ArtSlant - Closing soon en-us 40 - Lalit Kala Akademi Galleries - New Delhi - September 27th, 2012 - October 4th, 2012 <p>As the name suggests, it’s a confluence of select artists from across the world expressing their ideas in different languages and medium. The Galerie Art Eterne, which extensively promotes artist and their work, organises this one of a kind international art contest-exhibition. The winning work will be on show at the Lalit Kala Akademi, Ferozshah Road, New Delhi (India), September 27<sup>th</sup> - October 4<sup>th</sup> 2012. Make sure to be a part of this international affair.</p> <p><b>Write Up:</b></p> <p>Confluence’12 acts as a catalyst for the recent development of the cultural landscape, and confirms the potential of India as an international art hub. In its debutant year 2012, the show focuses on the sig­nif­i­cance of exhibit­ing a vari­ety of works in a plu­ral­is­tic art world. It was indeed a courageous experiment of Galerie Art Eterne to give an alternative platform to emerging as well as established artists in a global way. Galerie Art Eterne has tried to bring them together under Confluence’12.</p> <p>The participating artists tried to express their mind and visions on various mediums they can relate to. It is a place where artists connect with each other and their viewers through creativity. Under Confluence most of the artists have unfolded their innermost thought, some work raises issues from society, some solves mysteries of life and suffering and others gives forms to non existing bodies. It is a confluence of lives, concept, perceptions, forms, emotions and ideas of creative minds.</p> <p>An American artist finds everyday bliss in the life of Indians; her work has portrayed contented kids, decorated camel and a singer. For her India is not a tourist place rather it is to be felt and experience intimately. An artist portray an auto which is a necessity of middle class, another artist defines an artist as a phoenix, beyond elements, who flows through river in form of colors and he is a restless hermit searching for his existence. Some apply and reapply thick layers of colors so that they can bring out the essence and some follows old school in mould of their idea. One of them follows impasto style to give form to her independence. It is indeed an unusual platform where artist from Sweden thinks the way an Indian artist think and speak the identical in different dialect.</p> <p>Such diversities and personal allocations are the accentuated part of this confluence. Here everyone follows expressions through their own grammar of visual art. A diversity of paintings, art objects, sculpture and photography give the visitor an exciting overview about modern creations, amplified through the possibility of personal exchanges with the present artists.</p> <p>Confluence’12 is the nucleus of pondering minds where reflective generation, modern, contemporary and classically influenced artist echo through one medium. Galerie Art Eterne is glad to be a part of this confluence and hope to establish it in more structured way in future. I foresee this Confluence as an enormous international platform for all creative minds where they can communicate their ideas and idiosyncrasies without political and social strain. I think glob­al­iza­tion cre­ates unex­pected rela­tion­ships and con­trasts in con­tem­po­rary art.</p> <p>I am very grateful to the key jury members Mr. Niren Sen Gupta (Ex-Principle, College of Art, University of Delhi, India) &amp; Mr. Gaurav Bharadwaj (Renowned Advertising Professional) &amp; Mr. Rajinder Patil (Editor, Indian Contemporary Art Journal) for the valued hours they rendered. Without their recommendation and selection it would be difficult to bring out such amazing works.</p> <p>Galerie Art Eterne specially thanks the Chief Guest Mr. Sanjay Jain, Art Connoisseur and Guests of Honor Ms. Sheila and Ms. Rami Desai for inaugurating Confluence’12.</p> <p>I think it is the beginning of Confluence and I convey my wishes to all participating artists to make this show happen. Looking forward to Confluence’13.</p> <p> </p> <p>Sudhanshu Paliwal</p> <p>Director</p> <p>Galerie Art Eterne</p> Fri, 28 Sep 2012 00:14:36 +0000 paul chd., Malay Datta et al - Lalit Kala Akademi Galleries - New Delhi - September 27th, 2012 - October 4th, 2012 Sat, 22 Sep 2012 10:59:20 +0000 Prodosh Das Gupta - Lalit Kala Akademi Regional Centre - CHENNAI - September 26th, 2012 - October 5th, 2012 Sat, 22 Sep 2012 23:56:46 +0000 Ruby Chishti, Priyanka Choudhary, Juul Kraijer, Rakhi Peswani - Vadehra Contemporary - September 12th, 2012 - October 5th, 2012 <p>Vadehra Art Gallery is pleased to present its latest exhibition <em>Porous</em>, which showcases the works of artists Ruby Chishti, Priyanka Chaudhary, Juul Kraijer and Rakhi Peswani.<br />  <br /> As the title <em>Porous</em> suggests the exhibition is interested in areas of overlaps where one artist’s practice seeps into and connects with another, even as it focuses on individual practices. In different degrees the four artists investigate the fragmented body through materials and processes, complicating the circuits within which words, images, cognition and sensation function.<br />  <br /> In the works of Ruby Chishti, Rakhi Peswani and Priyanka Choudhary, that hinge between sculpture, architecture, drawing, installation and performance, it is historical, cultural and social contexts and phenomenological experiences of the materials are brought to the fore. Juul Kraijer’s drawings offer another counterpoint – the delicate charcoal and pastel drawings seem to become almost immaterial, as if conjured in air. In all the works the process of labour is made visible, through repetition and fragmentation.<br />  <br /> Rakhi Peswani uses pliable materials like cloth, needle, thread etc to extend the boundaries between stitching, drawing and installation. Her works explore the relationship between word and image, working through the process of how language is formed. She is equally interested in bringing to fore the historical and political connotations of the materials themselves. For the exhibition she has created an immersive installation titled <em>Inside the Melancholic Object (an elegy for a migrant worker) </em>with materials like coffee and cotton, referring back to 19th century histories. She evokes the metaphorical potential of the materials with repetitive and laborious physical processes.<br />  <br /> Like Peswani, Ruby Chishti is also interested in applying craft processes within her art practice. Her emotionally charged sculptures made out of worn out clothes and fabrics that have deeply personal memories of her family and her life in Lahore. In this present series of works, she engages with the city of New York, where she now lives and works, with its architecture, and its high art and fashion worlds. In a collage, you find her turning one of her sculptures into a garment and posing with it against the New York high<strong>‐</strong>rises. These are among a series of work in the city as performance/portraits combining the architectural and body structures as witnesses to history. In another work she turns her own coat into an architectural structure, juxtaposing it with other smaller paper structures to look at the spaces the body occupies.<br />  <br /> Priyanka Choudhary is a Delhi based artist and is holding her first major exposition in the city. Her works engage with architecture and are often produced onsite. They evoke contrary experiences of beauty, destruction, fragility and violence, and make possible a phenomenological confrontation with objects and their materialities. Here the surfaces of canvases, sedimented with lace, garments, insects, glass pieces, wire, hair etc, begin to resemble worn out walls that bear silent witness to the passing of time. Shadow and light also emerge as crucial elements in the works. In another sculpture <em>Goat Eater</em>, we see a wooden table like structure that acquires anthropomorphic characteristics – a body on the verge of collapse as blades of luminous green glass pierce through its structure.<br />  <br /> Perhaps it is Dutch artist Juul Kraijer’s work that is most different from the other three. Her charcoal drawings have an almost apparitional quality. Kraijer speaks of her practice being marked by ‘monomania’, returning time and again to female figures and heads that don’t seem to convey any markers of place or time. Often conjoined with elements of nature and subject to mutations and transformations, these diaphanous figures speak of an interior state of mind. Kraijer incorporates rubbing and wiping as techniques within her drawings, allowing the traces of the earlier exercises to remain visible in the final work. There is also a series of photographs in the exhibition that explore similar themes of duality and co<strong>‐</strong>habitation as in the drawings.</p> Mon, 10 Sep 2012 23:12:02 +0000 Group Show - Artworld - September 27th, 2012 - October 6th, 2012 <p>Artworld showcases a wide range of Art and artefacts from the southern traditions and traces a fluid timeline between the traditional arts and crafts of South India and how the crafts traditions have influenced the contemporary language- the transition.</p> <p>We showcase traditional bronzes,tanjore paintings,glass paintings,stone sculpture alongside contemporary sculpture,crafts and paintings and try to observe the connections…if any...</p> <p>The observation is that the traditional forms of Art enjoy less freedom of expression as they are bound by rules/habits, which the contemporary artists have a freedom to break. That is atleast the condition with modern day craftsmen, like the ones you see in mahabalipuram, tanjore (bronze/tanjore paintings) and other local craftsmen in the south.</p> <p>This raises a question?</p> <p>Should the traditional craftsmen stick to their rigid traditions and churn out the same images repeatedly, however crafty and excellent they might be, or basing themselves on the tradition and skills should they be encouraged to break new ground and form... Should the contemporary artists revisit from time to time the deep rooted aesthetic principles and theories of the past and bring to life new interpretations rooted in traditions and values and contemporary...</p> Thu, 27 Sep 2012 02:12:16 +0000 J Swaminathan - Gallery Espace - September 8th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2">Gallery Espace is proud to present Transits of a Wholetimer from September 8–October 6, 2012, an exhibition of works by J.Swaminathan (1953-1964), curated by S. Kalidas (Art Critic, Writer, Director of the J. Swaminathan Foundation), and son of the late artist. Considered one of the preeminent Indian modernist painters, J.Swaminathan has played an influential role for a generation of artists, critics, and art historians in India. S.Kalidas says: “Transits of a Wholetimer is a time capsule from my father’s archives. It is an art historical display that traces the metamorphosis of J. Swaminathan (1928-1994) from a left-wing political radical to an equally radical artist-critic.” The exhibition will feature vignettes from his autobiographical notes, some early drawings, illustrations and sketches from his exercise sketchbooks, family photographs, letters written to him by his colleagues and friends, some of his early catalogues and photographs of works spanning 1952-1964, and some of J. Swaminathan’s works from the early 1960s.</span></p> <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><span style="font-family: Arial,Helvetica,sans-serif;" face="Arial, Helvetica, sans-serif" size="2"><strong>Curator’s Note:</strong><strong></strong><br /> </span></span></p> <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><span style="font-family: Arial,Helvetica,sans-serif;" face="Arial, Helvetica, sans-serif" size="2">Swaminathan was fond of quoting Mahatma Gandhi’s famous saying “My life is an indivisible whole”. So in his work, too, he completed the circle as it were, by returning to doing the kind of work at the end of his life that he had started out doing in the early 1960s. To trace the arch of his oeuvre, as it were, this showing also has some examples of his later paintings from the two most well-known stylistic periods of his life—The Bird Tree Mountain series and the Tribal/Folk inspired abstracts.<br /> </span></span></p> <p style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><span style="font-family: Arial,Helvetica,sans-serif;" face="Arial, Helvetica, sans-serif" size="2">Resonating with his Tamil ancestry, the exhibition loosely observes the aham-puram demarcation of Sangam literature where aham the ‘inner space’ (themes of home/ women/ love) contrasts with puram the ‘outer space’ (themes of the city/man/heroism)”.<br /> <br /> S. Kalidas.</span></span></p> Fri, 21 Sep 2012 19:40:35 +0000 Ramesh Gorjala - Gallerie Nvya - Saket - September 7th, 2012 - October 7th, 2012 <p>Gallerie Nvyā presents "The Sacred Icon: A Modern Revelation" A Solo show featuring recent<br /> artworks of Ramesh Gorjala, showcasing his delicate and intricate technique and portraying<br /> his contemporary take on spiritual and mythological subjects through Kalamkari, a style<br /> that has deep root in ancient art. With a new experimental pallete of pink, green, red and<br /> gold, Gorjala creates a rich feeling of grandeur fitting for the Indian mythological gods, like<br /> Vishnu, Krishna, Rama and Hanuman that he portrays.</p> Mon, 24 Sep 2012 01:59:11 +0000 Group Show - Gallery Art and Soul - October 1st, 2012 - October 11th, 2012 Thu, 27 Sep 2012 00:03:01 +0000 Nandini Valli Muthiah - Sakshi Gallery (Mumbai) - September 13th, 2012 - October 13th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Sakshi Gallery is pleased to present The Visitor, an exhibition of recent work by Nandini Valli Muthiah. A progression of her earlier suite titled The Definitive Reincarnate, the series revisits the theme of incarnated divinity and explores its complexities through the personification of Vishnu.</p> <p style="text-align: justify;">The Visitor stages Vishnu against tightly choreographed backdrops, garlanded and ornamented and curiously endowed with a pair of wings. As in Christianity, wings are symbols of angels who are messengers of glad tidings as well as conveyors of bad news. Likewise Muthiah projects her protagonist, Krishna in this case, as the messenger of God bringing to earth both good and bad.</p> <p style="text-align: justify;">Muthiah also shifts the setting of her frames to a pond as an allusion to the image of Vishnu reclining on the many headed serpent in the milky ocean. The pose, both benevolent and sanguine has her captivated and as a take-off, the figure of Krishna is shot in a reclining pose in the pond.</p> <p style="text-align: justify;">Once again the whole image is not in view, with the pose being suggested only through fragments such as the torso and the tilted crown. The Visitor - Nandini Valli Muthiah In another twist to the narrative, the lord's soliloquy finds manifestation, as his alter-ego steps into the highlycharged exposures. Here Vishnu is caught in debate and reflection, raising questions about the nature of divinity and the areas of overlap between god and human.</p> <p style="text-align: justify;">The Visitor has been Muthiah's most ambitious project till date, not only conceptually and in scope but also in terms of its scale. While her earlier endeavors were shot in controlled environments, this series has had elaborate outdoor shoots with a large crew that can be likened to the cinematic productions of celebrated photographer Gregory Crewdson.<br /><strong></strong></p> <p style="text-align: justify;"><strong>About the artist:</strong></p> <p style="text-align: justify;">Born in 1976 in Chennai, Nandini Valli Muthiah graduated with a BA in photography in 2005 from the Arts Institute at Bournemouth (UK). She has had two successful solo shows thus far and her work has been exhibited in important exhibitions such as 'Generation in Transition: New Art from India', Zacheta National Gallery of Art, Warszawa, Poland and Where Three Dreams Cross', Winterthur Museum, Switzerland and Whitechapel Gallery, London. Muthiah lives and works in Chennai and was shortlisted for the prestigious Grange Prize in 2011.</p> <p></p> <p></p> <p></p> Fri, 05 Oct 2012 19:40:45 +0000 Group Show - Aakriti Art Gallery - Kolkata - October 1st, 2012 - October 15th, 2012 <div align="justify"><span style="font-family: Verdana; font-size: small;" face="Verdana" size="2">‘GenNext’, the Annual Exhibition of Aakriti Art Gallery held every year in the month of October, was conceptualized as an initiative to set up a fresh focus on the contemporary art where the pathfinders to enunciate this project would be the young generation. The focus here is on the works of young and upcoming artists and their interpretation of contemporary issues through art. <br /> <br /> </span></div> <div align="justify"><span style="font-family: Verdana; font-size: small;" face="Verdana" size="2">The first GenNext was held in October 2006. The real motivation behind the ‘GenNext’ show was to promote the creative potential of young talents below forty years. A clear and transparent selection procedure was conceived for this. Artists are selected by a panel of judges that includes art historians, critics, artists and connoisseurs from the entries received within a stipulated time frame of the year for which announcement is done in different media worldwide every year. The selected artists are then asked to send their current works to be showcased.<br /> <br /> </span></div> <p><span style="font-family: Verdana; font-size: small;" face="Verdana" size="2">GenNext I concentrated on promoting eastern Indian talents. GenNext II assumed a national perspective. The works of many of those who participated in GenNext I and II now fetch global recognition. From GenNext III, the focus became global, with young upcoming artists -- painters, sculptors and printmakers-- from all over the world participating in the show. Crossing boundaries with liberated thoughts, experimentation with mediums and development of a new visual language has by now become the inherent motto of the GenNext shows.</span></p> Mon, 08 Oct 2012 00:15:35 +0000 smriti dixit - Art Musings - September 22nd, 2012 - October 15th, 2012 <p style="text-align: justify;">Art Musings is presenting the next exhibition of Smriti Dixit entitled Feasting &amp; Fasting. The art of Smriti Dixit is born out of her experiences with everyday life. Drawing on small moments and intimate interactions, she fashions objects carefully, using handmade techniques, engaging in the tactility of her materials, becoming familiar with their specific properties. The artist says, We can touch with our eyes, see with our ears. Dixit’s art is an indelibly feminine procedure, finding its foundations in the process of its creation as much as in its final form. The activities which go into creating this diverse body of works are as varied as stitching, quilting, adhering and even distilling distinct elements which are brought together.</p> Fri, 28 Sep 2012 19:42:18 +0000 Group Show - Gallerie Alternatives - August 1st, 2012 - October 15th, 2012 <p>Gallerie Alternatives presents a group exhibition of paintings, drawings, graphic prints &amp; sculptures by S H Raza, T Vaikuntam, Sukanta Das, Nupur Kundu, Ajay Narayan, Sanju Jain, Rajendra Prashad Singh,Praveen Kumar, Kosal Kumar, Pankaj Manav and many more.</p> Wed, 26 Sep 2012 23:58:29 +0000 Sylvia Sass - Hungarian Information and Cultural Centre (HICC) - October 1st, 2012 - October 15th, 2012 <p>“In my graphics dreams and reality are interwoven. The symbolic gate of art leads to creations that have been inspired by music, where Eurydice even in her unearthly being waits for her mate Orpheo, where angels  protect their beings. Their wings provide protection and abatement to them.</p> <p>Some of my portraits are the witnesses of the respect I feel for the art of Maria Callas and Yehudi Menuhin. In my pictures, inspired by the music of Béla Bartók, tears of pain that appear in the ‘Pool of Tears’, get solidified into a wall. We get an insight into the enchanted mask-world of theatre, where imagination comes into life.</p> <p>Even the symbol of eternal love, the Taj Mahal, floats between the earth and sky, where dream and reality intermingle.” Quotes Sylvia Sass</p> Fri, 28 Sep 2012 00:05:37 +0000 Sitt Nyein Aye, Chan Aye, Kyaw Moe Thar, Bank Khin Maung - Clark House (Bombay) - October 2nd, 2012 - October 16th, 2012 <p>This exhibition is best able to nod to the continuing relevance of the philosophy of nonviolence in our world, through historic works by the Burmese artist Sitt Nyein Aye, along with works by his teachers, U Kyaw Moe Thar and U Bank Khin Maung, and his close friend Chan Aye. In North East India, portraits of Aung San Suu Kyi are seen on calendars and posters advocating human rights in the face of unconstitutional sedition laws in India. In Myanmar, Gandhi's photographs and portraits hang in homes and offices. Sitt Nyein Aye has spent his life in continuous, untiring non-violent action, with an acute sense of duty to his nation. His thought elaborates on the artist’s duty, and the artist’s way, in which, to be an artist, is to already be political.<br />  <br /> His name, Sitt Nyein Aye, means war to peace [pronounced: sinyay-aye]. He was a graduate of the State School of Fine Arts in Mandalay. After graduating, he spent a lot of time in tea shops drawing portraits of people for a meal. It was here that he met and debated with some of the most influential writers, philosophers and poets in Burma, like the art historian U Win Tin, and the poet Soe Myint - whose portraits appear in the present exhibition. His first solo exhibition was called ‘The Little Worm in the Ear’. He also set up a gallery in Mandalay, helped by his friend, the artist Chan Aye, and a graphic design studio. <br />  <br /> He was already a celebrated artist in Burma, before fleeing to India following the repercussions after the 8888 Uprising. ‘8888’, the name of the protest that began on the 8th of August in 1988, is the foundational ground of the exhibition. Sitt Nyein Aye was a student leader and was one of the few people to take to the streets the morning the military began firing on a protest that had spread through the entire country. During these days, Sitt Nyein Aye edited and published a pamphlet, which had a viral distribution of nearly 16,000 copies every alternate day, amidst acutely trying circumstances. <br />  <br /> He moved to Delhi after two years in a refugee camp in Manipur, and till last year, lived in the house of George Fernandes, the ex-defence minister’s government home for nearly twenty years. When Fernandes left the home, Sitt Nyein Aye spent a year in an area called Janakpuri in Delhi, home to a large population of Indian-origin Burmese, and exiles from Myanmar, including the Mizzima News office. He was granted relocation to the US in October 2011. He moved to Fort Wayne, Indiana, where he has been working on building a pagoda, and where Daw Aung San Suu Kyi, delivered an address on 25 September to the 3,500 Myanmar refugees living there. <br />  <br /> The central work, '8', was first painted in 1990 in Moreh, a border town in manipur between Myanmar and India. The work had been touched up at a later date, possibly in 2000. When we began working on the exhibition, we realized this painting needed restoration as it had a small tear in it. Two conservators Harriet Pearson and Mark Coombs, then living in Bombay, began studying the work. They identified other things, like older re-touchings, splashes of dirt and water that had discoloured the red layers, and bird droppings. This led us to ponder over the peculiar history of this work. How it had been painted in a small border town, two years after the uprising, and how later, Sitt Nyein Aye had used it in demonstrations and protest marches on the streets of Delhi. This work was never meant for the wall. It had had a life on the streets. That the conservators let the work be, deciding to mend the tear, but leaving this surface intact as a testimony of its history, is a credit to them.<br /> <br /> * * *<br /> <br /> <em>In 2008 the artist Htein Lin introduced me to the work of his teacher and mentor, the artist Sitt Nyein Aye, who was living in Delhi at the time. When I visited him, within the high walls of George Fernandes’s then government residence, Sitt Nyein Aye's studio would be filled with iconic portraits of Gandhi and Aung San Suu Kyi, and those of his friends - famous Burmese poets, writers, and political prisoners then still languishing in internment. </em> <br /> <br /> <em>Sitt Nyein Aye has given Clark House access to his entire archive containing drawings of his journey from Burma to India, the camps and refugee communities with which he lived, his own writing and considerable editorial work, his autobiography, catalogues of his exhibitions, and the important publications he edited and published from the make-do set-ups of printing machines in Rangoon, then in the border forests, and finally in Delhi. This material has rarely been seen, and we are still in the process of translating and ordering the material. The exhibition includes works from this archive. </em><br />  <br /> - <em>Text by Zasha Colah </em></p> Thu, 04 Oct 2012 23:04:16 +0000 sunil kumar - Indian Council for Cultural Relations (ICCR) - October 12th, 2012 - October 17th, 2012 Wed, 10 Oct 2012 23:38:30 +0000 - Galerie Romain Rolland - Alliance Francaise Delhi - October 5th, 2012 - October 18th, 2012 <p>WIDE EYE OPEN occupies the ground “zero” of photography, a subject full of paradox and revelation. It is a collection of photographs taken by the visually impaired who were trained in photography since 2006 under the Blind with Camera project of the Beyond Sight Foundation Mumbai.</p> <p>It reveals that a photograph can be made successfully in the mind as much as by the eyes, illuminates a new line of thought, distinct from the way we approach photography - demystifies the polarity between blindness and visual expression, celebrates the human spirit of self-expression, spreads awareness about the challenges and capabilities of the visually impaired, helps to sensitize people and corrects public perception.</p> <p>The exhibition opening will be followed by a brief choir concert by children from The Blind Relief Association and the Deepalaya School, Kalkaji branch trained by <strong>The Neemrana Music Foundation </strong>who’ll perform an eclectic selection of poems set to music.</p> Wed, 03 Oct 2012 22:27:24 +0000