Found objects have always been secret allies for visual artists. They are stumbled upon and acquired, magpie-like, because of a private vision of “intrinsic interest,” to be teased out and made concrete later. Found photographs, too, have long since found their place inside artists’ private wunderkammern. Following the Box, an exhibition of a particularly curious origin now on view at the Indian Museum, Kolkata, brings the aesthetic power of found photographs front and center. http:/... [more]
Published in Art India Magazine
Sourav Roy responds to Rameshwar Broota’s multi-generic journey over the last ﬁfty years.
Rameshwar Broota. Metamorphosis VI. Oil on canvas. 1986. Images courtesy Kiran Nadar Museum of Art, Delhi.
Contemporary art discourse constantly refers to the male gaze as it stays trained on a female body: longing, projecting, mapping, invading. But when the male gaze turns inwards, towards its host male body, not... [more]
"Distance", a marble milestone installation, as part of the exhibition "Land of Nod" by Achia Anzi
(Achia Anzi/ Threshold Art Gallery)
It’s such a beautiful and brilliant concept that its best explanation can come only the one who has created it. That’s the Israeli artist Achia Anzi. We ask him to elaborate on the title of his exhibition – and in fact, the exhibition itself, which is called the “Land of Nod”.
Explains A... [more]
Maja Rezoug has been active as a DJ since 2008. Since 2012, Rezoug has been exploring the beat scene from a Zagreb perspective with her radio show, club night, and blog Beat The Future—the first and only of its kind in Croatia. Now her interest is focused on world sounds and the electronic interpretation of them, as well as her own musical creations and rich sound tapestry, with a preference for lo-fi analogue media, which she also uses for shooting her 8 and 16mm experimental short films... [more]
Zakir Hussain’s latest works at Gallery SKE in Bangalore is a wonderful presentation of works to understand that originality can only be claimed as an unclaimed, seen as the other in the final omnipresent grand narrative of itself. The claim to originality that his works make in the beginning is by having a title ‘no title’. This is very interesting as the self proclamation of having no title negates the presence of the trace of the past. If there is any coincide... [more]
‘Rainbow Lake, Rainbow Lotuses
‘The Folded Garden’ combines the Japanese art of origami with oil-on-canvas and enamel-paint-on-board creations to make for installations that move beyond paper, using materials like polypropylene, brass and silk
Origami is an unusual choice for creating a series of art installations, one might think. Not simply because the Japanese art is entirely based on folding sheets of paper but also because th... [more]
Published in http://www.artindiamag.com/quarter_04_03_14/index.html
Acts of drawing are sometimes summed up as dirtying the paper delicately,1 but Ayesha Sultana’s drawings in Outside the field of view, her first solo at Experimenter, Kolkata, mounted from the 9th of May to the 26th of June, are anything but delicate. Sultana ‘dirties’ the paper vigorously and obsessively, while reining in her mark-marking within perfectly geometric shapes. Nine graphite drawings of various si... [more]
The total oeuvre of more than two thousand drawings and paintings were literally Rabindranath Tagore’s last harvest. Dated between 1928 to 1941, created by a man consumed, they are unlike anything else bearing his name, which would turn out to be their undoing. Disenchanted with being turned into an institute back home and a mystic world over, troubled by failing health and thoroughly shaken by the goings on in the family, the nation and the world, painting was both Tagore’s last ro... [more]
Photography exhibition showcases environmental degradation
Written by Nikita Puri | New Delhi | June 24, 2014 1:30 pm
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One of NP Jayan’s photographs at the exhibition
A photography exhibition uses the backdrop of the Periyar Tiger Reserve to showcase environmental degradation
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CHENNAI: From a distance, it is hard to figure out what the mess piled up on the banks of river Pamba is. The photograph is actually a surreal view of a sea of sodden dhotis abandoned by pilgrims as they end the hard trek to the Sabarimala shrine in Kerala. This pile will soon degrade into pulp and join other junk and sewage waste that flows down this once-pristine river that feeds the Periyar Tiger Reserve. This will include water bottles, the oil drained from the smashed coconut shel ..
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Jun 22 2014 : The Times of India (Ahmedabad)
Sabarimala crush puts reserve at risk
From a distance, it is hard to figure out what the mess piled up on the banks of river Pamba is. The photograph is actually a surreal view of a sea of sodden dhotis abandoned by pilgrims as they end the hard trek to the Sabarimala shrine in Kerala.
This pile will soon degrade into pulp and join other junk and sewage waste that flows down this once-pristine river that feeds the Periyar Tiger Reserv... [more]
The artists have constructed a ritualistic way to make viewers encounter their collective pursuit. At the origin of the circumambulation is Lokesh B H’s colourful melancholy. A sense of deprivation is narrated, busses and people traveling in these busses have colour but the airplane is just not functional; it does not have a door or window. A cat is hunting for a fish bigger than its mouth. There is no center to most of the compositions instead is a synecdoche; when the center is painted... [more]
Let me start with a small proviso which may get me booted out of your reading list. I saw the exhibition at the NGMA in New Delhi. However, given my views on the Bangalore NGMA (http://dillikidiva24.blogspot.in/2012/12/name-that-city.html), I'm pretty sure the exhibition will be similiar.
ah well, here goes nothing..
If theres one painter from India people have heard of, chances are that it's Amrita Sher-Gill. She lived for only 28 years (1913- 1941) across two continents in four countries, w... [more]
In Deep Sleep, Srinivasa Prasad journeys back to the memories of childhood and the subconscious to create work that is playful, engaging and interactive. Employing discarded, found, retired, reused and readymade objects Prasad creates works across the media of sculpture and installation, video and photography. Continuing his exploration of ritual, Prasad infuses his work with elements of performance. The eponymous work in the show is a black tent constructed of mosquito nets, hung from the ce... [more]
Published in http://www.artindiamag.com/quarter_02_02_14/index.html, Page 27
In Sanchayan Ghosh’s second solo at Experimenter, Kolkata, Reversed Perspective: 3 Conjunctions, from the 13th of December to the 8th of February, the viewer can chart his or her course in many ways, both physically and mentally.The landscape of Birbhum is deconstructed and re-imagined via a wooden truss studded with red LEDs; there are dropdowns marked with images of Blossom Theatre, the artist’s ongoing... [more]