahaya Sharma, Sandeep Biswas, Shivani Aggarwal and Vibhu Galhotra.
Says Smith: “All eleven artists have been traveling to Panipat and working in the factory along with weavers and master craftsmen since December last year. Each art work has been created using the techniques involved in weaving industry – tufting, braiding, kilim and pitloom weaving to name a few. At the centre of this project is the relationship that two creative individuals share, even though, they come from ​completely ​different walks of life.  ​Through this creative process, each artist has gained an insight into many new techniques that they hope to use in future as well, while the weavers have begun to look at their daily mechanical chores with a new, respectful gaze, as something that can be used to create a piece of art.”

A work by Shivani Aggarwal
The idea for this project germinated from an exhibition that was done in July 2014 to commemorate 75 Years of Raj Group. The works then displayed in the exhibition were fibre art pieces, designed by the team at Raj Group and created by the weavers. After the 2014 show received a positive response, Managing Partner of Raj Group Sumeet Nath decided to offer contemporary artists/photographers/designers a platform to work at the factory.
Says Nath: “As an industry that survives on the art of weaving, it is imperative to find a way to create tangible memories from a tradition that may cease to exist in the future. And while we pride ourselves as being at the centre of where it all happens, Panipat, it was important for us to find the right channel to communicate our concern. What better way, than art.”

Arindam Chatterjee: The Lightning Should Have Struck Me

Preview of Fibre Fables

Unveiling of a recent sculpture by artist Mark Wallinger on Wednesday, November 18, 2015, 6:30 pm at the British Council

Run-of-the-mill-Curator | L N Tallur in conversation with Peter Nagy | Wednesday, 18th November, 5:30 pm | KNMA Saket

On behalf of KNMA, we are delighted to invite you to a talk by L.N. Tallur followed by a conversation with Peter Nagy (Co-Director, Nature Morte, New Delhi)​. This talk is part of ongoing programs around the exhibition 'Constructs| Costructions' curated by Roobina Karode.
Date: Wednesday, November 18, 2015
Time: 5:30 pm - 7:00 pm
Venue: Kiran Nadar Museum of Art
145, DLF South Court Mall,
Saket, New Delhi 110017

Thursday, October 29, 2015

InBOX art exhibition

Shifting Portraits | Solo Exhibition | Mahula Ghosh | Preview | Sat October 31, 2015 | 6 pm onwards

Artists' Statement
This set of paintings is an expression of my engagement with Darjeeling tea gardens and its people. Having spent my childhood in Darjeeling, my interest in the  burgeourning tea industry of 1960-1970s was natural. However, the romanticism of the picturesque and gentle undulating hills lined with women tea pluckers adorning cane baskets of my childhood days soon gave way to concrete realities in the form of shopping and housing complexes in the recent times. My art has been informed by the socio-political changes that have taken place, for instance the rampant exploitation and forced migration of the tea garden workers has rendered them jobless while women labour has fallen prey to human trafficking. My work traces the shift in the social imagery over the last few decades in my recent body of works.The narrative of my art in the current exhibition depicts the transition from a mimetic representation to an imaginative portrayal of the subject matter. The select works on view are dated 2010 onwards.
About the Medium
Moisture as an indispensable element of the tea gardens has prompted me to use water colours as a medium to capture the subtle nuances and sensitivity of the theme I paint. My training at Santiniketan has helped me cultivate the technique of using this medium on various textures and surfaces like the rice paper, handmade paper, Nepali paper and fabric that form a part of my work. I have also combined the tone and colour of the paints with drawing and stitching to produce a distinctive visual language. My research methodology involves exploring places, maintaining visual records of my travels and field trips and making a systematic study of people, objects as well as landscapes. Back in the studio, I play with the imagery, combining organic and industrial materials like fresh and used tea bags, tea stains and tea liquor along with water colours to give expression to my ideas.
Mahula Ghosh
Oct 2015