ArtSlant - Current exhibits en-us 40 Alexis Boucher - Alliance Française de Gurgaon - April 25th, 2012 - May 26th, 2012 <p>Since the advent of artistic modernity, and with the photographs of Bernd and Hilla Becher or Martin Paar, we know that photography can give a unique dimension to trivial things and places, by, according to Charles Baudelaire in <em>The Painter of Modern Life</em>, “extracting the eternal from the ephemeral”. This connection through art between past and present, between mundaneness and mythology, is a central theme of the exhibition “<em>Little temples of the road</em>” by Alexis Boucher, a project that he explains in the following lines:</p> <p>“Service or gas stations punctuate now downgraded trunk roads.</p> <p>Gradually abandoned and in various states of conservation, these 70 garages are remnants of a specific stage of the development of society, in the same way as steel-manufacturing furnaces.</p> <p>They bear witness to industrial capitalism now replaced by a more immaterial financial capitalism.</p> <p>They are the contemporary ruins of the peak of the automotive epic.</p> <p>Yesteryear's garage has also disappeared because one can no longer self-repair a car.</p> <p>The photographs of the little temples of the road were taken in 1995-96 in the framework of a project with ENSP (French National School of Landscaping). </p> <p>To this day, I have kept this study going, gathering mementos from wherever my travels took me.</p> <p>This also happened during a cross over when analogical images became digital.</p> <p>The landscape is visually modified by transformations in society.</p> <p>Ruins remain, as is the case for those XX<sup>th</sup> century gas service stations which meet a common typology, and to which one could apply similar techniques and methods used to study vestiges of ancient times.</p> <p>Photography presents them as they were at the time of capture and will sustain collective memory of them, as new uses of such places do.</p> <p>Prospective history reveals the myth.</p> <p>This exhibition presents photographs, installations and sculptures which are different forms of study and reconstruction of human material vestiges.</p> <p>Both an acknowledgement and homage, this exhibition reflects on-the-ground prospective work and the very powerful links which come to be between myself and my surroundings.”</p> <p> </p> <p><strong>Alexis Boucher</strong></p> <p>Based in India since 2008, he is a freelance artist and an art director. With a diversity of study and professional experiences, his work spans a range of media and centre of interest.</p> Wed, 18 Apr 2012 23:39:01 +0000 Manu Parekh - Art Alive Gallery, Gurgaon - March 10th, 2012 - May 12th, 2012 <div align="justify"><b>Art Alive Gallery</b> presents the eminent artist Manu Parekh's work in Benaras and is the first major solo show held in Delhi in over six years. Parekh first went to Benaras in the throes of an artistic crisis and traveled the Ganga by boat, all the while observing the life of this ancient city at various times of the day and from various perspectives. Later, he got off the boat and climbed the ghats; here he saw the temples and the people conducting private rituals in common spaces. Flowers, festivals, faces and rituals all became fodder for his work. These repeated visits to Benaras gave his practice a new direction and his works visual coherence and intensity. It allowed him to imagine a modernity that embraces the everyday life in India?s provinces. Faith presents this body of work from the perspective of a painter engaging with vernacular religiosity and spirituality as well as from the perspective of Benaras as a place that has shaped the subjectivity of many modern artists in the twentieth century.<br /><br />Organized into four sections, the exhibition begins with ?Glimpses from a Boat? that has his virtuoso modernist, landscapes of Benaras, which Parekh developed along his journeys on the Ganga. The paintings are richly hued explorations that depict the artist?s experience of the corruption, beauty and sheer force of Benaras, an antique city in which there are many shadows formed between the light and the darkness. The second section, titled ?Transformed Stone,? celebrates the hopes and desires that humans bring to objects they deem sacred. If landscape is the transformation of natural scenery into cultural artifact, then Parekh?s paintings specifically render the simultaneous elevation and domestication of the sacred. ?Repeating Forms,? the third section, uses the concept of repetition, a process which has long fascinated Parekh, to arrive at something profound about making art and revisiting familiar visual tropes and places over an extended period of time. For the artist, repetition always holds the possibility of something new, without necessarily creating alienation from the familiar. The exhibition closes with ?Flowers,? in which Parekh telescopes into the sexual, sacred, otherworldly interior of forms that exist in the world as interior decoration, as items of worship, as objects of study and as still life. In Parekh?s hands, flowers become parts of the human body and contemplating this idea allows us to become more intimate with our own embodiment.<br /><br />The exhibition thus stands as a journey from the exterior to the interior much in the way modernism has allowed artists to objectify subjective, individual experience for the aesthetic contemplation of others. Accompanying the show is a soft-cover catalogue with essays by Annapurna Garimella and Baishali Ghosh.</div> Wed, 09 May 2012 22:53:52 +0000 Ajay Dhandre, Pradeep PP, Viveek Sharma, Shruti Nelson - Art Musings - April 28th, 2012 - May 20th, 2012 <p>Art Musings opens their next exhibition Quarto 2012 featuring Shruti Nelson, Viveek Sharma, Pradeep PP, and Ajay Dhandre. In Shruti Nelson’s mythical world, one is transported into dreamy, breezy landscape inhabited by figures and wild animals in their natural splendour. The use of paper on paper collage is emphatic and almost three dimensional in format. There is no pre-planned narrative, but a spontaneous abstract idea of the feel of a place she would like to evoke. In Viveek Sharma’s work, social, economic and political topics are conveyed to the viewer through messages and metaphors. This series entitled, ‘Freedom by Midnight’ are inspirations drawn from the aftermath of the great freedom struggle that the people of India experienced together with its leaders. Ajay Dhandre investigates the dawning of an era of revolutionary experiments. Humans morph into cyborgs, the line between biology and technology starts to blur. The seamless merging of intelligent machines with organic life gives rise to a new hybrid reality, indicating an evolutionary step into the future of human history. Pradeep PP graduated from JJ School of Arts in 2008. He is the recipient of the Kerala Lalithakala Academy Award. Through his paintings, Pradeep tries to depict the deterioration of traditional life, the fast changing social and cultural epoch, and the loss of human values due to an overpowering invasion of urban life style.</p> Thu, 26 Apr 2012 01:22:47 +0000 Rashid Rana - Chatterjee & Lal Gallery - April 9th, 2012 - May 26th, 2012 <p>Rashid Rana was born in Lahore, Pakistan 1968. He received a BFA from the National College of Arts, Lahore (1992) and an MFA at the Massachusetts College of Art, Boston (1994). Rana is a significant figure today among the new generation of artists in contemporary art world. Distinct for his imagery and pictorial strategies, he has been showing extensively all over the world. <br /> His recent international exhibitions include: Solo Exhibition, Everything is Happening at Once, Cornerhouse, Manchester, UK; Lisson Gallery, London, UK; (2011) Where dreams Cross: 150 years of photography from India, Pakistan and Bangladesh, Fotomuseum| Winterthur, Switzerland, and Whitechapel Gallery, London, UK; The Empire Strikes Back; India Art Today, Saatchi Gallery (2010) The Power of Ornament, Lower Belvedere, Vienna; Hanging Fire: Contemporary Art from Pakistan, Asia Society, New York (2009), View Points and Viewing Points: Asian Art Biennial at the National Fine Arts Museum, Taichung, Taiwan (2009), Re-Imaging Asia, House of  World Cultures, Berlin (2008); Mirror Worlds: Institute of the Modern Art, Brisbane, Australia; Beyond the Page: Contemporary Art from  Pakistan, Manchester Art Gallery and Asia House, London; 1st Singapore Biennale; Grid&lt;&gt;Matrix, Kemper Art Museum, St Louis, USA;  5th Asia Pacific Triennale, Queensland Gallery of Art, Australia (2006); 3rd Fukuoka Triennale, Fukuoka Museum of Art, Japan, (2005). <br /> He is currently an Associate Professor, and one of the founding faculty members, of the School of Visual Arts and Design at the Beaconhouse National University.</p> Thu, 26 Jul 2012 15:36:22 +0000 Rashid Rana - Chemould Prescott Road - April 9th, 2012 - May 26th, 2012 <p>There are many worlds in our one planet. The political, the religious, the economic, and the social: all these spheres seem to collide, contradict, conflict, converge and combine with each other. It is a process that can be traced from ancient history to the globalized present. In Rashid Rana’s work these worlds, with their distinct views, come close to forming another parallel entity, one that is both rooted and yet exists independently from the artist’s surroundings. This might be understood in terms of the physical, the psychological or the virtual. Multiple visuals derived from diverse sources, in mosaic-like settings, present complex views that, if decoded, relate to our scattered, shattered world.</p> <p>In Rana’s body of work art history, contemporary art, visual urban culture and mundane things are made to contribute in the creation of an alternate reality that unfolds formal as well as conceptual concerns, always joined in seamless schema. The flatness of the pictorial plane and ideas of three-dimensionality are explored in Rana’s works through both static visuals and, also, time-based works. Likewise the distance between an object and its representation is reduced in his photo sculptures, wherein the image corresponds to actual form.</p> <p>Concepts such as originality, ethnicity and authenticity are explored, exposed, sometimes even exploded, through these works: they rely upon the language of our times, existing like photographs of our imagination and videos of our dreams.</p> <p align="right"><em>Quddus Mirza 2012</em></p> Thu, 26 Jul 2012 15:36:25 +0000 Caecilia Tripp - Clark House (Bombay) - April 27th, 2012 - May 8th, 2012 <p><b>'a music made by everyone'</b><br /> Wanting to take John Cage (who would have been 100 years old this year) to the streets, the artist Caecilia Tripp finds ways to democratise the many makers, the conductor, the composer, the performer, the spectator, the on-looker, the bystander, the passer-by, as equals within her participatory score. </p> <p class="p2"><em>John Cage: Since the theory of conventional music is a set of laws exclusively concerned with ’musical’ sounds, having nothing to say about noises, it had been clear from the beginning that what was needed was a music based on noise, on noise’s lawlessness. Having made such an anarchic music, we were able later to include in its performance even so-­called musical sounds. We need first of all a music in which not only are sounds just sounds, but in which people are just people, not subject, that is, to laws established by any one of them, even if he is ’the composer’ or ’the conductor.’ Finally we need a music which no longer prompts talk of audience participation, for in it the division between performers and audience no longer exists: a music made by everyone. </em></p> <p class="p1"><em>Caecilia Tripp: To initiate the project 'Music for (prepared) bicycles' in Bombay is quite symbolic. In a time of crisis and protest, where the old world order is put into question, with Occupy Wall Street and the Arab Spring, Mahatma Gandhi represents a historic figure of civil disobedience encouraging everyone to believe in their power for change. </em></p> <p class="p2">To create her score, and a film, she made a sonic bicycle, like a moving instrument, capturing street sounds, and sounds of strings hitting playing cards, as it is performed trilling through places of affect within the city -- the last working cotton mill, in the mill area of Parel, the August Kranti maidan, where Gandhi issued his 'Quit India speech', and the pink migrating flamingos at the port of Sewri amidst old rusting ships. Installation, films, photographs, phrases of sound, quotation, memory and performance, come together in a participatory project of anarchist imagination.</p> <p class="p2"><em>Arjun Appadurai: The image, the imagined, the imaginary - these are all terms that direct us to something critical and new in global cultural processes: the imagination as a social practice...The imagination is now central to all forms of agency, is itself a social fact, and is the key component of the new global order. </em></p> <p> </p> <p><b>'diminished spaces of fabrication and possibility'</b></p> <p>The Indian Atlas cycles began to be made in 1951. Its design has not changed since then. It had aways to be put together and modified depending on its use, extra seats, or hooks that hold gas cylinders. It could carry a hundred kilos, and so is the cycle used by all manner of trades. One does not ‘buy’ as much as fluidly assemble the cycle, to each customer's individual need. Even in Bombay, the possibilities to fabricate, assemble, alter and individualise, have become fewer and fewer. Entering this project breaks the myth that all is possible to make in Bombay cheaply. Hand embroidered lettering, so common in this Colaba even a year ago, has slowly died away. At least five shops no longer take small orders.  </p> <p>The making of the cycle was possible due to the effort of small businesses who took interest in the art work, and devised ingenious ways of constructing the cycle. We met Mahindra Bhai Chauhan while shopping for hardware in the Dadar Market. His tiny shop, a raised platform at the corner of a street, is in its fourth generation, and makes tablas and sitars (percussion and string instruments). He had said, "for this to work, we will all need to think". His eighteen year old son devised a way to weld in musical keys to tune and stretch electric guitar strings. In a lane nearby, Amardeep Cycles is run by Sikh refugees from Pakistan who came to Bombay to live in the Sion refugee camp. The shop specialises in making cycles for grocers and other tradesmen. Oriya handlers at the shop spent hours away from their half-an-hour turn around time, to assemble the prepared wheels to a regular bicycle frame. Mr Panchal at Nana Chowk runs an inherited welding business sharing an old factory floor with garages. He welds ornate protective grills for windows. When requested to make clips to hold the playing cards, he offered his services for free in support, because the project was artistic and somewhat nostalgic. By traversing the streets of Bombay in search of a welder, we came across many individuals in their sixties who remembered their youth as soon as they saw the bicycle, remembering how well bits of x-ray sheets, wedged along the wheels of the cycle, audibly hit the cycles spokes. In India, the gears of sugar cane juice traders are often dressed up with gungroos (heavy bells worn on the ankles of dancers), and bicycles are fitted with brightly coloured plastic anklets, and cellophane paper windmills to create rainbows of vibrant colour and sound. </p> <p>Caecilia Tripp begins her journey at the August Kranti Maidan, (August Freedom Park), where Mahatma Gandhi called for independence from British rule: to quit India, or to face mass non-violent civil disobedience. The cycle traverses a route through the older areas of Bombay, now circumvented by regular traffic. These geographies subsidise life in the city by serving as centres of economic activity. The cycle moves from Gaiwadi, Girgaum on to Charni Road, a manic train station and the heart of the diamond business in Asia. It got its name from a grazing field bought by a private philanthropist to avoid British grazing taxes for cows from Girgaum. The cycle moves to Colaba Koliwada village, home to Bombay's indigenous community of fishermen, the Kolis, who have been pushed off their land into tiny spaces along the coast. Many migrant communities, such as the Banjaras (Indian Roma) and economic migrants from Bihar, share their space and find welcome. About four decades ago, these communities in Colaba asked for newly reclaimed land, and re-establised villages that now serve as vibrant multi-cultural oasis's of festivity, community life, and affordable housing. The cycle passes Nagpada, in the old Byculla district, which contains Bombay's oldest museum and botanical gardens, alongside Bombay's first stately apartment buildings, historically home to the Indian Jewish community and Muslim traders from Gujarat. The bicycle rides to the Sewri mudflats, filmed in the backdrop of sand dredges, and flamingos. As night falls, the cycle comes to Laxmi Mills in the Parel district, started as a woolen mill in the late 19th century by a Sassoon family, and is now among the last functioning mills in the area, due to close. The union strikes of 1982 that sought better wages for the mill workers met with factory lockouts ending in the closure of the mills. The mills have now all but given way to residential condominiums and shopping malls, displacing thousands of mill workers, a majority of whom have not been rehabilitated, even today, so many years on. </p> <p>The artist has related her present project to John Cage's 'Music of Changes', and his entanglements with Indian philosophy via Ananda Coomaraswamy and the musician Gita Sarabhai. The poet Prabodh Parikh has pointed us to the philosophy of play, Leela or Ramaniyata, an aesthetic theory of Indian poetics by the 17th century Pandit Jagannath. It is in engagement with the idea of play that works of art emerge. He emphasises that Cage's is an attempt to achieve ease, without any of the weight of the 17th century aesthetician. He also remembers that it was Cage who first said, dropped in as an aside, that 6% of America is using up 96% of the resources, and in 1962, that America should stop being the police of the world. The technique of the inserted playing cards translates John Cage’s 'prepared piano', on which he wrote many compositions, to the bicycle. Cage once said that the future of music was electronic sound. Caecilia Tripp's inspiration comes from Cage's writing, and she makes relation between these and the vernacular culture practiced and invented by teenagers in socially disregarded suburbs around the world. </p> Thu, 26 Jul 2012 15:35:54 +0000 Sharanu Alloli - Cymroza Art Gallery - April 25th, 2012 - May 12th, 2012 <p>Paintings and Sculptures by Sharanu Alloli.</p> Thu, 19 Apr 2012 00:14:50 +0000 Group Show - Devi Art Foundation - January 29th, 2012 - May 30th, 2012 <p>Devi Art Foundation presents <i>The Elephant in the Dark</i> curated by Amirali Ghasemi from 25th January to 30th May 2012, which brings together works of fifty-two contemporary Iranian artists from the Lekha and Anupam Poddar Collection. <br /> <br /> <i>An elephant was put in a dark house for display. Crowds of people were asked to identify the object in the dark place by inspection. Each visitor felt with his palm a different part of the animal's body, and thus described the animal's physical reality differently</i>.<br /> <i><br /> The palm of one fell on the trunk.</i> <i>'This creature is like a water-spout,' he said. The hand of another lighted on the elephant's ear. To him the beat was evidently like a fan. Another rubbed against its leg.</i> <i>'I found the elephant's shape is like a pillar,' he said.</i> <i>Another laid his hand on its back. 'Certainly this elephant was like a throne,' he said.</i> <i>The sensual eye is just like the palm of the hand.</i> <i>The palm has not the means of covering the whole of the truth.</i></p> <p>The exhibition borrows its title from a poem by Rumi, which was inspired by an ancient story of <i>The Elephant and the Blind</i>. The poet cleverly changes the dramatic state of blindness into darkness which has a cure, while the poem illustrates how complex it is to evaluate an event, situation or an object by seeing it from a particular angle and not as a whole. It underlines the incapability of human beings to understand various realities (physical and metaphysical), without using all senses and various means of understanding. Taking Rumi's poetic tale as a point of departure, the exhibition attempts to display both formal and conceptual practices that Iranian artists have adopted over the past decade, both inside and outside the country, to express their concerns. The vast selection of works in the collection provides a unique opportunity to present a comprehensive narrative of the social and artistic developments that are taking shape among the artists. <br /> <br /> This diverse and vibrant collection is explored through two parallel streams, which displays the works of internationally known artists and a selection of upcoming young artists. The exhibition is divided into three sections: in "Departure from Form", the traditional form is re-contextualized and used for contemporary critical expressions. "Reflection of a Complex Society" questions social issues such as gender representation, a recurring trend in contemporary Iranian art. Finally, "The Politicized Scenery" showcases works that touch upon various conflicts ranging from the battle for oil in the Middle East to moments in Iranian political history with a keen eye on the current events in the last three years. <i>The Elephant in the Dark</i> is an effort to investigate different contours of Iranian polity and society through contemporary modes of artistic enquires.</p> <p></p> Sun, 25 Mar 2012 18:36:05 +0000 - Emami Chisel Art - April 23rd, 2012 - May 22nd, 2012 <p>Exhibition of Contemporary art of Bengal</p> Thu, 19 Apr 2012 00:19:37 +0000 Group Show - Galerie 88 - May 4th, 2012 - May 31st, 2012 Thu, 26 Apr 2012 01:26:04 +0000 Sebastian Cortes - Galerie Romain Rolland - Alliance Francaise Delhi - April 29th, 2012 - June 20th, 2012 <p>Alliance Française de Delhi is very proud to present you the work of the photographer Sebastian Cortés revolving around the city of Pondicherry and its different perceptions and representations, through pictures but also through words.</p> <p><strong>Pondicherry </strong>is an extended photo essay, which has as its main focus the photographer’s perception and visual interpretation of the city of Pondicherry, in south India. The photographer journeys into the metaphorical and anthropological folds of the city searching for a sense of “place”- his interpretation of a specific environment and how it’s inhabited. The photographer goes beyond the walls and penetrates into the private sphere, into homes, spaces and routines, which exemplify a certain culture or cultures, always searching for visual messages that compose the tapestry of perception, both of the past and of the present. The perception of “place” is also offered in words. The photographer has sought out the participation of several noted French and Indian writers (Pascal Bruckner, Akash Kapur, and Amin Jaffer), who have, through the magic of words, offered up very personal and insightful views of Pondicherry - words and images working in a complimentary way for an artistic perception of Pondicherry</p> <p><strong>Sebastian Cortés</strong>, born in New York, took up photography in 1980 while at the New York University film school, where he studied and collaborated with many of the best names in the industry. In 1985, he moved to Milan and pursued fashion and lifestyle photography assignments for many international magazines, as well as for commercial clients, while also concentrating on portraits and personal work. In 2004, Sebastian moved with his family to India. His award-winning photography is greatly appreciated and has enriched several book projects. Currently, he divides his time and energy between commercial, editorial, and artistic projects, both in India and Europe.</p> Wed, 04 Apr 2012 23:18:52 +0000 P. Khemraj, Sakti Burman, Paresh Maity, T. Vaikuntam, K Laxma Goud, Trupti Patel, Sunil Gawde, Yusuf Arakkal - Gallerie Alternatives - April 11th, 2012 - May 31st, 2012 <p>Gallerie Alternatives presents a group exhibition of paintings, drawings, graphic prints &amp; sculptures</p> Thu, 19 Apr 2012 00:25:45 +0000 - Gallerie Nvya - Saket - May 2nd, 2012 - July 2nd, 2012 <p><img src="" /></p> Fri, 27 Apr 2012 12:15:09 +0000 Nalini Mehta - Gallery Art and Soul - May 7th, 2012 - May 20th, 2012 <p>ACRYLIC is her canvas, A drill her paintbrush,65 years of perseverance and unique creativity capuring life for posterity <br /> Frozen Illuminated art works .... The final show - Nalini Mehta</p> Wed, 09 May 2012 23:38:48 +0000 Adip Dutta, Anandajit Ray, Chitra Ganesh, K.L. Leon, Manisha Parekh, natraj sharma, Sojwal Samant, Tanmoy Samanta, V. Ramesh - Gallery Espace - April 25th, 2012 - May 27th, 2012 <p>Gallery Espace presents nine artists with ‘Works on Paper 2012’. The gallery has nurtured a tradition of exhibitions on paper with ‘Drawing ’94’ (1994), ‘The Lyric Line’ (2006) and ‘Keep Drawing’ (2008) and more recently ‘Narratives of the Self: Autobiographies’ (2012), based on personal histories of the artists. ‘Works on paper’ is in continuum to the previously held shows and further explore artists’ preference towards the medium of paper. From life studies of mundane objects to their relationship with the habitat, their visual articulations seek deeper meanings of being. Their quest to understand mysteries of the self and the spiritual is perceptible in the delicate handling of the medium. Paper makes possible that intimacy, rendering interesting and varied visual vocabularies, offering simultaneously a spontaneous relationship of the artist with his artwork. This connection and familiarity enables delving into the core of existence, exploring, discovering, submerging, outgrowing and gradual detachment and pursuit of the unknown. When does the process of creating become a way of living the search on paper is noticeable in the whole gamut of this exhibition.</p> Mon, 21 May 2012 00:22:56 +0000 Shivaraju B S - Gallery Sumukha - Bangalore - May 5th, 2012 - May 26th, 2012 <p><i>The current exhibition features two series of photographs documented by Shivaraju, where he documents the lives of two people whose life is intertwined with what we otherwise separately identify as ‘Performance’. Shiva follows the two people namely Bagadehalli Basavaraju(as Gandhi) and Vidya Sagar (as M.G.R) who masquerade as the two popular icons. Through his photographs, he unveils the public and private side of each of these real-life performers who have chosen to appear as a ‘personality’ undermining their true identities, which in turn has become their alternate identity over the years. </i></p> <p>Shivaraju B S is a police by profession and a Photographer by passion. With no formal training, Shiva developed an interest towards photography and since then has formulated it mainly through his interactions with many working professionals. His works are mainly documentary in nature and are based on people and subjects from his immediate surroundings that have less or no attention. In a short span of time of beginning his exploration in photography, Shiva has showcased his works in several group exhibitions and curated shows held in India as well as Srilanka and UK. He is involved in several documentary projects and contributed for several publications. He also works as a coordinator for 1Shanthiroad Studio/Gallery, Bangalore.  <i></i></p> Fri, 04 May 2012 00:45:42 +0000