ArtSlant - Closing soon en-us 40 Satish Gupta - Gallery Art and Soul - March 9th, 2013 - March 20th, 2013 <p>Creation is time independent, transcending eternity. <br /> <br /> Creation is not static, nor permanent..rather an endless dynamic process. <br /> <br /> There are three main conceptual elements in this collection of my works in TRANSCENDING ETERNITY: <br /> Vishnu, Shiva and Devi which together formulate into Brahman or The Ultimate Reality.<br /> <br /> Vishnu represents the Supernova, ever expanding with energy flowing out, while Shiva represents the Black Hole at the centre of the galaxy absorbing the constant flow, contracting and coalescing till it itself evaporates and finally, bursting into a Supernova spewing out tremendous energy again.<br /> <br /> This dynamic energy of Vishnu, Shiva and Brahman manifests itself as the Shaktis of the three goddesses -Laxmi, Durga and Saraswati or collectively as the Devi.<br /> <br /> Time and space are not linear...the past, the present and the future are all contained in this moment - the Eternal Now. <br /> The understanding of this principal of Vedic science was the point of departure and set the trajectory for the works in TRANSCENDING ETERNITY.<br /> <br /> I just have to shut my eyes to be with the first Homo-Sapiens in the damp and dark caves of Lascaux holding a flickering oil lamp and assist them in creating the first pieces of "Art" in an altered state of consciousness or be with the sculptors of pharaohs, carving them gazing into eternity as I disembark my boat on the Nile.<br /> I can be in Byzantium making gilded mosaics of the Lord, admire the perfection of the Parthenon or travel back to the creation of Angkor, make my way up the lybrinthic steps past the Virochana Buddhas enclosed in hundreds of stupas and reach the summit of Borabodur to experience divine emptiness or rake sand at the Zen gardens of Ryonji.<br /> <br /> I can hear the sound of the chisels on stone of 1200 shilpkars creating the erotic walls of Konarak paying homage to the Sun god. I can be with Michelangelo as he gives life to God's finger,with Picasso as he is putting his revolutionary strokes on Guernica or be with Monet contemplating the Nymphaeas at the ponds of Giverny.<br /> <br /> Best of all- and it sends a shiver down my spine when I think of it- I reconnect with the Chola bronze makers. I see myself carrying this living tradition forward to another level by breaking the rigid rules and dogmas, to create afresh with renewed vigour, a fresh technique and vision while preserving their essence. Being comfortable with the analytical and the spiritual worlds of the West and the East and their approaches to art, I like to abandon both at the time of creation and to be just myself in order to make art that uplifts and reaches the secret, silent space of the heart.<br /> <br /> The other major breakthrough in my present works is the merging of the second and the third dimension, the flat and the round. This progression happened naturally and effortlessly. There was a Wow moment when this came about and thereafter it just flowed. My world is constantly merging and becoming one,I am doing away with dualities because I see no difference between sculpture and painting, ultimately it is the creative act that counts. I call these creations Sculpturepaintings as one word, not hyphenated, because life, time, space, eternity.. are ONE.</p> Tue, 05 Mar 2013 06:46:34 +0000 SH Raza - Vadehra Art Gallery - February 21st, 2013 - March 20th, 2013 <p>On the eve of S.H. Raza’s 91st birthday, Vadehra Art Gallery presents <em>Antardhwani</em>, an exhibition of the Modernist Master’s most recent works. The exhibition consists of 25 new works executed by the artist after his return to India in 2010.<br /> <br /> In these works, Raza remains preoccupied with certain geometric forms which for him encapsulate both the beginning of life and the void that surrounds us before and after that. These geometric forms are for Raza ‘the mapping out of a metaphorical space in the mind.’ In <em>Antardhwani</em>, Raza revisits the same point (the bindu) in search of a new ‘impression’ of it.<br /> <br /> Along with exhibiting the new works, Vadehra Art Gallery in association with The Raza Foundation will be releasing two important books as a tribute to the oldest living master of modern Indian art. The first book titled ‘My Dear’ contains the long correspondence that Raza conducted with his old friend and senior artist Krishen Khanna. The letters reveal in intimate terms the ethos, anxieties and the emerging poetics of the sixties as also the growth of the two important modernist painters.<br /> <br /> The second book is an anthology titled ‘Understanding Raza,’ which brings together some of the best, enlightening writings on Raza in English, French and Hindi. The book puts together the various insights and critical analyses of Raza’s work by some of the most important art critics and artists and looks at Raza’s rich body of work from many different points of view. It includes pieces by M.F. Husain, F.N. Souza, Ram Kumar, J. Swaminathan, Geeti Sen, Yashodhara Dalmia, Ranjit Hoskote, Geeta Kapur, Parth Mitter, Roobina Karode, Richard Bartholomew, Amrita Jhaveri, Avani Doshi, Jacques Lassaigne, Waldamer George, Rodalf Von Leyden, Nicolas Bourriad, Peter Osborne and Alain Bonfand.<br /> <br /> Both books will be released on the eve of Raza’s 91st birthday (21 February) by H.E. François Richier, Ambassador of France to India, at Vadehra Art Gallery.</p> Wed, 13 Mar 2013 23:01:11 +0000 N+N Corsino - Galleryske - Bangalore - March 15th, 2013 - March 22nd, 2013 Wed, 20 Mar 2013 22:39:16 +0000 Paulius Normantas - Hungarian Information and Cultural Centre (HICC) - March 5th, 2013 - March 22nd, 2013 <p>The exhibition forms a unique sync of the gypsies in Hungary and India showcasing the similarities yet the distinctions in them. Depicting the wandering life-style of the Gypsy tribes of Rajasthan with beauty, dignity and intense emotions, while giving a more factual ethnographical 'report' on the already settled Hungarian Gypsy community of Szablocs-Szatmár-Bereg county is the main characteristics of Normantas' photographs. One can see the two groups of pictures as a comparative study through the lens of this wandering photographer.</p> Fri, 01 Mar 2013 03:47:20 +0000 Rohit Chawla - Religare Arts - March 8th, 2013 - March 22nd, 2013 <p>Religare Art presents ‘Goa Style’  a solo exhibition of dramatic photographs by celebrated contemporary photographer Rohit Chawl<strong>.</strong> <strong></strong></p> <p>To an Indian eye, the photographs of ‘Goa Style’ appear to capture the global avatar of our own Naga-Sadhus, celebrating and rejecting at the same time both "the body and the body-politic". The images reflect the age-old bipolarity of human desire and dilemma, and perhaps Goa's too - to turn its body into a design canvas, an agent of escape, and yet finding itself limited by its slow and inevitable entropy.</p> Wed, 20 Mar 2013 22:56:29 +0000 Krishnaraj Chonat - Nature Morte, New Delhi - February 23rd, 2013 - March 23rd, 2013 <p>Nature Morte is pleased to present an exhibition of new works by the Bangalore-based artist Krishnaraj Chonat, the artist’s first solo show in New Delhi. Employing a wide variety of materials and techniques, Chonat creates complex sculptures that resemble both figures and landscapes, but always just barely, hovering between the organic and the man-made, between the recognizable and the illusive.<br /> <br /> Chonat is inspired by the phenomenon of mass tourism in the globalized context, stating that “the exhibition seeks to highlight the significance of the human emotional component in the experience of the tourist landscape.” His works challenge our preconceived notions of the exotic, the authentic, the synthetic, and the quotidian, all slippery slopes indeed. His constructions refer to museum dioramas, historical artifacts, architectural models, natural history specimens, and displays found in sporting goods stores. Included in the exhibition will be Chonat’s paintings on paper, delicate and resonant works which sketch out the ghostly apparitions of monuments, tourist sites, and the mirages of historical events.<br /> <br /> Krishnaraj Chonat was born in Chennai in 1973 and lives and works in Bangalore. He earned a BFA degree from the Karnataka Chitra Kala Parishad, Bangalore in 1994 and went on to get a Post-Diploma degree from the Faculty of Fine Arts, M.S. University, Baroda in 1996. Solo shows of his work have been mounted at Gallery SKE in Bangalore (2004 and 2010) and Project 88 in Mumbai (2007). He has participated in a number of important museum survey exhibitions of Indian contemporary art including those mounted by the Centre Pompidou, Paris (2011); the Essl Museum, Vienna (2009); the Mori Art Museum, Tokyo (2008); The Mattress Factory, Pittsburgh (2007); the Daimler Chrysler, Berlin (2007); and the Ecole des Beaux Arts, Paris (2005).</p> Wed, 06 Mar 2013 23:00:46 +0000 Risham Syed - project 88 - February 8th, 2013 - March 23rd, 2013 <p>Project 88 is pleased to announce Risham Syed’s first solo in India titled METROPOLYPTICAL: A TALE OF A CITY “As I drove along the ‘ring road’ today I felt I was a complete stranger to this city that I call ‘home’. But this is the new Lahore, Lahore that will be home to millions that inhabit the new housing schemes’ very sought after new houses.<br />I have lived mostly in this city that traces its origins in pre‐historic myths and has seen Turkish, Mughal and British times. As the capital of a British Imperial province, the city emerged into modernity leaving its ancient walls which fortified a ‘feudal’ past. (Feudal incidentally is a term which has in recent past been the site of a deconstructive dialogue between Asian and European histories). But the modernity was itself carefully fortified by Victorians conservatism. Approved aesthetic and moral use of time and space was carefully delineated by imperial politics.<br />Yet again, in the last 15 years or so, with the political and security concerns in other big cities like Karachi, Lahore has seen an influx of people like never before. This has brought in money and ideas. As a result, the city has been growing along with its real estate businesses. The older Lahore has become an island with new urban quarters around.<br />Construction and deconstruction in present day Lahore is a curious version of post‐modernity. Connections with past are simultaneously dismissed and sought.<br />This present body of work seeks to frame this almost semi‐conscious activity into a conscious irony that looks hopefully to liberating connectedness beyond frames.”<br />Risham Syed got her Masters in Painting from the Royal College of Art, London in 1996. She was the recipient of the ABRAAJ Capital Art Prize in 2012, and was nominated for the Sovereign Asian Art Prize in the same year. Her works have been exhibited at various international galleries and museums, including, Barbican Center, Concourse Gallery, London; Harris Museum, Preston ; Harris Museum, Preston; Museum of Asian Art, Fukuoka, Japan; Indo Centre of Art &amp; Culture, New York; Kunsthalle Fridericianum, Kassel; National Gallery of Art, Islamabad and Devi Art Faoundation, Gurgaon.<br />Syed currently lives in Lahore, and teaches at the School of Visual Arts and Design, Beacon house National University.<br /><br /></p> Wed, 30 Jan 2013 23:42:29 +0000 Rita Jhunjhunwala - India Habitat Centre - Visual Arts Gallery - March 20th, 2013 - March 24th, 2013 <p>Acrylics on canvas &amp; paper</p> Sat, 09 Feb 2013 23:20:58 +0000 Rita Jhunjhunwala - India Habitat Centre - Visual Arts Gallery - March 20th, 2013 - March 24th, 2013 <p>New Delhi: Delhi-based artist Rita Jhunjhunwala is presenting a solo show of paintings titled that will be shown at Visual Arts Gallery, India Habitat Centre, New Delhi from March 20, 2013 till March 24, 2013, 10 a.m. to 8 p.m. Including nearly 30 paintings in acrylic and gold foil on canvas and paper both, the show has been curated by Archana Bahl Sapra.</p> <p> </p> <p>Says Rita Jhunjhunwala: “Benaras - to make acquaintance with it is privilege enough, to experience it viscerally is something else. The first rays of dawn bathing the <i>ghats</i> with molten gold; the dusk meeting the mighty Ganges at the vermillion horizon dotted with the silhouettes of boats and barges; and in between those perennial moments, a microcosmic cauldron of overflowing sights, sounds, smells and mystical experiences.....The <i>ghats</i> of the Ganges throng with multitude of pilgrims, their faces lit with devotion, palms cupped in hopes of salvation; the devout and the depraved eager to find prophesy in the browned scrolls of the fortune teller ; the ancient walls of the labyrinthine lanes frescoed with legendary figures; the old temples and palaces paying homage at the sacred river’s bank and the multi-pitched temple bells giving music to the chanting of mantras ........all this is an assault of incredible force on the senses. And I have let myself be enveloped by the city that hymns to the Gods.”</p> <p> </p> <p>Says curator Archana Bahl Sapra: The artist has captured the city where spirituality and life merge and submerge in each other. With its unique combination of physical, metaphysical and supernatural elements, the sacred river and the holy city is the essence of the pilgrims’ dream world of <st1:city><st1:place>Varanasi</st1:place></st1:city>. 'The land of sacred light' as the center where eternal oneness of the body and soul can be achieved is visualized in Rita’s painterly renderings in this collection.”</p> <p> </p> <p>It was about 4 years ago that Jhunjhunwala visited Benaras and has worked over the last two years to bring these vibrant images alive on her canvas. “Benaras has so much to offer an artist that I can continue to work with the same subject for several more years,” she says.</p> <p> </p> <p>However, Benaras is not the only city that has inspired Jhunjhunwala, who also has to her credit several national and international distinctions, including a painting installed in Rashtrapati Bhawan. She has recreated the vibrant splendour of Rajasthan in an earlier series titled <i>Land of the Dunes</i> that was shown in <st1:city>Delhi</st1:city>, Kolkata and <st1:place><st1:city>Paris</st1:city></st1:place>.</p> <p> </p> <p> </p> Tue, 30 Apr 2013 14:58:23 +0000 Chirodeep Chaudhuri - project 88 - March 14th, 2013 - March 25th, 2013 <p>Project 88 is pleased to present Chirodeep Chaudhuri’s solo exhibition, A VILLAGE IN BENGAL.<br />What is closest to us is hardest to see and even harder to show. Mumbai-based photographer Chirodeep Chaudhuri photographed his ancestral village in Bengal for twelve years, visiting annually during the festival of Durga Pujo. Threading a subtle narrative, this collection invites us to behold the story of rural India as it has unspooled in a village in Bengal. These exhilarating, pristine photographs are animated by the rhythms of rural life – the splendid feeling of being in the countryside, the rush of festivities, the joyful gathering of family, the small inconveniences, and the contrast implicit therein with urban sufficiency and insularity. We see, through picture after picture of incredible poise and poignancy, a portrait that is deeply intimate. The photographs look as if arranged in a private family album but stun as only a photographer working at the peak of his intellectual power and finesse might. In an accompanying essay Chaudhuri describes the difficult and slippery process of evolving a visual language that satisfies him, one which incorporates the dazzling effect of memory but is rid of nostalgia and eschews prettiness, which denies the camera its urge to show itself. The two complementary essays – photographic and prose – guide us elegantly through the complicated process by which we see, store and air again the unutterably fragile experience of ‘home’.<br />CHIRODEEP CHAUDHURI’s photographs appear in a number of influential anthologies, including Bombay, Meri Jaan: Writings on Mumbai (2003), Bombay: The Cities Within (2001) and Fort Walks: Around Bombay’s Fort Area (1999). He is the editor of photography of ‘Mumbai Now’, the contemporary section of the much admired Bombay Then, Mumbai Now (2009). His work has also been exhibited in India and abroad and is part of the collections of the Museum of Fine Arts, Houston, Texas and Peabody Essex Museum, Salem, Massachusetts, both in the USA, and Kiyosato Museum of Photographic Arts, Japan and various private collections in India.<br />He has been a part of the photography teams of various media organizations in India such as the Sunday Observer, the Outlook Group, and till recently worked as Editor of Photography and Design Director for the Indian editions of the international arts and culture magazine Time Out. He also teaches photojournalism at Sophia Polytechnic in Mumbai, where he lives. He is currently working on a book on the fastdisappearing world of the manual typewriter.<br />Chirodeep Chaudhuri will be in conversation with Sooni Taraporewala discussing his book at Blue Frog Media Pvt Ltd, Todi &amp; Co Compound, Lower Parel, Mumbai 400013 on Tuesday 26 March, 2013 at 5.30 pm<br /><br /></p> Mon, 25 Mar 2013 02:40:49 +0000 Maimouna Guerresi - The Seagull Foundation for the Arts - March 16th, 2013 - March 26th, 2013 <p>Patrizia Maimouna Guerresi (b. Italy 1951) is one of the leading European women photographers working today. Her photographs, sculptures and video installations have been extensively exhibited at galleries and museums in Europe, China, America and the Middle East. This exhibition at Tasveer will constitute her first show ever to be held in India and showcases a new series of photographs made on an Indian theme, especially for this occasion. The exhibition will be accompanied with a fully illustrated catalogue, including reproductions of all works from in the show, along with an exclusive interview with the photographer.</p> <p>For over twenty years Guerresi’s work has been about empowering people and bringing together individuals and cultures in an appreciation for a context of shared humanity, beyond borders – psychological, cultural, and political. Guerresi’s art is uniquely authentic and is inspired by personal experience and the cultural contexts which reference universal myths, the sacred realm, and the female condition, all of which are seen as vital expressions of the human form: an essentially spiritual and mystic body. Through photographs and videos of silent, austere, veiled women in domestic scenes and individual poses, her work functions as both metaphor and provocation. Guerresi’s images are delicate narratives with fluid sequencing, as well as rational analyses: women dressed in white, enveloped in chadors, fixed within their own tradition and isolated from and by it in the contemporary world.Exhibition sponsor</p> Wed, 20 Mar 2013 23:05:45 +0000 Anita Dube - Lakeeren Art Gallery - January 10th, 2013 - March 27th, 2013 <div>Using the votive eye as the underlying theme, artist <strong>Anita Dube’s</strong> eye installations that go back to 1997 depict territorial disputes, war and migration. On display at <a href="" rel="nofollow" target="_blank">Lakeeren Gallery</a>, <strong>eye, etc.</strong> is a unique exhibition of five works by the artist.</div> <div>Since the mid-1990s, the artist has used the votive to construct wall drawings that emphasize the site-specific aspect of her work. Created with a multitude of eyes, the works on display are <strong>Intimations of Mortality</strong>, <strong>River Disease (Version 2)</strong>, <strong>Disputed Territory</strong>, <strong>Ache</strong> and <strong>Friend and Enemy, Enemy and Friend</strong>. Working with architecture as a sculptural possibility, Intimations of Mortality and Ache involves a feminizing of space to reveal pain and entrapment.</div> <p></p> <p>Source:</p> <div></div> Mon, 25 Mar 2013 07:28:29 +0000 - Max Mueller Bhavan - March 14th, 2013 - March 27th, 2013 <p><i>A Fantastic Legacy: Early Bombay Photography</i> presents over 100 original images dating from 1850 to 1900, gathered from public and private collections, and displayed throughout the gallery in various formats. The exhibition is curated by Susan Hapgood. It is a collaborative project organized and presented by the Goethe-Institut/Max Mueller Bhavan Mumbai, Focus Festival Mumbai and Mumbai Art Room.</p> Tue, 19 Mar 2013 15:26:07 +0000 Waswo X Waswo, Vivek Vilasini, Noriko Yamaguchi, Nandini Valli Muthiah, Gregory Crewdson, Gigi Scaria - Sakshi Gallery (Mumbai) - March 14th, 2013 - March 27th, 2013 Wed, 13 Mar 2013 23:33:21 +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 - Clark House (Bombay) - March 13th, 2013 - March 30th, 2013 <p>'Jinnah plotting Partition' is a decoupage comprising cut-out portraits based on photographs of Mahatma Gandhi and Pandit Jawaharlal Nehru on a Nathdwara watercolour background depicting a garden and a stately home in Rajput architectural style. Mother India forms a triad with them, while cut-outs of Mohammed Ali Jinnah and others are shrunk in scale and placed near the fountain, seeming to conspire against a united India. The map of undivided British India includes present-day Burma, Pakistan and Bangladesh and a Mother India emerges from a third eye, carrying the Indian Flag. The medium and the method used was popular during the 1940s in India and we attribute it to Nathdwara, where miniature painters would copy perspectives borrowed from Western academic painting, using photographic references for landscapes that would then be populated by decoupaged images of gods</p> <p>The exhibition from the Clark House curatorial archive gives credence to a trajectory of art historical scholarship, from Partha Mitter to Jyotindra Jain and Tapati Guha-Thakurta, who subtly interpreted the collapse of visual iconographies of nationalism, fundamentalism, and religious pantheons. The exhibition plays with the chronologies of mediums gaining popularity in India, as put forward by writers like Girish Shahane, from the hand-painted photograph to paintings inspired by photo-journalism, and anachronistically, later by the European Renaissance. The exhibition is also a careful look at a mixture of styles within works: where hunted deer, or fighter planes stylistically differ from the pastoral landscapes that surround them. Toying with calibrations of what has been previously debated, the exhibition adds new iconographies into the fray, from lesser known contemporaries of the better known studios.</p> Fri, 15 Mar 2013 01:13:58 +0000