ArtSlant - Openings & events en-us 40 - Galerie Romain Rolland - Alliance Francaise Delhi - October 5th, 2012 6:30 PM - 8:30 PM <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 22:27:25 +0000 Luigi Anastasio, Prabhavathi Meppayil - Galleryske - Bangalore - October 5th, 2012 7:00 PM - 9:00 PM <p>GALLERYSKE is pleased to present ‘Everything/Nothing’ an exhibition of paintings by two artists,<br />Luigi Anastasio and Prabhavathi Meppayil.<br />Luigi Anastasio draws from the idea of the mind as mirror, reflecting with openness, inherently unconstrained, cognizant, aware and fluid. His paintings on paperboard evoke the mind in its natural state; the assertion of its form being emptiness and emptiness being its form. The works in ‘Everything/Nothing’ originate from Anastasio’s deep respect for Indian culture.<br />The lime gesso panels of Prabhavathi Meppayil are the product of a self-‐ dissolving, repetitive process. The goldsmith’s tool marks and thin copper wire impressed within her works embed ‘time’ into the gesso panels; a means to capture the meditative practice of making with no designed end. Meppayil explores the idea of liberation through the meticulous process-‐ oriented nature of her works.</p> <p>About<br />Luigi Anastasio first traveled to India inspired by two ideas: the first being the claim made by Marcel Duchamp in a final interview where he concluded that he had done “nothing” during the course of his life. The second idea was the practice of ancient Buddhist monks in Korea to inscribe single or multiple poems to summarize their lives and their learning on the walls of the caves in which they<br />dwelt. While in India, he came to understand that “the ‘nothing’ that Duchamp referred to represented emptiness while the poems of the monks represented the perfect minimalism”. His works are deeply influenced by his time spent in India.<br />Anastasio was born in Rome in 1961. He obtained a Diploma at Art School Collegium in 1979. In 1981 he completed a post Academy Course at Shantiniketan, Visva Bharati. His works have featured in a solo show at Sakshi, Bangalore in 2002 and have also shown in New York and New Delhi. More recently, Anastasio’s works featured in the Synesthesia show at GALLERYSKE in 2011. He has spent many years in India and now lives and works in Rome, Italy.</p> Thu, 04 Oct 2012 23:12:04 +0000 Natascha Borowsky - Max Mueller Bhavan - October 5th, 2012 6:30 PM - 8:30 PM <p>We are happy to invite you to a talk with our current <b>artist in residency Natascha Borowsky on 5th of October, 6.30 pm at Goethe Hall</b>. <br /> Düsseldorf-based visual artist/photographer will be speaking about her work, excerpts of which will be displayed, as well as about her residence in Mumbai.</p> <p>With great attention to detail, the Düsseldorf-based artist <b>Natascha Borowsky</b> has been collecting objects trouvé (found objects). These objects are captured photographically in their interplay with backgrounds featuring subtle colours and unconventional materials, and are thus transferred into a visual world offering a more-lasting option of contemplation.</p> <p>Traversing the field of object photography, on one hand, and artistic abstraction on the other, Borowsky uses cultural references that are also identifiable in the seemingly incidental or negligible. Everyday objects as well as fragments from a multitude of designed artefacts are isolated as almost relic-like instances in the artist’s series of colour photographs. Similar to a cabinet of curiosities, Natascha Borowsky allocates these items her own context of collection. <br /> <br /> In the process of disintegration, the objects undergo a metamorphosis towards formal clarity. They transform into aesthetically complex objects. This concept represents the basis of Borowsky’s serial photographs where the ephemeral qualities of materials amalgamate with the photographic moment, capturing an instant in the flow of time as an independent visual world. <br /> <br /> (Excerpt from 'Kosmos' by Barbara Hofmann-Johnson)</p> <p><br /> <i>Natascha Borowsky, visual artist/photographer from Düsseldorf, Germany, is currently living and working in Mumbai as artist in residence on invitation of the Goethe-Institut/Max Mueller Bhavan Mumbai in collaboration with the Arts Foundation of North-Rhine Westphalia.</i></p> Sun, 30 Sep 2012 00:25:30 +0000 Bharat Sikka - Nature Morte, New Delhi - October 6th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Nature Morte is pleased to announce “Matter,” a series of new works by photographer Bharat Sikka. “Matter” features a series of images in a variety of formats that blend studio, street, landscape and portrait photography into an image of the “new” India, an ancient culture slamming up against contemporary realities. The site of rapid change brought on by globalization and breakneck development, India is searching for its identity – trying on new ones, uneasily inhabiting traditional ones, and shedding out-moded ones. Sikka’s images explore this mercurial identity from his own very personal perspective: urban, educated, middle-class, cosmopolitan and self-conscious. The palette of “Matter” is doggedly reductive; eschewing India’s clichéd bright hues, Sikka limits himself to blacks, greys, whites and silvers. Sikka does not shy away from exposing every side of India’s uneven visual topography. All beautifully composed, the photographs show moments of brooding and alienation, moments of sheer energy, moments of teenage irreverence and moments of macabre allure. Mixing high and low, Sikka also pits the natural against the artificial: the peaks of the Himalayas are echoed in the folds and creases of a plastic sheet, while the unsettling gleam of a masked figure contrasts with the sensuous portraits of young men and women. Sikka has revealed the ambiguities visible in his transforming home country before: the earlier series’ “Indian Men” and “Space In-Between” portrayed the faces and landscapes of India with a similar aesthetic of uncertainty. Sikka himself has this to say about this new body of work: " ‘Matter’ is a visual record of the many things that come my way. From photographing the ordinary, to the dead and the alive, these images constitute things that evoke an impulsive emotion in me. They do not only merely determine my state of my mind, but also challenge the way I perceive my surroundings. Each of these images has their own story or perhaps none at all. From an impetuous decision of jotting a word down, to rather lifting my camera and making that picture, I am writing and making notes while also making images. <br /> <br /> Bharat Sikka, born in 1973, completed a BFA degree at Parson’s School of Design in New York In 2002. Solo exhibitions of his works have been held at Nature Morte in New Delhi (2009) and Berlin (2011), Bose Pacia Kolkata (2007), Otto Zoo in Milan and the National Museum in New Delhi (2008), Project 88 in Mumbai and the Sunaparanta Art Center in Goa (2010). Sikka travels widely from his home in New Delhi, working as a photographer for numerous projects. His work has been published in prestigious newspapers and magazines such as The New York Times, GQ, Vogue India, Vogue Hommes International, I-D Magazine, Time Magazine, The New Yorker, and he has been a contributor to the Incredible India campaign.</p> <p></p> <p></p> <p></p> Sat, 13 Oct 2012 15:36:27 +0000 Chandan Gomes, NISHTHA JAIN, Vicky Roy, Samudra Kajal Saikia - Vadehra Contemporary - October 9th, 2012 6:00 PM - 9:00 PM <p>Vadehra Art Gallery presents ‘Apna Ghar’ an exhibition featuring the works of Chandan Gomes, Nishtha Jain, Vicky Roy and Samudra Kajal Saikia.<br /> <br /> Based out of the two largest metropolitan cities in India, Mumbai and Delhi, these four artists investigate the concept of ‘ghar’ through a series of works that unhinge the popular notion of the home being an exclusive private domain. The works attempt to dismantle this easy definition and address the complex set of rituals, relationships and processes that go into making a home of one’s own. The exhibition brings together particular projects that have emerged out of the artists’ acts of re-looking and documenting their own lives, in relation to daily rituals, everyday spaces, people they share their lives with, and contemporary conditions of livelihood. In a way these are equally internal and external processes of looking. How is the idea of ‘home’ or ‘ghar’ conceived? What kinds of spaces are we addressing here?  In other words these works are journeys made by the artists that have led to the uncovering of underlying connection between people, with objects and spaces, and everything else which make up one’s ghar; a journey leading to moments of self-discovery, anxiety and reassurance.<br /> <br /> Curatorially this show started out in a rather organic manner, with the photographic works of Vicky Roy and Chandan Gomes setting the initial frameworks. Both photographers had been working around the concept of documenting their homes – in the case of Roy it was a series that gives an insider’s perspective into the daily lives of the boys at Salaam Balak Trust, a home for street children in Delhi where he grew up, and for Gomes it was a return to his parent’s modest house in old Delhi as an adult and a photographer. Vicky Roy’s photographs are poignant frames in black and white that draw out the characteristics of what makes this temporary space a home - from the daily rituals of cleaning, studying and common dining, to curious portraits of young boys on the brink of adulthood sharing their lives. Chandan Gomes’ cluttered and colourful interior offers a different perspective. Brimming with objects and devoid of people it tells a very personal story about the people who live there, their likes, obsessions, habits and beliefs, through the inanimate objects that populates their home.<br /> <br /> Extending these camera conversations is the film by Nishtha Jain, a Mumbai-based filmmaker. Her self-critical documentary, ‘Lakshmi and Me’, offers a nuanced look at her home as a shared space. This film on the life of the young girl who works at her house, and the unexpected new bond that develops over the period of making this film, puts forth a new set of questions about the invisible imprints of the people and events that makes one’s house a home. The film also throws up questions about class and social behaviour in India. On a similar political note is the work of Samudra Kajal Saikia, whose project ‘Disposable House’ has been an ongoing effort to engage with questions of home as space, as security, as ritual, and as disposable and sustainable. Working across mediums like poetry, artists books, videos, paintings and performances, Saikia’s work moves away from the purely personal into looking at home and home-making as a political and social act. In his work the disposable house becomes a metaphor for security at a time of increased migration, displacement, and mobility.<br /> <br /> It is Vadehra Art Gallery’s vision to incorporate new voices from the contemporary and curate artists/works which speak from today’s perspective, and we are pleased to introduce three new artists to our list – Nishtha Jain, Chandan Gomes and Samudra Kajal Saikia. Vicky Roy was part of our earlier photography show ‘Click! Contemporary Photography in India’ (2008) and is showing with us for the second time.<br /> <br />  <br /> <strong>Artist Biographies:</strong><br /> <br /> <strong>Chandan Gomes</strong> takes photographs for a living. At 23, he became the youngest recipient of the prestigious India Habitat Centre Fellowship for Photography in 2011. Photographs from his awarded essay were a part of the Inaugural Delhi Photo Festival. His first photo book is due for release in late ’12. Chandan has done his Bachelors in Philosophy from St. Stephen’s College, Delhi (batch ’09).<br /> <br /> <strong>Nishtha Jain</strong> graduated from Jamia Mass Communication Centre, Delhi and did her specialization in film direction from the Film and Television Institute of India, Pune in 1998.  Since then she’s been working as an independent filmmaker and lives in Mumbai. Through her films, she has explored the theme of self-representation in photography, tackled the issues of dignity of labour and documented women’s struggles for social change. Her work emphasizes her subjective gaze and lingers on the quotidian. Her films include the critically acclaimed ‘City of Photos’ (2005) which explores the fantasy worlds of street-side photo studios and the much acclaimed ‘Lakshmi and Me’ (2008) which explores the symbiotic roles of mistress and maid, filmmaker and subject, speaker and listener to raise key global issues as diverse as the politics of domesticity, gender and class relations, ethics and documentary.<br /> <br /> Originally from Bengal, <strong>Vicky Roy</strong> reached Delhi at a very young age. A graduate of the Salaam Baalak Trust (SBT), he studied photography at Triveni Kala Sangam and then apprenticed with Anay Mann. In 2007, he held his first solo exhibition titled, ‘Street Dream’ at India Habitat Centre; supported by British High Commission. Selected works from the show were exhibited at the South Hampton Gallery in 2007; followed by a touring exhibition organized by Department for International Development (DFID), U.K. in 2009. In 2008, Ramchander Nath Foundation (RNF) nominated Vicky for a mentorship program, for which he was selected by the US based Maybach Foundation wherein he photo-documented the reconstruction of the World Trade Center in New York, from March to August 2009. On his return, a solo show titled, ‘WTC: Now’ was held at Bodhi Art, Mumbai; supported by Asia Society and American Center.<br /> <br /> <strong>Samudra Kajal Saikia</strong> is an artist and writer working in multidisciplinary fields including performance, theatre, video, animation and public art. Samudra is a master of Visual Arts, specialized in Art History, and the Creative Director of Kathputlee Arts and Films, New Delhi. He is engaged in a self-driven theatrical practice coined as the ‘Disposable Theatre’ that works in the multidisciplinary paradigms. As the recipient of FICA Public Art Grant for 2010, he is mobilizing a multilayered public art project "Disposable House: the imagery of HOUSE in individual and collective memories". Being a practitioner of multidisciplinary practices of art and theory his artistic interest lies in the problematics of locating the conceptual ‘spectator’. Having a family background of a theatre practitioners, going through an academic  background of art history in two major institutions like Santiniketan (BFA) and Baroda (MVA) , and working in some other technical/ commercial/ popular idioms like animation, public performances, Samudra owes a diversified experience in the art practice and art writing.</p> Fri, 28 Sep 2012 00:24:37 +0000 Manisha Gera Baswani - Gallery Espace - October 12th, 2012 7:00 PM - 9:00 PM <p>The act of painting for Manisha is a 360 degree exercise. It allows meditative time, a structured<br />discipline and immense personal gratification. She delights in the viewer's interpretation, for she<br />does not weave any message through her works. . There is no pre-meditated blueprint – just a<br />blank sheet to allow a natural outpour of expression and in that way she let the work guide her.<br />Manisha Gera Baswani’s imagination is sparked by fantasy. She is more concerned with the<br />deeper spiritual reality than the mundane existence of things. In the process, there is a range of<br />worlds she creates. The viewer is given the choice to have different encounters. Her<br />experiences are episodical – threaded together by a language, personalized through memories,<br />beliefs and values. The artworks too are reflective of distinct phases of her life, each a separate<br />chapter of an ongoing odyssey.<br />Manisha has been moving towards the direction of semi-abstract form of representation of fluid<br />patterns and rhythms with her subject matter and content becoming increasingly incidental.<br />Nature for her has been the primal force which was confined into tight parameters and insets in<br />her earlier works. In the current tea water series in this exhibition, she lets nature flow to regally<br />become all-pervading. Man's entry into these scapes becomes deferential and nature yields to<br />such transgressions with benign grace.<br />The works done in the last two years amongst the large body of works that spans 6 year tenure<br />in this exhibition, take us through one such chapter of her life where she is seen juggling<br />between the roles of a professional (artist) and a homemaker. Balance for her is the key and the<br />more balls one juggles, the more likely one is to drop one. These works are an intimate peep<br />into her life as an artist, wife, mother and homemaker.<br />Manisha loves to explore different scales and mediums. After painting in the miniature format for<br />a while, she has also worked on large scale canvases. She oscillates between gouache and<br />watercolours, oils and dry pastels which render themselves to different textures and<br />sensibilities.<br />Brief Bio<br />A post graduate in Fine Arts at the Jamia Millia Islamia University (1986-1991), Manisha Gera<br />Baswani received the French Government Scholarship (1991) to study in Paris. She has also<br />been the recipient of the National Scholarship for young emerging artists (1991-93) and Junior<br />Fellowship from the Government of India (1995-97).<br />Between 1994 and 1996 Manisha worked as a Senior Artist at Indira Gandhi National Centre for<br />the Arts (IGNCA) for a Multi-Media project on Gita Govinda, the 13th century poem written by<br />Jayadeva, under the supervision of Dr. Kapila Vatsyayan. This project traveled to some major<br />museums of the world.<br />Three years ago, Manisha was instrumental in co-starting a creative collective in New Delhi<br />called ‘Manthan’ ( ) a quarterly event which focuses on bringing together<br />professionals across artistic fields to share their ‘process and methodology’ with peers in the<br />fraternity to support cross-cultural dialogue in Delhi.<br />Manisha has also been photographing fellow artists in their creative spaces now for 9 years .Her<br />project artists through the lens was shown by Devi Art Foundation, Gurgaon, during the<br />recently concluded India Art Fair in Jan 2012.<br />She is doing a solo exhibition at Gallery Espace, New Delhi, after a gap of six years, previously<br />having shown at Palette Art Gallery, New Delhi (2007) and Gallery Chemould, Mumbai (2005)<br />to name a few. Her painting is in the collection of National Gallery of Modern Art.</p> Wed, 10 Oct 2012 23:16:49 +0000 sunil kumar - Indian Council for Cultural Relations (ICCR) - October 12th, 2012 6:45 PM - 8:45 PM Wed, 10 Oct 2012 23:38:31 +0000 Group Show - Devi Art Foundation - October 13th, 2012 6:00 PM - 10:00 PM <p><img src="" /></p> Sat, 27 Oct 2012 21:58:56 +0000 Sachin George Sebastian - Exhibit 320 - October 13th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">In his first solo exhibition <i>Metropolis and City Planners</i>, Sachin George Sebastian (b. 1985) draws on his experience of migrating from a small town in Kerala to the metropolitan capital city Delhi, via detours in Ahmedabad and Bangalore.  As he describes it, it was an unsettling encounter with a monstrous city, simultaneously crowded and closed off from a sense of community and human interaction. His first impression of the city as large and looming didn’t lessen over time and it is the primary informant in the creation of his work. He walks among the highrises and skyscrapers and experiences them as monstrous, imposing monoliths and it is this sense of being engulfed by a concrete manmade jungle whose inhabitants are a faceless multitude that Sachin attempts to convey through his installations and paper relief works.</p> <p style="text-align: justify;">One of his installation occupies a small dark room. The city’s promise but also indifference is magnified in the far distance, reconstructed as layers upon layers of dense highrises and ubiquitous beings are seen approaching the city in single file rows strung across the room like clotheslines. The density of the city throws the flimsy existence of the individual in sharp contrast. Sachin cleverly manipulates paper to create multitudes of experiences – dense and singular, solid and featherweight, multi and one-dimensional.</p> <p style="text-align: justify;">His interest in constructed space and everyday life lived within it means that he is an acute observer of the visions of contemporary life that the urban city allows. As Indian metropolises address the needs of an ever-increasing populace, the multistory building is the architectural form of preference. And thus life is glimpsed through open windows and on balconies. The city is reduced in Sachin’s work to a collection of buildings, either barren or with partially open windows in which vignettes of lived lives – a person writing at a desk, a father lifting a child, a flower pot – may be seen.</p> <p style="text-align: justify;">Sachin’s work is an encounter of many kinds and one is the commingling the natural and manmade world. Thus crowds of people open up like a beautiful gigantic flower and the swirling city is constructed as a colossal wave. But in a room sized installation <i>Replacement</i> the encounter turns in an altogether different direction. A wooden pillar stands floor to ceiling in the centre of the room surrounded by paper cut outs of indistinguishable human figures. Wood is a recent entrant in Sachin’s material vocabulary and here the monolith resembles a monument imparting a veil of gloom and historicity to the installation, as if to say, it is perhaps already too late.</p> <p style="text-align: justify;">Trained in communication design at the National Institute of Design (Ahmedabad) it was the fascination with the pop-up book form that started Sachin on his mastery of paper engineering and led him further in his investigations with paper that have led to panoramic works of great delicacy and whimsy. Sachin uses a combination of folding and cutting to create his works. In some ways these are opposite practices for the former contracts a sheet while the latter expands it and thus together they lend impossible elasticity and dimensionality to a sheet of paper. Sachin also adds the elements of layering, including dramatic shadow play, to further the visual field, adding perspective to his meticulously crafted cityscapes.</p> <p></p> <p></p> <p></p> Sun, 18 Nov 2012 19:00:51 +0000 Sham Sunder - Gallery Sumukha - Bangalore - October 13th, 2012 6:30 PM - 8:30 PM <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><i>Sham Sunder’s Borders and Boundaries as a concept contain a sort of a silence that prevails and signifies the non-existence of `the human’, the life and the liveliness. I have tried to capture this silence in my works says Sham. Like birds and breeze, our thoughts, fondness, sympathies and compassions too cross borders. These landscapes, “borders and boundaries” intended in these works tend to move beyond being merely geographical. Borders and Boundaries confine movements. Restrict freedom and control actions. They generate doubts, raise questions and curiosities about the `other’ on the `other side’ and create “the others” amongst ourselves. Borders sustain hatred; invent violence to maintain the intended hate. Hence, every border comes with a “no man’s land”. Borders and boundaries silence interactions.</i></p> <p style="text-align: justify;">Sham Sunder holds a Diploma in Painting from KEN School of Art (1979) and Post Diploma in Print Making from Viswa Bharati University, Shantiniketan (1982). He has had his solo shows in Bangalore, Mumbai, Delhi, Goa and Hyderabad. He has been a part of several group shows like the Shristi Gallery Group show of Andhra Pradesh Artists, The Red Stone Art Center Colarado, USA, Asian European Art biennale at ANKARA, Turkey (1990), Festival of India, USA (1989), AIFACS International Graphics, New Delhi (1985) and many of the Karnataka State Lalitkala Exhibitions Since 1976. He has also been a participant of many International Camps and Workshops in India as well as abroad. His works form a part of many major collections like the Bangalore Museum, Chandigarh Museum, University of Hyderabad, Lalithakala Regional Center, Madras, Kansas University Collections, USA, The Marble Institute of Colorado, Denver, Colorado, USA and many other Private collections in India as well as abroad. He has been the recipient of Karnataka Shilpakala Academi Award for contribution in the field of Fine Arts’ 2001. Human Resource Development Fellowship for Fine Arts’ 1995-96. Asian European Art Biennale at ANKARA,Turky 1090. Karnataka State Lalitkala Exhibition 1993, `84, `82. Contemporary Indian Prints in the Festival of India USA 1995. All India Graphics, Chandigarh 1981 and `82.</p> <p style="text-align: justify;">He is currently Professor at Department of Fine Art, S N School, University of Hyderabad, Hyderabad.</p> <p></p> <p></p> <p></p> Fri, 19 Oct 2012 20:42:03 +0000 Darrell Roberts - Lalit Kala Akademi Galleries - New Delhi - October 14th, 2012 6:00 PM - 8:00 PM <table cellspacing="0" cellpadding="0"> <tbody> <tr> <td rowspan="2"> <div align="center"><img src="" alt="P1060582-001.jpg" name="picture0" border="0" /></div> <br /> <div class="intro"><span style="color: #272d0b; font-family: Arial; font-size: small;">Rabindra Bhavan, 35 Feroz Shah Road, New Delhi, India. Opening: Sunday October 14th 6pm</span></div> <div align="center"><img src="" alt="P1060597-001.jpg" name="picture" border="0" /></div> <br /> <h2><span style="color: #6f2698; font-family: Arial; font-size: xx-small;">LOCUS SOLUS: RASA * 12</span></h2> <p><span style="color: #272d0b; font-family: Arial; font-size: small;">A meeting of creative thoughts, minds and spaces leads to mercurial manifestations. Bringing together artists and collaborator from diverse geographical and cultural sites promises surprising and unexpected consequences. The 5ht NIV international Artist Residency introduces six Indian artists from across the country (Baroda, Delhi, Kolkata, Hyderabad, and Mysore), and six foreign artists (Spain, Ireland/Spain, the U.K. and the U.S.A.). Exposed to the churning energy of Delhi and Neb Sarai for a brief period of time, and to the myriad aesthetic inclines of each other, the journeys undertaken by each one and as a group cannot be reduced to a simple result. Thus, the incarnation of this formula: Locus Solus: Own Space (sort of akin to a room of one&rsquo;s own); Rasa: aesthetics and emotions; * as a signifier and multiplier; and the number 12 to denote the 12 artists and the year 2012. Inherent in the title, Locus Solus &ndash; meaning solitary or unique place &ndash; refers to the proto-Surrealist novel by Raymond Roussel (1914) in which a scientist named Canterel fits out luxurious laboratories in a villa near Paris. Each room demonstrates one of the ingenious inventions of his encyclopaedic mind, yet, on the whole, the villa displays the bizarreness of a shrine devoted to pure rationality and mechanical reproduction. In this residency, the atmosphere is quite the opposite. Surrounded by the bustle of the external environment, NIV is a place of calmness and concentration. However, within each studio, there is highly idiosyncratic energy happening. As such it fosters and revolves upon the constant presence and catalyzing role of the twelve artists. It considers the artist as a modern Canterel who distils his unique piece of art out of the components of fashion, design, architecture, film, music and information systems in his laboratory. In particular, it examines the activity within boundaries and the subsequent specificity of site; identity and its demarcation; the crossing of borders between site and vision, between individuals and the group. What unfolds, what happens within the work created and considered? Drawing from the Indian traditions, the henceforth discussed concepts shall be integrated into the fields of sensorial awareness and depiction. A Rasa (Sanskrit: रस lit. 'juice' or 'essence') denotes an essential mental state and is the dominant emotional theme of a work of art or the primary feeling that is evoked in the person that views, reads or hears such a work. However, the treatment, interpretation, usage and actual performance of a particular Rasa differ greatly between different styles and schools, and the huge regional differences even within one style. The materials selected by the artists, whether found objects, discarded materials, recycled, reconverted, or facets of modern technology and media, represent the artists&rsquo; adoption and adaptation of the energies and sources in the environment. Whether the oeuvres created during the course of the residency and then exhibited at this point in time reflect an evolution in creative expression remains a highly personal truth. Osmosis and absorption of internal and external influences undertake highly diverse paths from one artist or being to another. In asking how such an experience (presence in Delhi) or time period will affect an artist and their work, it is necessary to step back and allow the sense of time to expand, to stretch into an unforeseeable future. How each of the artists shall proceed from this moment on shall prove exciting and unexpected. Nevertheless, their interaction with one another, their myriad experimentations and outputs, their forays into their surroundings, shall prove fruitful on multiple levels. Elizabeth Rogers New Delhi, October 2012</span></p> </td> </tr> </tbody> </table> Tue, 22 Jul 2014 14:58:27 +0000 Vasudevan Akkitham - India Habitat Centre - Visual Arts Gallery - October 16th, 2012 5:00 PM - 8:00 PM <p>'Grid of Fire - Animals at no hope to escape' A solo show by Artist and Educator Vasudevan Akkitham from Baroda (Head of Department painting, Maharaja Sayajirao University, Baroda)<br /><br />Vasudevan Akkitham, after 6 years, presents a solo show named 'Grid of Fire - Animals at no hope to escape' which is intended to be a response to the violence which has become a part and parcel of our mundane existence. The show that consists of large and small works portrays the world of animals to narrate a doomsday story. They get caught in the vortex of fire with no hope of escape, and all the attempts to extinguish turn futile. The habitat of animals and the future environment of human beings have been depicted in the paintings, with emphasis on the fact that the inevitable destruction is in the offing.<br />Set in an imaginary burning jungle, stories unfold like narrative tales. What makes this imagination contemporary, is the way in which they are morphed in to the urban settings. Although, violence is the basic underlying pulse of these works, the Artist works with subtle and poetic textures, approaching them as if he is not yet ready to give up hope. Affinity to fire is evident in the paintings which points to the doomsday. At last, it underlines the disagreement of violence and beauty inherent in the symbolic fire, which could be both destructive and constructive at the same time.<br /><br /><b>About Vasudevan Akkitham : Vasudevan Akkitham</b> was born at Kumaranallur, Kerala in 1958. He completed his Diploma and Post Diploma from the Faculty of Fine Arts, M.S. University, Baroda. In 1988, he did his MA from the Royal College of Art, London. He has illustrated a children's book by Safdar Hashmi. He has held a number of solo exhibitions including two at Gallery 7 in 1989 and 1992 and another at Sakhi Gallery in Bombay again in 1992. He has also been a participant in a number of group exhibitions, notable among them being one in aid of earthquake victims in 1993 in Faridabad and 'Gadya Parr' Show, Gallery Chemould, Bombay in 1989. His work is a part of several reputed collections such as the Kerala Lalit Kala Akademi, Madhavan Nair Museum, Cochin and the Chester Herwitz Family Trust Collection, USA.</p> Wed, 17 Oct 2012 16:07:03 +0000 Parmeshwar Elanji - Indian Council for Cultural Relations (ICCR) - October 19th, 2012 6:45 PM - 8:45 PM Wed, 10 Oct 2012 23:41:48 +0000 Group Show - Religare Arts - October 19th, 2012 6:00 PM - 9:00 PM <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Religare Art brings together upcoming and known contemporary artists from across India and abroad for<b> a closer examination of the relevance of portrait painting in a post-modern and post photography age. </b>The artworks will be on display at the <b>Religare</b><b> Art Gallery, D3 P3B District Centre, Ground Floor, Saket, New Delhi, 110017 from October 19<sup>th </sup>- November 9<sup>th</sup>, 2012.</b></p> <p style="text-align: justify;">Working with different media, ranging from sculptures to paintings the participating artists of ‘The Palimpsest Portraits’ include Abhijit Dutta, Ashok Bhowmick, Binoy Varghese, Devidas Dharmadhikari, Farhad Hussain, Kasa Vinay Kumaar, Niladri Paul, Preeti Varma, Pritam Bhatty, Purnna Behera, Sunil Padwal and Tania Sen.</p> <p style="text-align: justify;">Commenting on the exhibition, Mr. Amit Sarup, President and Head- Religare Arts said, “Historically, portraiture was the privilege of the rich and famous of society. Often commissioned, these works, be it on canvas, paper, stone or ceramic, ensured the persistence of the patron’s memory long after his/her demise. Over centuries, the genre has re-invented itself, much like a palimpsest, proffering new avatars of itself, while retaining shades of an art historical past. The works in this exhibition take a closer look at the genre of portraiture, examining its rich history, its symbolic underpinnings and its relevance to the contemporary.”</p> <p style="text-align: justify;"> ‘The Palimpsest Portraits’ is an extension of Religare Art’s commitment to showcasing high quality contemporary art. <b>The Religare Art Gallery in its new avatar in Saket is spread across 20,000 square feet becoming one of the largest galleries in the country.</b> <b>The space integrates 2 galleries as well as ancillary transitional spaces that double up to accommodate symposia, workshops and other cultural activities. </b></p> <p style="text-align: justify;" class="yiv1979630424msonormal"><b>The theme of the exhibition explores the significance of portraiture as an important tool in the documentation of a time and place.</b> In a post, post-modern era, portraiture appears to have broken new ground, moving beyond its basic edict to capture a similarity to its subject, serving, now, as a medium through which notions of identity, power, and socio-political dynamics are constructed and de-constructed. The proposed exhibition seeks to examine the re-emergence of this genre through the eyes of twelve contemporary artists, who re-invent the portrait to become a symbol of their times.  </p> <p></p> <p></p> <p></p> Fri, 02 Nov 2012 19:59:57 +0000 Revati Sharma Singh - Gallery Art and Soul - October 20th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">The only Indian artist to be invited to the prestigious MASTERPIECES Art Fair in London this year, Revati Sharma Singh has been breaking ground in the international art market over the last few years. <br /> <br /> Having sold works at the Lapada Art Fair as well as Art London and The Affordable Art Fair, London, she created an installation for Art Monaco in Monte Carlo - titled ' Running On Faith', currently on display at the Palace Hotel, Monte Carlo.<br /> <br /> In a short span of time, she has carved a niche for herself as a thinking artist with extreme sensitivity and intensity whose work raises important questions pertinent to her country. She questions society using her art as a medium.<br /> <br /> Her works have been exhibited with Artists such as Hussain, Raza, Souza and Manjeet Bawa at Modern Masters at The Imperial Hotel, New Delhi as well as the Summer &amp; Winter Exhibitions at Kings Road Art Gallery, London.<br /> <br /> In Mumbai, she is known for her installations at the Kala Ghoda Art Festivals where she addresses public issues like the lack of toilet facilities or the plight of street hawkers. Her recent installation, 'Mera Desh Mahaan?' questions the way we live our lives today.<br /> Her painting/installation titled 365 days in Mumbai, is at the domestic airport, Mumbai.<br /> <br /> Her first solo show in Mumbai at Gallery Art n Soul in 2010 was very well received and she has taken part in art auctions in Delhi, Mumbai, Singapore, Hongkong and London.<br /> <br /> She is currently working on a project based on 365 days in London with a special emphasis on the Olympics .</p> <p></p> <p></p> <p></p> Mon, 22 Oct 2012 12:59:38 +0000 Tapan Bordoloi - Clark House (Bombay) - October 23rd, 2012 5:30 PM - 9:30 PM <p>The 'Vrindavani Vastra'  is a tapestry in silk. It was produced by  Srimanta Sankardeva, a non-Brahmin, Assamese saint from the 15th century.  It depicts the 'lilas' - mythical tales from the life of Krishna, now in the collection of the Victoria &amp; Albert Museum London.  Srimanta Sankaradeva, through the use of classical dance, music, and the visual arts, went about uniting warring factions of Assamese society into a Vaisnava (followers of Vishnu) order, that initiated followers across castes among the Hindus and Muslims of Assam in north-eastern India. After an epic journey, Sankaradeva returned with a manuscript of the Bhagwata Purana (epic on the life of the Hindu God Krishna) that he received from Jagdisa Misr of Mithila. After his death using influences from the Ahom-Tai school of art, that originated from Burma and influences from the Mughal, Rajput and Pahari Schools of Miniature painting these manuscripts were illustrated into the 'Chitra-Bhagvata' or the illustrated epic. Sankardeva established monasteries called 'Satras',  that were also socio-cultural institutions, that developed a distinct school of dance, music, and paintings, called 'Sattriyas'.  </p> <p>Tapan Bordoloi, having graduated from Santiniketan, became a staff artist for anatomy drawing in a medical college in Bihar.  Along with others artists, he founded the Gauhati Artist's Guild in 1976, in Guwahati Assam, where he taught art to enthusiasts for more than three decades, while sustaining his practice; now serving as its president. He developed a practice that dealt with modernist expressions until 2004, when he received a fellowship for Visual Art from the Department of Culture, Government of India. He began documenting the illustrated 'Sattriya Manuscripts' from the monasteries in Assam. From this fieldwork, at the age of 66, he began a new visual vocabulary in his own work, influenced by the manuscript illustrations, through which he began commenting on the socio-cultural life of contemporary Assam. He began to depict immigrant Bangladeshi women labourers in constructions sites, portraits of the women who wove the 'Moonga' silk he uses as the base of paintings, or 'Tsunam', a demon creating gigantic waves in an ocean, and modernised scenes from the Mahabharata. As an artist, he confronts the tide of communal hatred that plagues contemporary Assam, by referring to an ancient understanding of tolerance and communal harmony in Assamese cultural history.  </p> <p><br /> Text by Sumesh Sharma</p> Mon, 22 Oct 2012 23:37:17 +0000