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India

Exhibit 320

Exhibition Detail
The Secret Life of Plants
Curated by: Maya Kóvskaya
F- 320, Lado Sarai
110030 New Delhi
Delhi
India


August 31st, 2012 - September 30th, 2012
Opening: 
August 31st, 2012 6:00 PM - 9:00 PM
 
Way To Blue (AD1), Anita DubeyAnita Dubey, Way To Blue (AD1),
2012, Sheesham Branch, mdf, velvet, NET CLOTH, 80" x 39" x 33"
© Courtesy of the Artist and Exhibit 320
 Undying Faith Does Not Endure (A Landscape With Adenium Blossoms) (NC3), Neha ChoksiNeha Choksi,
Undying Faith Does Not Endure (A Landscape With Adenium Blossoms) (NC3),
2012, HD video on vertically hung monitor, color, sound, looped, Looped indefinitely, no start or beginning
© Courtesy of the Artist and Exhibit 320
The Core - (Bifurcation - Assimilation - Proliferation) (SMC1), Sonia Mehra ChawlaSonia Mehra Chawla,
The Core - (Bifurcation - Assimilation - Proliferation) (SMC1),
2012, Mixed Media on Archival Canvas (Triptych with Painted Sides), 78" X 104" X 48"
© Courtesy of the Artist and Exhibit 320
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WEBSITE:  
http://www.exhibit320.com
REGION:  
Delhi
EMAIL:  
info@exhibit320.com
OPEN HOURS:  
11 AM - 6:30 PM
TAGS:  
sculpture, abstract, video-art, digital, installation, mixed-media, photography
> DESCRIPTION

A quotable excerpt from Maya Kóvskaya's catalogue essay introduces the concept around which the show is organized: "The Secret Life of Plants draws its inspiration from a verse by Pablo Neruda in which plants are taken as metaphorical messengers carrying the “hidden flowers” of profound human emotions—intimate associations that "live darkly" in our bodies—and ways in which we make sense of our world and our lives. Through a dialogue among a diverse body of works that span the disciplines of painting, photography, performance art, sculpture, video installation and mixed media approaches, the show explores the way in which the natural world—exemplified metonymically through plants—comes to be invested with profound personal, social and cultural significance. 

Metaphors from the world of plants fill our everyday discourse, as we speak of life cycles and growth, seeds that contain their own latent telos (like the acorn and the oak), cultivating, and harvesting, blossoming and withering, pollination and fertilization. We speak of radical change in metaphors of root and branch, and problems as thorny. We speak of consequences as reaping what we sew. We talk about germinating ideas, and plans that may come to fruition, or planting the seeds of doubts, destruction or new beginnings, and kernels of wisdom. We rationalize the idea of dominion over nature as domesticating unruly wilderness and reclaiming fallow spaces though agriculture and landscaping, and depict laying waste as slash and burn. We use metaphors of fecundity and fertility to describe possibilities, we talk of putting down (or pulling up) roots to describe making a home. We describe cities as concrete jungles, and people as solid oaks, hothouse flowers, prickly cacti, bromeliads, and late-bloomers. Even our lexicon of love and romance is filled with floral metaphors. 

Occupying the liminal space between seemingly inanimate object and possibly sentient life form, that both feeds human life and provides the air we breathe, plants offer a powerful, affective site in which the imagination can take root and blossom. The body of works in the exhibition explore The Secret Life of Plants from a variety of perspectives: from gendered signifiers of Eros, desire, and sexuality, to sources of life nurturing sustenance such as food and oxygen; from objects of labor and cultivation to mimetic vectors of biological and reproductive life systems more generally; from repositories of memory and affect, to symbols of the knowledge of good and evil; from reflections of socially constructed notions of urbanized order to antimonies of inexorable, uncontrollable chaos, and spaces of silence and solitude, plants speak a secret language that unfolds in a temporality different from our own, and tells us as much about ourselves in relation to our world, and the ways we make sense of our own lives and the human condition as it does about the playful surface subject."


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