ArtSlant - Current exhibits en-us 40 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 Group Show - Ahuja Museum For Arts - September 20th, 2012 - October 31st, 2012 <p>An exhibition displaying paintings by 18 young artists from Bengal.</p> Sun, 30 Sep 2012 00:17:25 +0000 Group Show - Art Alive Gallery, Gurgaon - September 15th, 2012 - October 20th, 2012 Fri, 14 Sep 2012 01:15:58 +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 Anju Dodiya - Chemould Prescott Road - September 24th, 2012 - October 26th, 2012 <p>Self-doubt has been the backbone of almost all my work till date.</p> <p>In these large paper works , we see this self-doubt, choreographed in ‘studio- dramas’ as extreme  gestures of anxiety, or as energetic actions of entering empty spaces  –  to  create.</p> <p>The physical energy of these artist figures is stolen from the Samurai of the 19th century Japanese printmakers. Their obsessive lunacy is borrowed from the world of sport and its desperate moments of winning and losing.</p> <p>Watercolour plays an important part in these calibrations. The luminous density of watercolour, the staining, it’s corruption by charcoal and the apparent erasure as water works its way through image… is the language of this performance</p> <p>The erasures were carried forward into the suite of photographic works in which created images are erased , playing with memory and stain… stain as on paper and on skin.</p> <p>The fabric-mounts with their almost geometric painted shapes, finally create a circuit where these marks, stains and erasures become a design, constructing a calm distance from the restless self.</p> <p>Though enacting a pantomime of suffering, there is irony and a self-mocking spirit conscious about the limitations of creativity. Yet, this is clearly a reverent space, nurturing the idealist/romantic/comic vision of an artist as the heroic ‘exemplary sufferer’</p> <p><em>Anju Dodiya<br /> </em></p> Wed, 17 Oct 2012 23:31:54 +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 Astha Butail, Asim Waqif, indersalim, Shuddhabrata Sengupta, saba hasan - Devi Art Foundation - August 18th, 2012 - April 15th, 2013 <p><b>Sarai Reader 09</b> is a nine month exhibition that will unfold as a process generative of visions, concepts, speculations and projections which, in turn, make room for heresy, for new modalities of being, for exchanges, relays and interferences. The exhibition will posit a situation of shifting co­-inhabitation in a space by many agents and actors, in diverse, multiple, conjoined and contradictory ways. It intends to investigate the nature of theensation of thinking, and its resonating extensions into the myriad worlds that we inhabit and invent.  <br /><br />Sarai Reader 09 will gather works incrementally over the nine months. Artists, researchers, scholars, curators, critics, filmmakers, writers, performers, dancers,musicians, magicians, activists, scientists, photographers, archivists, architects, poets, journalists, and more, are invited to make proposals that can be timed for specific durations. The exhibition space will keep transforming.  <br /><br />Sarai Reader 09 opens at 6:30 PM on 18 August 2012, with:  <br /><br />Architectural interventions in the space of Devi Art Foundation, with <b>Sayantan Maitra Boka</b> and <b>Zuleikha Chowdhary</b>. These interventions are to create an “empty space”, and so, to open it to multiple readings and transformations by participating artists over the nine months of the exhibition. <br /><br />A proposal room, where proposals by artists for works in the exhibition, invited through an open call, will be available for reading. At the opening, there will be proposals by 40 artists for works that will commence after the opening. These will grow to over 100 proposals over the nine months. <br /><br />A 1:1 architectural prototype (3x6x9 m) of the Cybermohalla Hub, by <b>Nikolaus Hirsch and Michel Müller</b>, in collaboration with <b>Cybermohalla Ensemble</b>, Sarai­-CSDS, Ankur: Society for Alternatives in Education; with Engelessman Peters Engineers, Akademie der Bildenden Künste Stuttgart, Daniel Dolder, Ana Farfan, Snehal Gada, Sayantan Maitra ‘Boka’, Steffen Sendelbach and Omar Siddique. The question of infrastructures for creative   and intellectual life emerged in 2006 in Cybermohalla, a dense conversational milieu that has formed in Delhi over a decade (2001 onwards), and a project of Sarai­-CSDS and Ankur. In 2007, Nikolaus Hirsch and Michel Müller were  invited into this conversation. A design of the Hub was proposed by them through conversations with Cybermohalla, and the first prototype was created  in “The Rest of Now”, part of Manifesta 7, co­curated by Raqs Media Collective, Bolzano, 2008. It was then hosted by Thyssen-­Bornemisza Art Contemporary (T-­BA 21), Vienna, for one year. In 2011, a prototype of the Hub was made at the Louisiana Museum, Copenhagen, as part of 'Living Frontiers of Architecture III-­IV'. Sarai Reader 09 brings the most ambitious iteration of the Hub to Delhi.  <br /><br />Release of the book ‘Cybermohalla Hub’, edited by Nikolaus Hirsch and <b>Shveta Sarda</b> (Sarai­-CSDS, Delhi, and Sternberg, Berlin/NY, 2012). This book is a reflection on urbanism, architecture, writing and time by Cybermohalla Ensemble and Nikolaus Hirsch/Michel Müller, with contributions by Hu Fang, Naeem Mohaiemen, Hans Ulrich Obrist, Jacques Rancière, Raqs Media Collective, Superflex, Graham Harwood, Ivana Franke, Amitabh Kumar, Aman   Sethi, Bhrigupati Singh, Can Altay, Nina Montman, Solomon Benjamin, Martand Khosla, Rana Dasgupta, Sharmistha Mohanty, Christoph Schäfer, Prasad Shetty, Ravi Sundaram, Rupali Gupte, Daniela Zyman, Lawrence Liang,   Zak Kyes, Vahni Capildeo, Matthew Fuller, Vivek Narayanan, Mathias Görlich, Nico Docx, Helena Sidiropoulos and Michel van Beirendonck.  <br /><br />Release of the book ‘P.T.O’, an appreciation of the listening, walking, reading, interviewing, collecting, questioning, mapping, recording, drawing, image-­making and writing done by the hundreds of Independent Fellows associated with Sarai over the last decade. The works by the Fellows have been publicly archived through postings in the Sarai Reader­-List and in the Sarai archive (in­-house at Sarai-­CSDS). P.T.O. is an edited, highlighted and re­sequenced version of these works, to bring alive the various dimensions and modalities of thinking and making. Edited by Shveta Sarda (Sarai-­CSDS, 2012) <br /><br />A talk by the curators, Raqs Media Collective, introducing the exhibition.  <br /><br />An evening of experimental sounds and electro­acoustic music featuring Ish Shehrawat (edgeCut | diFfuSed beats | Sound Reasons), Andi Teichmann (Teichmann Brothers), Brian Citro and Ignat Karmalito. <br /><br />Release of ‘The diFfuSed beats (diF) Audio CD’, synthesised out of sounds, noises and field recordings from New Delhi, Munich, Zurich and around the world (Sound Reason banner). diFfuSed beats is the duo comprising Konrad   Bayer and Ish Shehrawat as they engage with sound with both philosophical and de­constructive aesthetics. <br /><br />The exhibition will be punctuated through “episodes” – points of focus and dispersal – where processes that have been undertaken by artists will gather impetus and open out across concentrated moments of public attention. Each episode will be a day­long public event, with workshops, performances, talks, discussions, special screenings and music. <br /><br />Episode One: 13th October, 2012<br />Episode Two: 15th December, 2012<br />Episode Three: 3rd February, 2013 <br /><br />The exhibition takes its name from the Sarai Reader book series, which have been widely recognised as a site of critical and creative thinking. The making of the book ‘Sarai Reader 09 (Projections)’, will accompany the exhibition.</p> Thu, 25 Jul 2013 15:56:02 +0000 Prajakta Potnis - EXPERIMENTER - September 21st, 2012 - November 3rd, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Experimenter presents <em>Local Time</em>, a solo by Prajakta Potnis on Friday, September 21, 2012. This is Potnis’ first solo in Kolkata. The exhibition will continue until November 3.</p> <p style="text-align: justify;">The artist will lead a walkthrough of the exhibition and be available for interaction during the opening preview on September 21 between 6 pm and 8 pm.</p> <p style="text-align: justify;">The notion of time and its passage has always seeped into Potnis’s work, sometimes bordering on an out of control situation, an outburst that is often a result of apathy or neglect. Different time zones exist within a vast nation like India but a common standard time is maintained for political, administrative and possible feelings of national unity. An inherent ambiguity and unstated time difference therefore emerges in our daily lives. Potnis attempts to look at the multiplicity of the idea of time and the gaps that therefore exist between two places. She explores what transpires within these intervals and wonders if our realties shift or distort within these gaps. Time has an inherent need to be accurate. Potnis intervenes with small distortions through her photographs and installations in a way derailing time in its constant pursuit of that perfectness and inhabits the spaces that could exist in the fissures that emerge in Local Time.</p> <p style="text-align: justify;">Capsule, a photographic series shot inside a refrigerator explores the idea of freezing time and ageing. The refrigerator because of its controlled temperature allows the creation a sterile enclosed space similar to the environment in malls or airports or other places of transit that are zones not affected by the outside, in a sense blocking time out of its calculation, and at the same time adding an eerie familiarity of such sterile-like spaces we encounter in urban cities. A site-specific sculptural installation bears marks of the passage of time, on the walls of the gallery, a reference that has over time evolved in Potnis’ work. A light and alarm clock work seems to make a metaphorical comment on a systemic failure of sorts and a sense of anxiety and suspense within time. Potnis balances her work on the edge of reality and questions the yardsticks we<br />use to measure our bearings.</p> <p></p> <p></p> <p></p> Sun, 04 Nov 2012 15:56:30 +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 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 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 Prashant Pandey - Gallery Maskara - September 25th, 2012 - November 8th, 2012 <p style="text-align: justify;">Gallery Maskara is pleased to announce artist Prashant Pandey’s second solo show <i>Shelf Life II</i>, at Gallery Maskara.</p> <p style="text-align: justify;">Prashant Pandey reawakens perception of everyday life by defying conventional logic when it comes to ways of seeing discarded objects. Through his use of found, recycled and reclaimed material like sweet lime bagasse, marble blast-stones and chunks of road tar, Pandey uses by-products of human activity in innovative ways, interrupting the utilitarian cycle of everyday life.</p> <p style="text-align: justify;">His new body of work encourages one to trash conventional ways of seeing and questions the meaning of “shelf life” through the use of material that is long past its supposed use-by date, inviting you to witness a resurrection of all that is forgotten and obscure.</p> <p style="text-align: justify;"> Although his medium is constantly shifting, his basic concern remains the same – a critical commentary on modern society. Pandey believes that a closer scrutiny of what we throw away gives us a deeper understanding of ourselves, maintaining that judging the objects we discard as useless is an inherently unstable affair.</p> Wed, 31 Oct 2012 07:54:20 +0000 Luigi Anastasio, Prabhavathi Meppayil - Galleryske - Bangalore - October 6th, 2012 - November 24th, 2012 <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> Mon, 29 Oct 2012 15:32:19 +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 Riyas Komu - Kashi Art Gallery - August 4th, 2012 - October 30th, 2012 <p><strong>Recent Paintings and Sculptures</strong></p> Mon, 13 Aug 2012 01:34:18 +0000