ArtSlant - Current exhibits en-us 40 Patrick Rimoux - Akar Prakar - Kolkata - January 9th, 2013 - February 5th, 2013 <p>Rimoux defines himself as a sculptor of light or a tailor of shadow. This polyvalent artist, who is a photographer, a sculptor, and designer at the same time, is also a new technologies engineer, well known for his lightscapes of cities and monuments. His artistic work focuses on cinematic films that, for him, crystallize his focus on the revelatory nature of light – the primary subject of his work.</p> <p>A long time admirer of Satyajit Ray, Rimoux is fascinated by Indian cinema. Compared to that of European cultures, he believes cinema is an effective means of conveying culture because of its impact on society. Today, he is known as one of the principle artists diffusing an image of India in the art world.</p> <p>Patrick Rimoux and his team are currently working on a project of highlighting the European Ring in Brussels. He has made his last highlighting in Metz for the Georges Pompidou Center with the architect Nicolas Michelin.</p> Thu, 03 Jan 2013 23:59:08 +0000 Paresh Maity - Art Alive Gallery, Delhi - January 29th, 2013 - March 30th, 2013 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><i>“The amazing light of Venice is its most endearing quality. A clear sky, a mischievous cloud, a tantalising darkness... The quiet of the afternoon is suddenly broken by the pitter-patter of rain. Everyone runs for cover. The next moment sunlight sparkling on raindrops transforms the now deserted St. Marco Square into an impressionist painting” </i></p> <p style="text-align: justify;"><i>– Paresh Maity</i></p> <p style="text-align: justify;">It was in 1993, full twenty years ago, that Paresh Maity discovered Venice, a city that has since haunted him. Not unsurprisingly, Venice has been the source of inspiration for artists since the Renaissance, and Paresh Maity could have been simply one more artist motivated by the water city of the Medicis, except that his passion would probably have overwhelmed them. In the score of years since, he has returned nearly as many times, drawn by its incredible light, to paint by its waterside. His Venice landscapes have been avidly collected, as a result of which they are more likely to have been seen in his books than at any exhibitions outside of his <i>Venetian Odyssey</i> that travelled to Delhi, Bombay and Berlin.</p> <p style="text-align: justify;">The return of his <i>Venetian Odyssey</i>, like a sequel, is therefore both welcome as well as surprising. Welcome, because Paresh Maity has made Venice his own particular muse, and to see his reflection in his works of the city he loves and magically transforms into art is a joyful, almost spiritual experience. And surprising because, in a break from the tradition of his watercolours, this edition of <i>Venetian Odyssey</i> <i>Through the Lens of Paresh Maity</i> consists not of his paintings or watercolours, but of his photographs.</p> <p style="text-align: justify;">Paresh Maity has always been a serious photographer, even though he may not be associated with photographs. Not that he hasn’t exhibited his photographs before, but <i>Venetian Odyssey Through the Lens of Paresh Maity</i> is his first complete series and an exclusive photographic exhibition, and it serves to highlight his treatment of light and reflections which are critical elements in his watercolours.</p> <p style="text-align: justify;">In so many ways, the Venice that Paresh Maity captures – whether by brush or through his lens – is the Venice all visitors encounter: the waterfront and the canals, the gondolas and the reflections or silhouettes of a medieval city of trade and culture. What transforms it is his unique vision and his relationship with light that captures and turns it into enchanting glimpses into a magical mirror. The aching, impossible blue of a sky, the myriad colours of the waters on which the light dances a tango, the stark shapes of black-and-white images of a reality that can be seen all around but which, through his eye, becomes a cherished moment…</p> <p style="text-align: justify;">In using his lens like a brush, Paresh Maity brings to it the same sensibility, as indeed sensitivity, that marks all his forays in art. This ability to transcend mediums but retain the essential thread of a common dialogue is what marks his excursions to Venice – now no longer as a painter but essentially as a photographer. If there are commonalities that strike you, it’s because the artist, like the photographer, remains as much in love with Venice as with its enchanting light.</p> <p></p> <p></p> <p></p> Wed, 13 Mar 2013 23:15:18 +0000 Group Show - Art Alive Gallery, Gurgaon - February 3rd, 2013 - August 31st, 2013 <p>Art evolves and so do artists. Art Alive believes in the need for that continuous process of evolution and endeavor to create a platform where artists can enrich their experiences to share with their audiences. In our continues effort towards that, Art Alive presents Living Walls, an art project where a group of artists will engage in painting the walls of the gallery for a period of four days.&nbsp;</p> <p>We invite all art lovers to come and not only see but experience the evolving of an installation where the gallery becomes the site of a unique installation.</p> <p><strong>The Artists will work from 16<sup>th</sup> to 21<sup>st</sup> January during which you are invited to come and talk to the artist and capture the work. This installation will be on view till the end of February, 2013.</strong></p> <p>The core idea of the collaborative exercise is to enlarge the artists&rsquo; canvas and in doing so, involve the audience who would be witnessing the process of work and thus broaden their own experience of art.</p> <p><em>Sunaina Anand</em>, director, Art Alive Gallery says: &ldquo;This would be a dynamic live display of art which would showcase diverse selection of works. And the participation of live audience would only add to the dimension of the show. We are keen on exploring the culmination of such creative energies.&rdquo;</p> <p>Each artist will draw upon their own artistic imagination and use their idioms, styles, languages and ideas to create that visual impact. We believe, it is in the coming together of different voices that ultimately mergers into a rhythmic one, that we could create something experimental and fresh for our audience.</p> <p>There would be no theme, no boundary, no guidelines for each artist would follow the dictates of his or her heart making it somewhat challenging yet exciting as they get accustomed to working under the glare of live audiences comprising of media, critics and art lovers who would watch, interact and dialogue with the masters at work.</p> <p>The project would have an element of surprises and challenges. It would be unpredictable what the each of them would choose to do.</p> <p>The artistic dialogue is sure to inspire one another.&nbsp; It would create a collective platform to appreciate a new approach towards art. It would connect artists with different communities of the society to stimulate their senses and enhance a new experience towards their approaches. It would also inspire audiences to understand the potential of such collaborative energy to create work of different dimensions in public space.</p> <p>The entire process of work would be recorded and later produced in different formats to be displayed by the gallery.</p> Thu, 08 Aug 2013 00:05:21 +0000 Kiran Subbaiah - Chatterjee & Lal Gallery - December 21st, 2012 - February 9th, 2013 <p><img src="" /></p> Sat, 15 Dec 2012 23:29:54 +0000 Monika Correa - Chemould Prescott Road - January 24th, 2013 - February 23rd, 2013 <p>After a long period of private commissions, Monika Correa returns to a public exhibition of her tapestries. In this new work, she explores in even greater depth the concept she has been developing over the last many years: to remove the reed at a certain juncture in the weaving, so that the warp threads can meander freely. This introduces three-dimensional optical illusions, as well as an extraordinary sense of freedom and happenstance into the patterns of the woven fabric. This concept has been explored with considerable finesse and rigour – so that what emerges are very free, yet meticulously structured, variations on a theme.</p> <p>Monika Correa was introduced to weaving in 1962 by the distinguished American weaver Marianne Strengell of the Cranbrook Academy, Michigan. On her return to India, she continued her training at the Weaver’s Service Centre in Bombay. Her work, which explores the underlying relationship between weaving and the diverse patterns and textures of nature, is in several major public collections - including the Constitutional Court of South Africa in Johannesburg, and the Quartet of Tapestries commissioned by Philip Johnson for The Four Seasons restaurant in Mies van der Rohe’s Seagram building in New York.</p> <p>Chemould Prescott Road (formerly, Gallery Chemould) while being a contemporary art gallery primarily showing Modern and Contemporary art from India, also has a tradition of introducing diverse art practices. Monika Correa’s work is unique in that it takes extremely inventive concepts at the technical level and translates them into highly visual and tactile products that exude a sense of classic and monumental peace. It is with great pleasure that we present her new body of work, <strong>Meandering Warp: Variations on a Theme</strong>.</p> <p>Monika Correa who has exhibited her work both in India and abroad lives in Bombay with her architect husband Charles Correa.</p> Thu, 17 Jan 2013 00:45:10 +0000 Yogesh Barve - Clark House (Bombay) - January 27th, 2013 - February 28th, 2013 <p>Yogesh's father is a signal guard on Bombay's local trains. Yogesh often traverses the city with him, at the fag end of the train, staring at the mixture of speed and lines, as the horizon diminishes and parallel tracks appear to meet. This experience is often translated into his works where he uses the idea of speed to create visual experiences. His ongoing public project in Vasai College 'salt and Equal' replicates the illusion of the tracks meeting, and extends a work, 'equality/inequality', that was installed at the International Studio &amp; Curatorial Program New York in November 2012 where a pencil line runs across a row of inequally-placed, equally-sized cut-outs of orange paper.<br /> <br /> In a new work, installed at Clark House, drapes made of sheets of ruled yellow note paper hang from the walls, placed close to each other and measured exactly, so that the ruled lines move seamlessly across the drapes. Here movement is introduced by a ceiling fan, which lifts the thin paper sheets and disrupts the still drapes causing breaks in the continuity of lines. A detail - that the work was installed in time for a flag hoisting in the vicinity - may open up a reading of the work, as a mute observation of biases in society that impede measures of affirmative action guaranteed by the Constitution. The three works are comments on various permutations of inequality despite presumed measures of equality.</p> Thu, 14 Feb 2013 19:45:16 +0000 Mohandas NN - Clark House (Bombay) - February 1st, 2013 - February 28th, 2013 <p>In the first of a series of inquiry into the emergence of a distinct aesthetic informed by a communist political history in Kerala, Clark House uncovers the practice of the Fort Cochin based painter Mohandas. The exhibition reveals the artist’s close study of New Left ideas that emerged in the 70s, his close relationship with his mentor the Marxist theoretician TK Ramachandran, and his involvement with the Nila Reading Group - a gathering of left-leaning writers and poets publishing association. Mohandas questions the popular motifs, pictograms, and illustrative practice associated with the left movement, and their possible misunderstanding of ideology, through his depictions of pigeon gatherings, women cleaning the Fort Kochi beach, meetings in gardens, and portraits of his wife, the artist Sosa Joseph. </p> Fri, 01 Feb 2013 08:20:26 +0000 Zied Ben Romdhane - Clark House (Bombay) - February 1st, 2013 - February 28th, 2013 <p>Tunisian photographer Zied Ben Romdhane presents waiting zones - from the first 'Sit In' at the central kasbah in the capital Tunis, from a police station in Kef that has been burned in a protest, at an airport in Djerba where no aircrafts come, at checkpoints in Tobruk in Libya, from Shousha the camp for refugees on the Tunisian and Libyan border called Ras Jedir, where people wait in lines for food, wait for tents, wait for passports, immigrant workers wait for their governments, wait for the civil war to end. <br /> <br /> Zied was born in Tunis to a Berber family from the island of Djerba. He began taking photographs in 2003 to understand, and to change, the nation of ten million into which he was born. He has since worked in Tunisia, Egypt, Libya, Morocco, and Yemen - documenting the island of Socotra. ziedbenromdhane_website<br /> <br /> Proletariat Aesthetics is a project of curatorial research into the politicised aesthetics prevalent in much contemporary art today. Mohandas NN  reflects on Kerala, Marxist theory and its social objectives, in critique of a party system that now depends on communist nostalgia as it courts big business, creating a dogma based on the colour red and portraits of Che Guevara. Zied Ben Romdhane, often deals with the history of a left movement sabotaged and then ignored in Tunisia during the period of Ben Ali's dictatorship only to resurface within student movements during the mass protests of the Arab Spring and its present legitimacy as an opposition to the newly elected right wing government in Tunis.   <br /> <br /> Zones D'Attentes is Clark House's second in a series of projects that stand in solidarity with the Maghreb aimed at a dialogue between the two distant regions of North Africa and South Asia that began as conversations between Omar Fassatoui, Skander Zitouna, Yves-Victor Makaya, Mokhtar Kallel, Cheick Diaby and Sumesh Sharma in 2006. Curated by Sumesh Sharma and Zasha Colah.</p> Fri, 01 Feb 2013 08:25:12 +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 Ranjani Shettar - Dr. Bhau Daji Lad Museum - December 2nd, 2012 - February 17th, 2013 <p>Ranjini Shettar's large installations draw inspiration from natural forms recalling the surreal beauty of magical creatures and sensuous landscapes. She gives imaginative form to natural phenomena as diverse and unique as the interaction of light and water, the luminescence of fireflies and the kinetic response of plants to sunlight. Evocative titles such as Heliotropes and Scent of a Sound allow us to engage with the essence of the work, which emphasize handmade and preindustrial processes, but employ the most sophisticated technical and scientific processes in their assemblage. Celebrating both the natural and the man-made, the works recall the interface of art and science which was one of the founding ideas of the Museum. The show is a continuation of the Museum's exhibition series 'Engaging Traditions'.</p> Wed, 09 Jan 2013 22:32:44 +0000 Hajra Waheed - EXPERIMENTER - January 18th, 2013 - March 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Experimenter presents <i>Sea Change</i>, Hajra Waheed’s first solo in India. The exhibition opens Friday, January 18<sup>th</sup> 2013 and will continue until March 2<sup>nd</sup> 2013.</span><br /><br /><span style="font-size: small;"><i>Sea Change</i> is a new (and ongoing) body of work that stitches together a story about the missing and the missed. It chronicles the disappearance of all those who do – in the name of salvation, a better life or a new one.  In testimony to this, all that remains to be seen, are a series of collaged portraits and Polaroids, files, objects, coded notes and one-page declarations on paper. Through these delicately executed works, Waheed enables a glimpse into the fragments of ourselves we leave behind and the offerings we make to all those along the way. In some respects, <i>Sea Change</i> is a quiet ode to those who dare to journey across the borders they once built for themselves.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Much of Waheed's past work (<i>The Anouchian Passport Portrait Series</i> and <i>Swimming Pool Series</i>among others) has centered on memory and its relationship to photography – as well as photography's use in the mis-identification or further identification of individuals and groups of people undergoing some process of migration. <i>Sea Change </i>speaks to similar themes and like much of her work – the visual material here is also directly sourced from existing photographs – in this case a large deck of postcards from the 1930-40's that were gifted to the artist by a friend whose grandfather spent many years photographing his travels.  Not dissimilar to most postcards from this period that generally orientalized both people and places in the global south, these particular images became the catalyst by which a process of reclamation and resurrection (of these once photographed persons and places) came into being. In some ways, these unnamed and unidentified individuals become ghosts of the past and future – a skipping record of sorts where viewers are asked to possibly attempt to identify them but are ultimately are forced to walk away without ever fully being able to grasp them or their story. In sifting through the fragments of what has been left behind from <i>Sea Change, </i>it is difficult not to begin questioning whether this is indeed a story about the disappearance or perhaps even a mass migration of a particular group of people or about something else. After all, all of the notes left behind suggest a secondary story – a story of love: though what remains unclear is if it is indeed between two people or between person and nation or their notions of 'home.'</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">The power of a photograph to unleash both ambiguity and certainty is one of the most compelling qualities for the continued use of the medium in Waheed’s work. She remains interested in the space between translation and disorientation that takes place when stitching back histories/narratives, the relationship between the text and the photograph, and between drawing and photography.  She is also interested in the invisible space created between text, image and object where multiple truths and fantasies coexist, are constructed or superimposed by others and where definitions are continually transforming and mutating as a result of this. The timeliness of the image making processes and specifically the polaroid seems to fascinate Waheed. The exhibition consists of a number of polaroid based works. The last rolls of expired square-shooter film from 1980 not only act as a series of 7 cloudscapes as an ode to their death as a medium but also their death within her practice. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Having lived within the gated corporate headquarters under strict security regulations that prohibited photographic/video documentation of a place Waheed called home for over 22 years, Saudi ARAMCO in Dhahran, Saudi Arabia is the largest transnational oil corporation in the world and home base to 25% of the worlds oil export. It is therefore not alarming that all of her works act as an obsessive reconstructed personal archive to replace those that have been otherwise lost. <i>Sea Change</i> is therefore an archive where like all archives some things are difficult to understand, accurately record or articulate. Whether using discontinued photographing equipment or Polaroid square shooter, expired film or aged paper as early as 1935, Waheed’s drawings, collages and even new time based works always seek to address personal, national and cultural identity formation in relation to political history, popular imagination and the impact of colonial power in a global context.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Hajra Waheed (b. 1980, Calgary, Canada) has regularly exhibited her works in exhibitions across North America, in Europe, Asia and the Middle East including: “Lines of Control’, VM Gallery, Karachi; Green Cardamom, London, The Third Line, Dubai (2009); ‘Drawing Form’ Green Cardamom, London (2010); ‘(In) The First Circle’ Tapies Foundation, Barcelona (2011), ‘Changing Stakes’, Mercer Union: Center for Contemporary Art, Toronto (2011); Come Invest in Us, You’ll strike Gold, Brot Kunstalle, Vienna (2012) and the Herbert Johnson Museum of Art, NY (2012). Her works can be found in a number of permanent collections including the Museum of Modern Art (MOMA), New York, the John Jones Collection and the British Museum, London. She currently lives and works in Montréal, Canada.</span></p> Thu, 14 Feb 2013 19:45:32 +0000 Trupti Patel - Gallerie Alternatives - January 18th, 2013 - February 17th, 2013 <p>THE ARTIST CONTINUES TO INNOVATIVELY ADDRESS ISSUES OF IDENTITY, LOCATED IN PRESENT TIME, WITH THE USE OF CLAY/EARTH/SOIL, ASH, SEED, WATER, PLANT AND ASSOCIATED ACTIVITIES. IN THE HOMELAND WORKS, TRUPTI USES EARTH [from specific sites] SIGNIFYING POTENT ORGANIC HISTORIES, IDENTITY OF PLACE, CULTURE, REGION, SOCIAL AND POLITICAL ASSOCIATIONS ADDING DIMENSION IN JUXTAPOSITION WITH [the artist`s] CREATED CLAY WORKS OF SCULPTURAL HUMAN REPRESENTATIONS.THE CREATED WORKS ARE MADE FROM A COMPOSITION OF MIXED CLAYS,MINERALS AND OXIDES SOURCED FROM ALL OVER THE COUNTRY.</p> Thu, 14 Feb 2013 00:19:02 +0000 Manoel Filipe Pereira - Gallery Art and Soul - February 5th, 2013 - February 18th, 2013 <p>Manoel Filipe Periera is recognized the world over for his precision in detail, his outstanding dexterity and skill, and the resultant unique works of art , some of which can be seen in embassy and museum collections in Mexico, USA, Bolivia, France, Spain, England, Monaco, Japan, Portugal among other countries.<br /> <br /> Filipe will conduct demonstrations on certain dates from 5th till 15th February, 2013 from 5.30 -7 pm. <br /> For any more information, please contact Rita on 93210 33957.<br /> <br /> Filipe Pereira, an impressionist painter uses porcelain with its natural lustre and delicacy to express his passion for nature. This passion has been 30 years in the making and became Filipe’s calling from a young age.<br /> <br /> With an absolute mastery over his brushes and the porcelain surfaces that invite his inspiration, he works his magic to the complete amazement to all who have had the opportunity to witness him.<br /> <br /> Gallery Art &amp; Soul is fortunate to have the opportunity to host live demonstrations with Filipe over several days, from 5th-15th February 2013.<br /> <br /> Acknowledged by his contemporaries world over as the ambassador of porcelain painting, Filipe believes that this is his way to communicate with God and nature as he presents his creations of exotic flowers, tigers and birds with utmost humility.</p> Thu, 31 Jan 2013 00:03:19 +0000 Kalam Patua - Gallery Espace - January 24th, 2013 - March 1st, 2013 <p align="justify"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2">Kalam Patua is the best-known contemporary exponent of the Kalighat style of painting. After being featured in a major retrospective of Kalighat paintings at the National Gallery of Modern Art (NGMA) from the collection of the Victoria &amp; Albert Museum, Kalam’s second exhibition at Gallery Espace inaugurates a new series of paintings, based on social observation, autobiography and a satirical take on contemporary themes and reimagined traditional ideas in fresh new contexts. For a fortnight (January 24 to February 7, 2013) Kalam will install an “Open Studio” at Gallery Espace and invite the public to view his process, including the traditional techniques of his creative community, and his own distinctive style in Kalighat painting over the past two decades characterized by the use of pastel colours and fluid watercolour washes. </span></p> <p align="justify"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;" face="Arial, Helvetica, sans-serif" size="2"><br /> Kalam Patua (b.1962, village Jhilli, Murshidabad district, West Bengal) belongs to the patua community of traditional painters and storytellers. He learned the art of painting storyteller’s scrolls from his uncle Baidyanath Patua. He started by painting puja images of goddesses as well as narrative scrolls depicting Krishnalila, Ramayana, and Chaitanya, among other themes. In 1990, he was commissioned to paint a scroll illustrating the story of French Revolution by the Alliance Francaise in Calutta. Around this time he experimented with subjects like communal violence and dowry deaths.<br /> The Victoria &amp; Albert Museum, London, which holds the single largest collection of Kalighat paintings, has acquired and showcased Kalam's work in its just-concluded touring exhibition across South Asia. His works are also in the collections of The National Gallery of Modern Art in Delhi, the National Museum inLiverpool, UK, the Museum of Civilization in Canada, the Chicago Children's Museum, and the Lekha and Anupam Poddar Collection. Kalam Patua works as a postmaster in Chandpara sub-post office in West Bengal.</span></p> Mon, 25 Feb 2013 02:58:56 +0000 Shine Shivan - Gallery Maskara - January 11th, 2013 - March 14th, 2013 <p><img src="" /></p> Fri, 15 Mar 2013 01:05:35 +0000 Rajendra Dhawan - Gallery Threshold - February 2nd, 2013 - March 5th, 2013 <h1 align="center">Gallery Threshold</h1> <h1 align="center">presents</h1> <h1 align="center">A Requiem</h1> <p align="center">A Mini Retrospective of the Life and Works of Rajendra Dhawan (1936-2012)</p> <p align="center"></p> <p>Dhawan is one of those rare artists whose works transcend his era. His paintings are some of the best examples of painterly abstraction in post-modern times. His meditative approach to painting enables him to create works with almost a Zen-like minimalism, where sometimes even parts of the canvas-surface are left untouched, while other areas are brilliantly articulated with a single layer of diluted colours.</p> <p></p> <p>Dhawan's paintings, with their sensitively rendered washes of blues, browns and reds, draws the viewer in to their unfathomable depths, compelling him to engage in a deeper communion. In the pure formalism one can see influences from Rothko but in the dialogues between silence and movement, one can intuit conversations with Gaitonde.</p> <p></p> <p>Acknowledging him to be one of the greatest Indian Artists, this exhibition comes as a tribute.</p> <p></p> <p> </p> <p> </p> <p> </p> <p align="center">On View from – 2<sup>nd </sup>Feb, 2013 till 3<sup>rd</sup> Mar, 2013</p> <p align="center">At <st1:place><st1:placename>Threshold</st1:placename> <st1:placename>Art</st1:placename> <st1:placename>Gallery</st1:placename></st1:place>, F-213 A, Lado Sarai. <st1:place><st1:city>New Delhi</st1:city></st1:place> 30</p> <p align="center"><a href="" rel="nofollow"></a></p> <p align="center">011- 41829181</p> <p align="center"></p> Wed, 20 Feb 2013 23:50:47 +0000