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Reena Saini Kallat

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20130306090025-005
How public is Public Art? A review of ZegnArt / Public India Show  
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Alwar Balasubramaniam, Atul Bhalla, Sakshi Gupta, Reena Saini Kallat, Srinivasa Prasad, Gigi Scaria, Hema Upadhyay at Dr. Bhau Daji Lad Museum March 2nd, 2013 - May 15th, 2013
Posted 3/12/13
Visitors to Dr. Bhau Daji Lad Museum Mumbai this summer will be confronted by the vision of a giant cobweb made up of oversized rubber stamps on its prim Palladian facade. Though it bears the name of Reena Saini Kallat as the creator, imaginative children might look around for an escapee giant spider from the neighbouring zoo.  This public work of art, Untitled (Cobweb / Crossings), is a collaboration between ZegnArt / Public, an initiative of the Italian Fashion Major Ermenegildo Zegna, and... [more]
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The Empire Strikes Back: India Art Today  
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Jaishri Abichandani, Mansoor Ali, Kriti Arora, Huma Bhabha, Ajit Chauhan, Shezad Dawood, Atu Dodiya, Chitra Ganesh, Probir Gupta, Sakshi Gupta, Tushar Joag, Jitish Kallat, Reena Saini Kallat, Bharti Kher, Rajan Krishnan, Tallur L.N, vish math, Huma Mulji, Pushpamala N, Yamini Nayar, Justin Ponmany, Rajesh Ram, Rashid Rana, T.V. Santhosh, Schandra Singh, Hema Upadhyay, T. Venkanna at Saatchi Gallery January 29th, 2010 - May 7th, 2010
Posted 9/2/12
Presenting an art survey of another culture which happens to be a large portion of the minority ethnic group in the UK and even larger diaspora is brave, challenging, and much needed. is a rousing effort to introduce and highlight the various innovative, prominent, and mischievous representations and methods of Indian artists producing work today. Profiling the work of 24 Indian artists - five of whom live and work in the UK and USA - we are led on a vast, sometimes macabre, journey of the... [more]
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Picking up the Past   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Reena Saini Kallat at Nature Morte, New Delhi March 8th, 2011 - March 26th, 2011
Posted 4/4/11
The display for Reena Saini Kallat’s “Labyrinth of Absences” at Nature Morte Gallery opens with a three-dimensional portrait of a man in a fez hat.  It takes a fraction of a second for the uninitiated (such as I) to gather that this face has been crafted, with dexterous delicacy, simply out of rubber stamps, painted but still retaining a visible trace of their original engraving announcing  a range of names and designations. The stamps act as building pieces for Kallat, lending the face both... [more]
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