ArtSlant - Closing soon en-us 40 Samanta Batra Mehta - Shrine Empire Gallery - April 18th, 2013 - May 18th, 2013 <p>Drawing inspiration from 'Cabinets of Curiosities', the oftentimes eccentric collections of objects in Renaissance Europe, Samanta Batra Mehta's work in her first solo exhibition<i> </i>broadly maps connections between the human condition and the environment we inhabit. An insatiable collector of antiquarian books, historical maps, prints and objects of interest, Batra Mehta has delved into her personal collections to depict themes that incorporate personal identity, gender constructs, social order and colonial history. </p> <p><br /> 'Cabinets of Curiosities', also known as 'Cabinets of Wonder', were a collection of oddities which defied strict categorization but could be said to be specimens (or facsimiles) that belonged to the natural world, relics of religion, scientific instruments, human biology and archaeology, among others. Such collections were regarded to be a reflections of the collector/owner's inner-psyche: a microcosm of thought, belief and interest. </p> <p><br /> In this body of work spanning photography, prints, drawings and installation, Batra Mehta journeys through her experiences in  family history, childhood nostalgia, parenthood and, moving beyond the realm of the personal, towards themes in  gender constructs, sociocultural order and post-colonial theory. As an artist Indian artist living in New York for the past decade- she obliquely alludes to issues of identity, dislocation and migration. Batra Mehta uses antiquarian objects and texts to re-purpose them and ascribe alternative meanings to the same. Her visual vocabulary often has elements of the human form intertwined with that of nature. Nature/landscape is seen as a metaphor for the body (and vice-versa) and as a site for germination, nourishment, degradation, trespass, plunder, colonization and transgression. </p> <p> </p> <p><span style="text-decoration: underline;">Biography</span><br /> Samanta Batra Mehta was born in New Delhi, India in 1975 and lives in New York, USA. Her work has been exhibited at various international venues including at the Queens Museum of the Arts, the Elizabeth Foundation for the Arts and Aicon Gallery in New York, the Hunterdon Museum and the Visual Arts Center in New Jersey, Gallery BMB and Bodhi Art Gallery in Bombay. In 2010 she was invited by Galerie LMD, Paris to exhibit her work and make a 24 foot long site-specific mural at the Salon Du Dessin Contemporain, held at the Carrousel du Louvre in Paris. She participated at Art Stage, Singapore in 2011 and at the India Art Fair, New Delhi in 2011 and 2012 with Shrine Empire Gallery, New Delhi.<br /> <br /> Samanta’s works are included in private collections in the USA, India and abroad including in the collection of the prestigious Fondazione Fotografia Cassa di Risparmio di Modena in Italy. In 2012 the Fondazione Fotographia showcased her work in at their museum in Modena, Italy in a landmark exhibition curated by Filippo Maggia, titled 'Tenth Parallel North: Contemporary Photography from India and South America' (Decimo Parallelo Nord: Fotografia Contemporanea da India e Sudamerica).<br /> <br /> In 2013, Samanta is scheduled to have solo exhibitions of her work with Shrine Empire Gallery, New Delhi, Sakshi Gallery in Bombay and Artopia Gallery in Milan. Her work will be included at the India Art Fair 2013, Bologna Arte Fiere 2013 and Art HK 2013 in Hong Kong, and at a group exhibition on South Asian Diaspora art ‘Her Stories’ at the Taubman Museum of Art in Virgina, USA. <br /> <br /> Recent publications include, ‘Contemporary Photography from India and South America’: The Tenth Parallel North' [Hardcover] by Filippo Maggia, Claudia Fini, Francesca Lazzarini (Skira, 2012)</p> Sun, 14 Apr 2013 05:42:17 +0000 Vijayraaj Bodhankar - Jehangir Art Gallery - May 14th, 2013 - May 20th, 2013 Wed, 15 May 2013 22:47:19 +0000 Sheela Sharma, Sudheer Sharma - Jehangir Art Gallery - May 14th, 2013 - May 20th, 2013 Wed, 15 May 2013 22:50:17 +0000 Vijaykumar Dhumal - Jehangir Art Gallery - May 14th, 2013 - May 20th, 2013 Wed, 15 May 2013 22:53:22 +0000 Rachana Parekh, Tanvi Pathare - Jehangir Art Gallery - May 14th, 2013 - May 20th, 2013 Wed, 15 May 2013 22:59:04 +0000 Milli Vikamshi - Jehangir Art Gallery - May 15th, 2013 - May 21st, 2013 Wed, 15 May 2013 22:55:59 +0000 Tarab Khan - India Habitat Centre - Visual Arts Gallery - May 18th, 2013 - May 22nd, 2013 Sat, 13 Apr 2013 22:37:28 +0000 - Indian Council for Cultural Relations (ICCR) - May 17th, 2013 - May 22nd, 2013 <p><img src="" /></p> Wed, 08 May 2013 23:02:25 +0000 Magali Couffon - Alliance Française de Gurgaon - May 15th, 2013 - May 23rd, 2013 <p>Magali is French by nationality but an Indian at heart after spending 18 years in India. She has been able to develop and grow her passion for photography and travels.</p> <p>The ultimate for her is the ability of finding beauty everywhere and keeping her eyes open for colours, shapes, lines, textures and forms.</p> <p>She tries to use her camera as a creative tool not only to document or show what is in front of her but to enhance it with the help of light and sometimes with paint or sculptors. This exercise can be tricky and not always successful but what is important is to have fun. She experiences depth of the knowledge from these experiments.</p> <p>Taking pictures is her meditation, salvation, relaxation and faith.</p> Wed, 27 Mar 2013 23:56:36 +0000 Neena Nehru, Anita Tiwary - Art Heritage Gallery - May 4th, 2013 - May 24th, 2013 <p><b>Interior Landscapes of NEENA NEHRU and ANITA TIWARY</b></p> <p>Oils, Acrylics, Installations</p> <p><b>Neena Nehru :  </b>Society’s attitudes to the role and position of women is reflected in its art. Neena Nehru was struck by the fact that, all over the world and throughout history, women have almost always been portrayed, either as beautiful objects of desire, or as suffering, oppressed victims; they are strong only as mythical characters - as goddesses or comic-book super-women. Rarely, if ever, are the ‘feminine’ qualities of gentleness, nurturing, compassion, sympathy celebrated.</p> <p>Neena’s present exhibition examines these issues through installations and paintings. A section of the show explores the changing facets of a woman’s persona. Another group of paintings depict woman, not as a force trying to dominate Nature, but as a part of it. A group of heads which cannot be easily identified as male or female suggest the equality of the sexes when it comes to the essential qualities of mind and ability.</p> <p>Neena’s work is part of a joint exhibition with abstract artist Anita Tiwary</p> <p><b>Anita Tiwary :</b> The titles of Anita Tiwary’s paintings are as evocative and sentimental as her work of art. Anita’s works are surreal in its visual appearance and thematically they move into a space where she seeks to negotiate the interplay of real and unreal in her works. These works conceal an unknown reality and evoke an abstract visual representation of our realities. These visual forms are ‘Soulscapes’ of Anita’s mind and how she sees it. Thus she defamiliarises the familiar for us and creates a new spatial dimension in her paintings for the viewers.</p> Wed, 15 May 2013 22:38:28 +0000 Mario Pfeifer - KHOJ International Artists' Association - May 3rd, 2013 - May 24th, 2013 <p>Khoj International Artists' Association and Goethe-Institut/Max Mueller Bhavan announce Mario Pfeifer's first solo exhibition at an Indian institution presenting his acclaimed and widely exhibited installation project <strong>A Formal Film in Nine Episodes, Prologue &amp; Epilogue</strong> (2010).</p> <p>The multiple-channel high-definition video installation, originally shot on 35 mm colour negative, was preceded by extensive on-location research for months in Greater Mumbai . Meticulously framed moving images – shot by Avijit Mukul Kishore – and a detailed soundscape present a kaleidoscopic view of a megalopolis that is constantly growing and altering. Taking a formal approach to the situations he encountered, Mario Pfeifer reveals societal issues of class, urban change, notions of manual and digital production and attitudes towards religious, cultural and symbolic customs. In the process he declines to provide any explanation or commentary to accompany the scenes he depicts. Instead his project offers an open space for spectators to actively and critically engage with the visible on an individual basis, acknowledging there may be diverse possible readings for audiences. While the audience have different points of access in the installation, cultural backgrounds and experiences, together constitute today's global society, shaped as it is by common sources of knowledge production and development.</p> <p>Composed of mutually independent, self-contained episodes, the installation is of a flexible nature as the combination of episodes, prologue and epilogue, as well as the number of projections, alters in correspondence to curatorial ideas and the architectural condition of the exhibition space it is shown in. With its images resistant to classification within any clearly defined genre, the film meanders between what is considered documentary and fictive notions of image production, pointing at the difficulties inherent in the act of representation and the artist's own involvement in a local context he would otherwise not be part of. With <cite>A Formal Film</cite> Mario Pfeifer distances himself from documentarianism and the use of commentaries, and instead casts doubts on the social critique that such aesthetics evoke and which itself might appear as a form of colonialist encroachment in today's globalized society.</p> <p>Following his installation project and its wide reception in the West, Pfeifer devoted the last year to editing <cite>A Critical Reader</cite>, including it as part of his project and a means to collaboratively investigate many of the themes and issues that are raised in his film and resonate within society today. In a series of conversations and essays scholars from diverse fields and of different national and cultural origins were invited to reflect on cultural production, national identity, education, class relations, urban, economic and social themes. Kaushik Bhaumik remarks in his essay <cite>Surfacing the Alchemical Urban</cite> that “many strategies of the film come together in the figure of the eunuch – an attempt to mix concrete and flesh and the idea of conjugality”, and further wonders if “India's asymmetrical modernity [is] made possible and indeed blessed by the 'androgynous' presence of the 'lower middle class' in vast numbers?”[Kaushik Baumhik: “Surfacing the Alchemical Urban” in A Formal Film in Nine Episodes, Prologue and Epilogue – A Critical Reader (Spector Books, Leipzig, 2013), p.174]</p> <p>In his essay on Pfeifer's undertaking, Shanay Jhaveri asks: “Do the images cave in under layered formal choices that seek to clearly forefront an awareness of the ethics of representation or do they absorb the formal choices?” [Shanay Jhaveri:“'Inside' and 'Outside' a Frame of Historical and Cultural Referentiality?”, ibid., p.58]. Ranjit Hoskote notes that “Pfeifer's approach provokes me into asking whose reality it is that is being represented ... Even as recently as ten years ago, it seemed politically appropriate for Indians like myself – scholars, critics, theorists, artists and curators – to deploy a 'strategic essentialism'[See Sara Danius, Stefan Jonsson and Gayatri C. Spivak, “An Interview with Gayatri Chakravorty Spivak”, in Boundary 2,Vol. 20 No. 2 (Duke University Press, Summer 1993), pp. 24–50].... and claim an authority by birthright over any representation of India or Indians ... On the contrary [the film] provokes me into a state of curiosity, acting by allusive indirection.”[Ranjit Hoskote: “Imagining India” in A Formal Film, pp. 242–46]</p> Wed, 24 Apr 2013 22:52:26 +0000 Sunil Sarkar - Alliance Francaise de Bangalore, India - May 18th, 2013 - May 26th, 2013 <p>Sunil Sarkar was born at the foothills of Himalaya in North Bengal in 1965 and his entire childhood was surrounded by the amazing scenic beauty of bountiful nature. Inspired by serene surroundings, Sunil started capturing visuals from his everyday life on pencil and paper since he was very young. Driven by his passion for art, Sunil moved to Kolkata in 1985 to study Fine Arts in Indian College of Art and successfully graduated to pursue his quest for Art,<br /> Sunil has been working in various media and experimenting with various forms and content. Sunil’s skill in handling charcoal has been greatly appreciated. His works have been exhibited in different galleries in various cities. Sunil has been associated with HabitArt since its inception.   </p> Wed, 22 May 2013 22:18:54 +0000 Dilipkumar Patil - Jehangir Art Gallery - May 21st, 2013 - May 27th, 2013 Wed, 22 May 2013 21:51:05 +0000 Ramesh Gujar - Jehangir Art Gallery - May 21st, 2013 - May 27th, 2013 Wed, 22 May 2013 21:53:23 +0000 Devidas Dharmadhikari - Jehangir Art Gallery - May 21st, 2013 - May 27th, 2013 Wed, 22 May 2013 21:56:17 +0000 Group Show - Jehangir Art Gallery - May 21st, 2013 - May 27th, 2013 Wed, 22 May 2013 21:59:55 +0000