ArtSlant - Closing soon en-us 40 Kiran Subbaiah - Chatterjee & Lal Gallery - December 21st, 2012 - February 9th, 2013 <p><img src="" /></p> Sat, 15 Dec 2012 23:29:54 +0000 Group Show - India Habitat Centre - Visual Arts Gallery - February 4th, 2013 - February 9th, 2013 <p>The title of the exhibition might, for some have an eschatological ring to it. On the contrary, the show reveals that the space within the Darkness is illuminated by the magic of cultural contributions and cross-genre transference. Following CIMA Gallery’s Punch Sena exhibition earlier this summer, of artists from Bombay, BETWEEN DARKNESS AND MAGIC is a group show of thirty five artists, spanning four generations from Kerala. Presenting an exhibition of works of artists from a particular region can be troublesome thing. On the one hand, it gives an opportunity to showcase the creative contributions of a place and/or region in a different geographical state. The other edge of the sword, can be the perception that the exhibition is pursuing an “essentialist quest” – setting it in opposition to others.<br /> <br /> Between Darkness and Magic attempts to uncover a contemporary myth, that art is autonomous from place, history and struggles of authenticity. The evolutionary story of every culture is one of progressive opening up to other influences (such as literature) and cultures (migration). It is through art , translations of books (R.K. Narayan’s Malgudi Days) and modern migrations, that the local meets the world and the world sees the local.<br /> <br /> This is not a historical overview of modern art in Kerala. It gives a comprehensive perspective of the art scene in Kerala post-Ravi Varma, starting with K.C.S. Paniker. It includes cartoons and caricature, an area in which Kerala has contributed significantly and it came to represent modern art practice amongst the general public. The effect of translations of one south Indian vernacular literature to another has also been felt and is present in the art, particularly in the illustrated books.<br /> <br /> Kerala, the burgeoning metro, has been churning, with the processes of migration, repatriation economy and Marxism.<br /> <br /> Through the Darkness of the vigorous stirrings, what is revealed, is that Magic and Darkness are complementary- what happens within and through darkness, is magic and often, magical.</p> Wed, 06 Feb 2013 23:04:12 +0000 Group Show - Religare Arts - January 18th, 2013 - February 9th, 2013 <p>Religare Art brings together upcoming and known contemporary artists from across India and abroad in an effort to re-examine the age-old genre of landscape painting as it exists within a contemporary context.</p> Wed, 27 Feb 2013 23:42:42 +0000 - Max Mueller Bhavan - February 2nd, 2013 - February 10th, 2013 Sat, 02 Feb 2013 23:05:53 +0000 Geetesh Sharma - Indian Council for Cultural Relations (ICCR) - February 8th, 2013 - February 13th, 2013 <p><img src="" /></p> Wed, 02 Jan 2013 23:52:08 +0000 Khushboo Upadhyay Soni - Galerie Art Eterne - February 8th, 2013 - February 14th, 2013 <p><b>Khushboo Soni Says,</b></p> <p>I like to depict the subject which I have seen very closely. Every painting says different- different things to their viewers, I tried to make little easy language of my paintings, and due to this everybody can be connect. I tried to create a question which always disturbs my mind. I painted only things which I felt after coming in this metropolitan city (Delhi) from a little town.</p> <p>I paint ordinary vehicles of ordinary people who struggling to survive. Through the vehicles I want to symbolise that the part of society which has no development, no luxury, neither higher education nor basic, even they can’t full fill their basic needs. In every big cities we can easily find out the slum area  they have no proper food, water and clothes also, and after seeing this my pen starts to write, my brush starts to select their own drawings and own colours.</p> <p> </p> Fri, 08 Feb 2013 01:22:36 +0000 Group Show - Mahua Art Gallery (Sadashivnagar) - January 25th, 2013 - February 15th, 2013 <p>Mahua Annual 2013 is a collection of <br />works which represents<br />contemporary,folk and tribal arts. The <br />collection has varied visual styles and <br />thematic representation by a large <br />group of senior and young artists from <br />different corners of the country.</p> Thu, 31 Jan 2013 00:52:04 +0000 Bharti Kher - Nature Morte, New Delhi - January 19th, 2013 - February 16th, 2013 <p>Nature Morte is pleased to present a solo show of new works by Bharti Kher. Continuing to expand her repertoire of materials and references, the show is comprised mostly of new sculptures which relate to domestic spaces, responding to the interior architecture of the gallery itself. A staircase, a doorway, and a chair are isolated and re-imagined, installed to become apparitions of themselves or elements in a hallucinatory stage set. Kher’s sculptures now employ a complex dialogue between the found object and their manipulation through juxtapositions and various processes. She both excavates and destabilizes the inherent meanings found in common objects to arrive at poetic conjunctions that speak of social tensions and personal discoveries (for the viewer as much as for the artist herself).<br /> <br /> Also on view will be the artist’s signature bindi works which occupy the space of painting yet expand upon its histories and possibilities. Now approaching a monumental scale, the works contrast minute detailing with an almost panoramic scope. One large diptych uses mirrors, smashed and violated, as its ground. Bindis applied on to this shattered reflective surface are subsumed into it, the work as a whole acts as a residual evidence of a performative catharsis. In another diptych, bindis are organized along a more formalized program, their geometric progressions relating to the warp and weft of woven carpets, the patterning of Islamic architecture, the molecular ordering of matter itself or the digitization of information and imagery.<br /> <br /> Bharti Kher was born in London in 1969 and received a BA in Painting from the Newcastle Polytechnic in Newcastle, UK in 1991. She has been living and working in New Delhi since 1993. Recent solo exhibitions of her work have been presented at the Parasol unit in London, Hauser &amp; Wirth in New York and Galerie Perrotin in Hong Kong (all 2012). Her works have been included in group exhibitions at prestigious institutions such as the Centre Pompidou, Paris; the MAXXI Museum, Rome; the Serpentine Gallery, London; the John F. Kennedy Center in Washington D.C.; the Devi Art Foundation, New Delhi; the Museum of Contemporary Art and the Mori Art Museum, both in Tokyo. Her works are in a number of museum collections including Tate Modern, London; the Walker Art Center, Minneapolis; and the Kiran Nadar Museum of Art, New Delhi. <br /> <br /> Two recently-published monographs on the artist’s work (Bharti Kher, Parasol unit and Bharti Kher: blind, eyes open, Galerie Perrotin) will be available for sale from the gallery during the exhibition.</p> Wed, 09 Jan 2013 22:22:36 +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 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 Iqbal Geoffrey, Seher Shah, Ayesha Jatoi, Mehreen Murtaza, Rabbya Naseer & Hurmat Ul Ain, Saira Sheikh - KHOJ International Artists' Association - February 10th, 2013 - February 17th, 2013 <p>The artists’ PowerPoints in <cite>230 MB / EWO</cite> range from more exploratory text based works to those mining image based archives. Several of the artists responded to the exhibition’s formal constraints by creating “events” that took advantage of the absence of objects — for example, by working with the non-object based materiality of sound or by offering conceptual proposals in lieu of performance-based events. Other artists offered meditations on the form of the gallery talk or played with liveness and presence through Skype conversations.</p> <p><cite>230 MB / EWO</cite> links Lahore and Delhi as well as the cities’ inhabitants through the exhibition platform. <cite>EWO</cite> aggregates as it travels, growing in each instance to include artists from the cities it visits along a path towards its terminus. This route traces a line that is poignant for both Pakistanis and Indians alike, as it connects cities with mirrored experiences of traumatic population exchanges during Partition. Within our contemporary context this route is also indicative of a particular directionality of the art market. This route and these cities are laden with spectral resonances and market possibilities that the exhibition’s format responds to by moving artists across the border for their events and conversations (visa and politics permitting). The show’s terminus in Dubai reflects more contemporary migration patterns, as the city has become an important hub for a range of subcontinental activities and industries, as well as a prevalent node in the wider region’s art market.</p> <p></p> <h3>LAHORE &gt; DELHI</h3> <p></p> <h4>LAHORE</h4> <p><strong><cite>136 MB / EXHIBITION WITHOUT OBJECTS<cite></cite></cite></strong></p> <p><strong>Artists</strong>: Ayesha Jatoi, Mehreen Murtaza, Rabbya Naseer &amp; Hurmat Ul Ain, and Saira Sheikh.</p> <p></p> <h4>DELHI</h4> <p><strong><cite>230 MB / EXHIBITION WITHOUT OBJECTS</cite></strong></p> <p><strong>Artists</strong>:Iqbal Geoffrey, Seher Shah, Ayesha Jatoi, Mehreen Murtaza, Rabbya Naseer &amp; Hurmat Ul Ain, and Saira Sheikh</p> <p></p> <h4>CALENDAR OF EVENTS</h4> <p></p> <h3>Public Program</h3> <p><strong>A Conversation</strong></p> <p>Wednesday, 13 February 2013, at 6:30pm</p> <p>Kavita Singh in conversation with Sadia Shirazi, 60 minutes</p> <p>The discussion will address the curatorial premise of the exhibition, digital culture, and artistic and economic networks. Two of the artists from the exhibition, Saira Sheikh and Mehreen Murtaza will also be in attendance for the conversation.</p> <p></p> <h3>ARTIST EVENTS</h3> <p><strong>Deinstall</strong></p> <p>Sunday, 10 February 2013, at 7pm</p> <p>Saira Sheikh and Neha Mirza, event, 30 minutes</p> <p>Saira Sheikh presents Deinstall with museum guide Neha Mirza during the opening. Sheikh and Mirza will guide visitors through the exhibition and discuss aspects of artists’ oeuvres that touch upon prevalent concerns in the discourse around contemporary art from Pakistan.</p> <p><strong>Landscape Proposals: A Conversation</strong></p> <p>Sunday, 10 February 2013, at 8pm</p> <p>Seher Shah and Kanu Agarwal, discursive event, 60 minutes</p> <p>Shah’s PowerPoint will function as a point of departure for this conversation between Seher Shah and architect and curator Kanu Agarwal. Shah's slideshow takes the presentation format as an opportunity to test the productive frictions produced by splicing together recent photographic works from <cite>Hinterland Structures</cite> (2011) and <cite>Mammoth: Aerial landscape proposals</cite> (2012). The conversation will focus on autonomous objects in the landscape, as well as the role of drawing within architectural proposals in negotiating scale and erasure.</p> <p><strong>Cross Connection</strong></p> <p>Sunday, 10 February 2013, at 6:30pm</p> <p>Rabbya Naseer &amp; Hurmat Ul Ain</p> <p>Skype conversation, 120 minutes</p> <p>This event occurs during the opening of the exhibition and will allow visitors to eavesdrop or participate in an ongoing Skype discussion between the two artists, for whom this software is a primary tool of communication in their collaborations. <cite>Cross Connection</cite> will expand, in this instance, to accommodate any Lahori artists in the exhibition who are unable to attend the opening in Delhi (if their visas are not issued).</p> <p><strong>The Invisible Rain</strong></p> <p>Sunday, 10 February – 17 February 2013</p> <p>Iqbal Geoffrey, event, variable duration</p> <p>Geoffrey’s event is a generous offer of clouds sent from Lahore that will release invisible rain over Old and New Delhi.</p> <p><strong>7 Minutes of Occlusion</strong></p> <p>Sunday, 10 February – 17 February 2013</p> <p>Mehreen Murtaza and AT (Azeem Tahir), sound piece played on Mp3 player, 7 minutes, looped</p> <p>Murtaza shared her slideshow with musician AT (Azeem Tahir) who then created an autonomous sound track as a response to her work.</p> <p><strong>Event</strong></p> <p>Sunday, 10 February – 17 February 2013</p> <p>Ayesha Jatoi, sound piece</p> <p>Jatoi created an experimental percussive sound piece consisting of the overlaid sounds of heartbeats.</p> <p></p> <h3>PROJECTIONS</h3> <p><strong>Iqbal Geoffrey</strong></p> <p><cite>The Written Versus the Art Writ</cite>, 2013</p> <p>PowerPoint slide show, 25 slides, silent; 5 minutes, looped</p> <p><strong>Seher Shah</strong></p> <p><cite>Landscape Proposals</cite>, 2013</p> <p>PowerPoint slide show, 42 slides, silent; 3 minutes 35 seconds, looped</p> <p>/<strong>Ayesha Jatoi</strong></p> <p><cite>Images</cite>, 2012</p> <p>PowerPoint slide show, 12 slides, silent; 1 minute, looped</p> <p><strong>Mehreen Murtaza</strong></p> <p><cite>This Film Should Be Played Loud</cite>, 2012</p> <p>PowerPoint slide show, 122 slides, silent; 11 minutes 24 seconds, looped</p> <p><strong>Rabbya Naseer and Hurmat Ul Ain</strong></p> <p><cite>Reenactment</cite>, 2012</p> <p>PowerPoint slide show, 28 slides, silent; 7 minutes, looped</p> <p><strong>Saira Sheikh</strong></p> <p><cite>The moral rights of the Artist</cite>, 2012</p> <p>PowerPoint slide show, 31 slides, silent; 2 minutes 3 seconds, looped</p> <div class="fieldgroup group-az-project-extended-sub"> <div class="content"><fieldset class="content-multigroup-wrapper content-multigroup-0"> <div class="field field-type-text field-field-az-project-desc-title"> <div class="field-items"> <div class="field-item odd">Curatorial Statement</div> </div> </div> <div class="field field-type-text field-field-az-project-desc"> <div class="field-items"> <div class="field-item odd"> <p>EXHIBITION WITHOUT OBJECTS (EWO) unfolds from an initial conversation that begins with a letter of invitation from the curator to the artist. Instead of showcasing art objects, the artists are asked to create digital narratives that play with the ubiquitous format of the PowerPoint, a standard(izing) presentation medium that is used by individuals from the military, academic, financial, corporate and art worlds alike to share their work. In addition, each artist has paired their PowerPoint with an “event” that further interrogates or explicates the themes introduced by their respective slideshow.</p> <p>Slideshows have long been essential to international art communication. As a result of the increased pressure on museums in Europe and the United States to diversify their collections and have a more global scope in their exhibitions, curators are embarking on brief visits to the non-western world to research contemporary artists’ works and practices. In cities like Lahore, for example, curators from reputable western institutions conduct hurried studio visits with artists patiently waiting in queue with their computers. Faced with these constraints of time and knowledge artists must present their work in the most accessible, efficient and succinct format possible. This is a curious dynamic, to say the least.</p> <p>These curatorial methods and the exhibitions they give rise to warrant critique. They also force a reconsideration of issues of temporality, materiality, marketability, and the power disparity between the curator and artist, exaggerated in this case by the weight that international exhibitions hold over local ones. In this context the slideshow presentation takes precedence over the art itself, a phenomenon that is shared with many contemporary artists working today due to shifts in digital technology and modes of communication related to the production, dissemination, and distribution of their work. <cite>EWO</cite>operates within this complex postcolonial condition and digital matrix.</p> <p><cite>EWO</cite> is a dynamic exhibition platform that will transform as it moves through cities along its designated route. The show’s format shifts attention away from the singular art object to focus instead on artistic practice and discourse. EWO aims to engage local audiences, to move bodies from one city to the next, and to build upon pre-existing networks to further strengthen, reinforce and engage knowledge that exists at each locale. The show is designed so that it travels the world solely on a hard drive. It is only a compilation of data and then, at each site, a materialization of bodies, events, and hardware that manifests the data.</p> <p>The first iteration of <cite>EWO</cite> took place at The Drawing Room Gallery in Lahore and was titled <cite>136 MB / EXHIBITION WITHOUT OBJECTS</cite> (136 MB refers to the file size of the entire show). This subsequent iteration of the exhibition at Khoj International Artists’ Association in Delhi includes two additional artists from Lahore. With these additions the file size of the show and its title are updated accordingly and become 230 MB / EXHIBITION WITHOUT OBJECTS [File Last updated 1 February 2013]. The exhibition’s “Calendar of Events” will also continually recalibrate along EWO’s route and includes artist-led events and a public program shaped by participants and context.</p> <p>There are a series of constants and fixed operations in <cite>EWO</cite>. These include the letter of invitation sent to each artist, the PowerPoint slideshow and event requirements, and the hardware housing the exhibition. These constants shift the logic of objecthood normally assigned to individual<br /> artworks within an exhibition to the very format of the exhibition itself.</p> <p><strong>Sadia Shirazi</strong>, Curator</p> </div> </div> </div> </fieldset></div> </div> Thu, 14 Feb 2013 00:58:55 +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 Anoli Perera - Shrine Empire Gallery - January 19th, 2013 - February 18th, 2013 <p>Pro.ject invites young and established artists to propose an exhibition that will utilize the spaces of the Shrine Empire Gallery for a single comprehensive project.</p> <p>Anoli Perera’s exhibition <i>Memory Keeper</i> opens to the public on 19th<b> </b>January<b> </b>2013 in Shrine Empire Gallery, New Delhi. Anoli Perera is one of the most renowned contemporary female artist from Sri Lanka and is currently based in Delhi. Her exhibition deals with remembrance, recollection the danger of erasure. In terms of its conceptualization, in this exhibition the artist relates a story she has seen unfolding. She notes in her concept note that “I am the ‘memory keeper.' I have become a memory keeper because I was born wedged between the sun set of one era and the dawn of another.” For her and many others of her generation, “existing between eras is to live in a  liminal space where people forget to keep records because they are eager to forget the past and move on to the future.” She further observes, “the last vestiges of the previous era and the transition itself, become insignificant moments and footnotes of history, not worth remembering in the larger contexts of events.”</p> <p>Perera’s exhibition takes viewers to and beyond private and public memory mediated by the passage of time  as well as war, and traverses through a number of other discourses that includes  migration, globalization and advent of homogenous cultural forms and the expelling of the local. However, in all cases, the artist’s point of departure and obsessive focus is what is remembered and what would lapse from memory.  As she observes, “what we lost was our innocence and our common sense… we, for sure lost the trust. Then it stopped …Soon the pain and what was lost might well be forgotten too…amnesia sets in…. People want to move on. I keep memories for posterity ...”</p> Wed, 23 Jan 2013 11:49:51 +0000 Jagdish Swaminathan, Krishen Khanna, MF Husain, Ram Kumar, SH Raza - Vadehra Art Gallery - January 30th, 2013 - February 19th, 2013 Wed, 06 Feb 2013 23:52:32 +0000 - Indian Council for Cultural Relations (ICCR) - February 15th, 2013 - February 20th, 2013 <p><img src="" /></p> Wed, 02 Jan 2013 23:58:28 +0000 mimi radhakrishnan - Akar Prakar - Kolkata - February 11th, 2013 - February 21st, 2013 <p>Book release and show of recent work.</p> Sat, 09 Feb 2013 07:47:42 +0000