ArtSlant - Recently added en-us 40 Priya Ravish Mehra, Matthias Spiess, nidhi khurana - Galerie Romain Rolland - Alliance Francaise Delhi - October 5th - October 13th <p>This exhibition blends the practice of Nidhi Khurana, Matthias Spiess and Priya Ravish<br />Mehra, three artists whose exploration of thread as a medium has brought them together.<br />Swiss artist Matthias Spiess came to India for a residency funded by CMS/IAAB, K and<br />facilitated by Pro Helvetia in 2012/13. Matthias was able to spend six months in Lajpat<br />Nagar, where he made the acquaintance of Nidhi Khurana and Priya Ravish Mehra, both<br />artists working with textiles in unique ways. They discovered they shared similar artistic<br />approaches expressed through different media and a common interest in re-interpreting<br />traditional design and in recycling discarded materials from their surroundings. The thread<br />linked their practice and helped them develop new works in conversation with each other.<br />According to Cas Holmes, a well known textile artist, 'reusing found materials is a form of<br />alchemy'. The artists use this alchemy to express their artistic research and to connect with<br />one another, finding a line that unites their work to their practices and learning from<br />backgrounds, geographies, mediums and preoccupations, bringing them forth in their formal<br />dialogue with one another. Despite this not being a 'hands-on' co-production, this exhibition<br />can be considered a collaborative show due to their encounter and their sharing of ideas and<br />experiences during the time they spent together. Spiess, Mehra and Khurana expose a<br />genuine creation: the materialization of space for intellectual connection.<br />During his residency, Matthias was influenced by the role of textile in Indian culture and<br />decided to incorporate it into his until then purely geometrical representations, reimaging<br />patterns in combination with traditional Indian techniques. Nidhi Khurana uses the<br />insignificant katran thrown away by most tailors and designers to create maps of real and<br />imagined spaces, mapping her experiences and those of others she encounters, while<br />Priya's work revolves around the use of distressed textile pieces and the idea of repair<br />through the ancestral practice of darning (Rafoogari). Linking together these three artists is<br />the thread; embroidered, darned, stitched in grids, piecing together what is left behind:<br />making new with old.</p> Fri, 12 Sep 2014 01:34:42 +0000 Ray Meeker - Nature Morte, New Delhi - September 13th - October 11th <p>Nature Morte is pleased to present its fourth solo exhibition with Ray Meeker. As with the artist&rsquo;s previous exhibitions, the theme is related to environmental and ecological concerns, humankind&rsquo;s fragile relationship with nature and the perils of over-development. The title refers to the artist&rsquo;s age and his continuing productivity.</p> <p>The works on display come from three disparate series:</p> <p><strong><span style="text-decoration: underline;">The Eye of the Needle</span></strong>. These are large-scale ceramic sculptures which flirt with architectonic references, similar to monumental works which are permanently installed at the India Habitat Centre in New Delhiand the Hyatt Hotel in Chennai. Resembling monolithic stele, the works are both archaic and futuristic, harbouring in their surfaces the remains of technological detritus, the scars of modernity, and the residue of language.</p> <p><strong><span style="text-decoration: underline;">Tea Bowls.&nbsp;</span></strong>Meeker explores the most basic form of ceramic sculpture, seeing it as a metaphor for pan-Asian aesthetics and the journey of Buddhist thought from Indiato the Far Eastand circling back home.</p> <p><strong><span style="text-decoration: underline;">The Chinnagama</span></strong>. Taking the name from&nbsp;anagama, the Japanese kiln used to fire these works, Meeker collaborates with traditional potter T. Palanisamy to explore the painterly potential of wood ash crust, melt and run on the surface of large water pots.</p> <p>Originally from California, Ray Meeker has lived in Pondicherrysince 1971, where he and his wife Deborah Smith established Golden Bridge Pottery, which continues producing utilitarian ceramics today. In addition to his artistic practice, Meeker has been teaching aspiring studio potters for more than three decades, developing a coterie of like-minded sculptors working in ceramics. &nbsp;&ldquo;Bridges,&rdquo; an exhibition of works by over 50 of Meeker&rsquo;s former students, will be at the Stainless Gallery in New Delhifrom September 20<sup>th</sup>&nbsp;to 27<sup>th</sup>. The artist&rsquo;s previous exhibitions with Nature Morte have been in 2008, 2004 and 2001.</p> Wed, 10 Sep 2014 22:59:40 +0000 vipul prajapati, Rakesh Patel, Roma Patel, Harshil Patel - Jehangir Art Gallery - September 8th - September 14th Wed, 10 Sep 2014 22:47:52 +0000 Swarup Basak, Maksudul Ahsan - Jehangir Art Gallery - September 8th - September 14th Wed, 10 Sep 2014 22:43:33 +0000 Subhash Pal - Jehangir Art Gallery - September 8th - September 14th Wed, 10 Sep 2014 22:40:54 +0000 Jhupu Adhikari, Jatin Das, Mridula Jha, K Laxma Goud, T Vaikuntam - Gallerie Alternatives - September 1st - September 22nd <p>allerie Alternatives presents a group show of paintings, drawings &amp; sculptures by Jhupu Adhikari, Jatin Das, Mridula Jha, K Laxma Goud, T Vaikuntam &amp; many artists from 1st till 22nd September 2014 at 102 Mega Mall, DLF city phase-1, Golf club road, Gurgaon. 11am-7pm closed on tuesdays</p> Wed, 10 Sep 2014 22:33:38 +0000 Debasis Beura, Kunal Kalra, Priyanka Govil, Richa Arora - Alliance Fran├žaise de Gurgaon - September 21st - October 16th <p style="text-align: left;" align="center"><em>The exhibition</em>&nbsp;showcases perspectives of four young Visual artists and their reactions to the&nbsp;<em>Changing Landscapes of</em>&nbsp;spaces and lives. These changing landscapes are the reality and how each one of us engages with them is the process that this exhibition &ldquo;Continuing &ndash; Changing landscapes&rdquo; brings to you.</p> <p style="text-align: left;" align="center">&nbsp;Debasis Beura</p> <p style="text-align: left;" align="center">Compositions, where human beings, nature and the romantic mood together create a dynamic landscape reflect a sense of timelessness&hellip;</p> <p style="text-align: left;" align="center">&nbsp;Kunal Kalra</p> <p style="text-align: left;" align="center">&ldquo;Changing landscapes recall the past; trace the present and tries to anticipate the future&rdquo;</p> <p style="text-align: left;" align="center">&nbsp;Priyanka Govil</p> <p style="text-align: left;" align="center">&ldquo;The tampering with natural elements, hoarding, accumulating &amp; building for self, from the simplest to the most complicated creations for convenience and comfort&hellip; These have become an integral part of our landscapes merging within and inseparable&rdquo;</p> <p style="text-align: left;" align="center">&nbsp;Richa Arora</p> <p style="text-align: left;" align="center">An interpretation of changing landscapes is where there is just the whiff of what&rsquo;s to come&hellip;where things have gone to seed so much, that they cannot survive without changing: &ldquo;Detritus&hellip;towards change&rdquo;.</p> Wed, 10 Sep 2014 22:19:50 +0000 - Alliance Francaise de Bangalore, India - September 26th - September 28th <p>The teleological pursuit in human life takes a person beyond mere worldly fulfillment to&nbsp;a sense-making process behind one&rsquo;s own presence in the world. Vedic, upanishadic and puranic literature summarise the Hindu philosophical approach to understanding the mortal life in the phenomenal world and provide&nbsp;a path to salvation. The Vedic culture worshipped elements of nature anthropomorphised as Gods. They gave astronomical calculations based on keeping time and observation of astral positions. They worshipped animals, saw many creatures unknown to the modern world and described those in scriptures. They worshipped trees and mountains and were the forerunners of planet conservation and a spiritual consciousness of all creation. &lsquo;Tat tvam asi&rsquo; begins with the divinity of learning&nbsp; &ndash; Lord Ganesha. He&rsquo;s seen with &lsquo;Om&rsquo; in his left hand and the right palm allows entry into a non-sensory absolute/salvation. Next, &lsquo;Tat tvam asi&rsquo; exhibits temple art motifs such as Ganda bherunda and Yali as digital art,&nbsp;Rahu and Revati as representation of astral bodies and moves into the realm of animal&nbsp;consciousness through Nagaloka.&nbsp; There&rsquo;s a host of vedic deities &ndash; Rudra, Surya/Savitr,&nbsp;Aranyani, Pushan, Dadhikra, Vayu &ndash; and an incarnation of the divine, Varaha. The tree &ndash; Ashwattha stands for the axis mundi. True to its purpose, &lsquo;Tat tvam asi&rsquo; signs off&nbsp; with the Sahasraara &ndash; the chakra involved in attainment of nirvikalpa samadhi &ndash; and shows that everything about the phenomenal world to the absolute truth is a journey of the supreme self.</p> Wed, 10 Sep 2014 22:13:20 +0000