New York: Kothanalloor-based artist Gigi Scaria is currently presenting his exhibition “Dust” at the Ian Potter Museum of Art in Melbourne. The works included were created specifically for the Ian Potter Museum and take the artist on new levels of his craft. Scaria focuses on the desolate desert of India’s border with Pakistan. This is a controversial, but primarily empty and fruitless geographic space.
Prior to the exhibition Scaria traveled to the Thar Desert and found the beautiful nuances of this natural wasteland for his photographs. The desert terrain turned out to have more to offer than simply dust and sand manipulated by the wind. Salt marshes, small patches of plant life and various mineral formations presented themselves. The artist utilizes the non-descript quality of this space, elements of this environment have a universal quality. It is not innately obvious in his photographs where this land is; it could be in any country or perhaps be the remote terrain of another planet. Scaria’s utilization of these spaces is centered on his belief that non-identifiable spaces will leave room for the engagement of viewers. While only leaving hints of a physical space the works offers opportunity for true memories and fantasy. Scaria’s work not only brings a viewer into this remote geographical space but also prompts meaning and emotions to animate the endless landscape.
“Dust” includes three levels of video, photography and installation work. Although this type of work is a bit of an offshoot from his typical technique, his artist process is present in the way he honors the original image yet manipulates it ever so slightly for the viewer. Prior to this exhibition he was one of the five artists to represent India in the Venice Biennale in 2011. He was also a 2012 University of Melbourne MacGeorge Fellow. “Dust” will be at the Ian Potter Museum of Art well into the new year, wrapping up on March 16th. Art enthusiasts in visiting Melbourne in the coming months should definitely experience Scaria’s “Dust”. For more information please visit the Ian Potter Museum website.
The Saffronart team on events you shouldn’t be missing this month in Mumbai, Delhi, London and New York, beginning with…
Chitra Ganesh’s “Reclining Figure”, rendered on the walls of Lakeeren Gallery as part of Drawing from the Present, a site-based project Source: Lakeeren Art Gallery
Esther Brinkmann: “Renewable Pleasures: The India Chapter” Where: Gallery Chemould, Fort, Mumbai On View Till: August 23, 2014
Esther Brinkmann is an acclaimed Swiss jewellery designer who has been living in India for the past four years. Inspired by her residency in the nation, this exhibition will feature unique, handmade neckpieces, brooches and rings that pay particular attention to techniques of engraving and enameling that developed in ancient India.
Lalu Prasad Shaw: “Solitary Spaces” Where: Art Musings, Colaba, Mumbai On View Until: August 31, 2014
Bengali artist and printmaker Lalu Prasad Shaw is notable for work influenced by the pre-independence Company School of art, Ajanta cave and traditional Kalighat Pat paintings. His talent lies in translating these influences along with scenes from his own life onto canvases. This solo exhibition at Art Musings features works that explore ways to create quiet and solitary meditations on paintings.
Chitra Ganesh: “Drawing from the Present” Where: Lakeeren Art Gallery, Mumbai
On View Till: September 30, 2014
Artist Chitra Ganesh has transformed the interiors of Lakeeren Gallery in Colaba with her illustrations and paintings, pulsating with stories. Known for her comic-inspired illustrations infused with mythological references, Ganesh’s works are layered with questions. In this exhibition, she continues to explore sci-fi, mythology and time travel. If you missed watching the artist at work, drop by Lakeeren to decode her paintings.
And if you’re hoping for a glimpse into her wide-ranging inspirations, here’s an interview by Art Radar.
Gipin Varghese, “Lifetimes”, Watercolour on paper 81″ x 16″ (Each), 2013 from the exhibition Lifetimes at Vadehra Art Gallery. Source: Vadehra Art Gallery
Aditya Pande: “H&M” Where: Nature Morte, Delhi On View Till: September 6, 2014
Known for his signature style that involves the use of vector-based software to create lines, Delhi based artist Aditya Pande will be showcasing a solo exhibition that continues his style of exploring boundaries through vector lines and other mediums and subjects. The title of the show, ‘H & M,’ an abbreviation for Harappa and Mohenjodaro, is indicative of Pande’s fascination with artifacts found at these sites. The exhibition will be unique in its steering away from a white box gallery atmosphere, making the space more interactive.
Nayanaa Kanodia: “The Great Outdoors” Where: Art Alive Gallery, Delhi On View Till: August 20, 2014
Self-taught artist Nayanaa Kanodia has achieved international acclaim since her first solo exhibition in 1986. Her recent works, featuring in this show, draw inspiration from nature. She carefully examines man’s relationship with the natural outdoor environment depicting themes such as innocence and peacefulness. Kanodia explains, “My paintings are varying angles of a single prism. At first glance, you see a humored portrayal of a quaint scene; upon further examination, an integrated, multi-layered expression reveals itself.”
Gipin Varghese: “Lifetimes” Where: Vadehra Art Gallery, New Delhi On View Till: September 6, 2014
Having successfully participated in several group shows, this is artist Gipin Varghese’s first solo exhibition that will present the work he has made over the last two years. Varghese re-examines contemporary issues, media, violence, and struggles faced in rural India. Through his socially conscious works he uses art to pay tribute to victims, and ordinary people who face struggles, by immortalising their stories. His works focus on figures, expressions and postures that we may otherwise shy away from, to also provoke viewers to consider social realities. Not only should this exhibition give you a new perspective to look at issues faced in India, but also gives you the chance to get acquainted with an emerging artist.
‘Stalwarts from the East’: A French lady pins a flower on the Sikh saviours of France, Paris, 1916. From the Toor Collection. Part of the exhibition Empire, Faith and War: The Sikhs and World War One Source: https://www.soas.ac.uk/gallery/efw/
Kalpana Shah, Ravi Mandlik, Anwar, Brinda Miller, Nupur Kundu, Aisha Caan, JayShree Kapoor, Christina Pierce: “Indian Summer” Where: Albemarle Gallery, London On View Till: August 23, 2014
This exhibition features prominent contemporary artists who have achieved acclaim in India and abroad. The exhibit is presented by Arts for India; a charity that supports the Delhi based International Institute of Fine Arts (IIFA), which is one of the few private sector providers of an art education in India. Attending this exhibition is likely to expose you to works by artists from India, as well as those who have been influenced by Indian art and culture. Simultaneously, you can also show your support for the development of art education in India, by attending this show.
Pradeep Puthoor: “The Art of Pradeep Puthoor” Where: Everyman Cinema, Belsize Park On View Till: September 2, 2014
Pradeep Puthoor is a Kerala-based contemporary artist who is beginning to achieve world-wide acclaim for the fantastical worlds he creates in his works through his creative and illustrative skills. This exhibition of his paper works is organized by the Noble Sage Gallery, at the Everyman Cinema in Belsize Park. This is a show that is guaranteed to satisfy art enthusiasts and collectors. Visiting this exhibit can easily be combined with watching a film at the Everyman Cinema, or paying a visit to the permanent collection at the Noble Sage Gallery, next door.
Empire, Faith and War: The Sikhs and World War One Where: The Brunei Gallery, SOAS On View Till: September 28, 2014
This exhibition features a carefully curated selection of unique and rare photographs, drawings, newspaper articles, comics, postcards, uniforms, gallantry medals, art works, as well as folk songs that commemorate the contribution of Sikh soldiers in the Great War. The exhibition, organized by the UK Punjab Heritage foundation, also features an album of X-Rays of injuries of wounded Indian soldiers lent by Her Majesty The Queen from the Royal Collection. This exhibition is definitely worth a visit, to gain a sense of Sikh history and culture, particularly with respect to colonial and war periods.
City as subject/matter: Belfast, Hong Kong, New Delhi, New York, Tel Aviv, Tirana and beyond Where: New York (Click here for multiple venues) On View Till: August 26, 2014
Curated by Marco Antonini in collaboration with Catalyst Arts, Hila Cohen-Schneiderman, Khoj International Artists’ Association, Eriola Pira and Magdalen Wong, this group exhibition features artists Seher Shah, Vibha Galhotra and Gigi Scaria among others. It is presented as a series of four consecutive exhibitions hosted by NURTUREart, Mixed Greens, Invisible Exports and Unions Docs. Multiplicity is an international survey of artworks sharing an interest in the politics and poetic potential of contemporary urban environments. The works address the myriad public and private rituals of the city, mining its institutional and vernacular histories while re-imagining its formal and functional aspects.
Readymade | Contemporary Art from Bangladesh Where: Aicon Gallery, New York On View Till: September 6, 2014
Aicon gallery presents the first ever extensive survey exhibition of contemporary Bangladeshi art held in New York. The exhibition features nine artists collectively exploring the complex and interlocking cultural, political, economic and environmental issues currently facing the often paradoxical and rapidly changing society and state of Bangladesh. The featured artists include Kazi Salahuddin Ahmed, Masum Chisty, Khaled Hasan, Imran Hossain Piplu, Promotesh Das Pulak, Dhali Al Mamoon, Yasmin Jahan Nupur, Mohammad Wahiduzzaman and Wakilur Rahman. The work in this exhibition unpacks these issues through the concept of the readymade, both in its art historical context, and as a term referring to Bangladesh’s massive and unwieldy ready-to-wear garment industry.
London: September 2013 – April 2014 has and will be an exciting time at Chemould Prescott Gallery, Mumbai. Curating five exhibitions during this time frame, Geeta Kapur depicts an extremely evolved contemporary Indian art scene with Citizen – Artist (Oct.14th – Nov. 15th 2013), mirroring the growth and expansion of Chemould Prescott as a gallery. The first exhibition in the series, Subject of Death, was in remembrance of Bhuppen Kakkar, the groundbreaking painter supported by Chemould at the beginning of his career, with this particular exhibition opening on his 10th death anniversary, as well as an ode to the late Kekoo Gandhy, founder of Chemould Prescott in 1963. The second – Citizen Artist deals with notions and definitions of citizenship, nations and borders, the exhibition features works by Inder Salim, K. Madhusudhanan, Tushar Joag, CAMP, Gigi Scaria, Ram Rahman, Shilpa Gupta, Rashid Rana, Atul Dodiya, Jitish Kallat, Raqs Media Collective, Gauri Gill and Arunkumar HG.
Each work is deeply engaged with the implications of citizenship in a contemporary globalised world. For instance, in Shilpa Gupta’s 1278 unmarked, 28 hours by foot via National Highway No1, East of the Line of Control 2013, she places a graveyard in the middle of the gallery, and creates an index of people who are considered martyrs by their families, but are buried namelessly, questioning the ethics (or lack thereof) of citizenship in Kashmir.
Circadian Rhyme, 2 & 3 (2012-2013), by Jitish Kallat involves miniature crafted-figures staged in a line on a ledge, to depict scenes from everyday travels such as airport security checks, immigration queues etc. In detail, one figure is performing a security ‘pat down’ on another, seemingly commenting on the increase in accessibility of global travel, but the costs and troubles of crossing borders that go with it. The greater accessibility is increasing the crowds, risks, and precautionary measures.
Rashid Rana’s Crowd is thematically similar, and is composed of three photo prints on wallpaper involving digitally spliced and manipulated images. An intense reproduction a mixed population people is projected onto the wallpaper focusing on the loss of identity and individuality in very populous.
Raqs Media Collective’s animated video projection loop, The Untold Intimacy of Digits (UID) (2011), is an image of the handprint of a 19th century Bengali peasant, Raj Konai, which was taken by British colonial officials in 1858, and then sent to Britain. Fingerprinting technologies were developed from experiments based on this image. The Unique Identification Database (UID – same as the title) is a new project initiated by the Indian government in attempts to properly account for, and index its’ population. This work poses an interesting juxtaposition of India’s colonial past and current day attempts to account for citizens.
These are a few amongst many other multi medium and media works that dwell on various aspects of citizenship and certainly don’t seem to be in an aesthetic bind. The third and next installment in the Aesthetic Bind series to look out for is Phantomata (Nov. 29, 2013 – Jan 03, 2014) participating artists include: Tallur L N, Susanta Mandal Sonia Khurana, Nikhil Chopra, Tushar Joag, Pushpamala N, Baiju Parthan, and Pratul Dash. For more information visit about the exhibitions visit Chemould Prescott Gallery website.
Eleven contemporary artists from different parts of India have been tasked to reflect on the idea of ‘city’ and its related concepts such as identity and globalization. Their works have then been brought together in one single exhibition to present their different interpretations and contemporary art practices.
Sunil Khilnani in The Idea of India noted: ‘India’s cities are hinges between its vast population spread across the countryside and the hectic tides of global economy, with its ruthlessly shifting tastes and its ceaseless murmur of the pleasures and hazards of modernity. This three-cornered relationship decisively moulds India’s future economic, cultural and political possibilities. The demographic drift across the world is unstoppably towards the urban.’ ‘Modern India’s political and economic experiences have coincided most dramatically in its cities – symbols of the uneven, hectic and contradictory character of the nation’s modem life. From the ancient sacred space of Benares to the decaying colonial pomp of Calcutta, from the high rationalism of Chandigarh to the software utopia of Bangalore, from Bombay’s uneasy blend of parochial politics and cosmopolitan to the thrusting new cities of the north. The evident urban disjuncture’s have enlivened distinct political sentiments. The real and imagined experience of the city has individually and together reconstituted both the nature and the range of the selves, the ‘identities’ that Indians can call their own.’
London: A new two-part film, titled ‘Let the World in’, directed by Avijit Mukul and produced by Art Chennai, intends to document the evolution of contemporary visual art in India spanning three generations of artists and their work dating from the 1980s to the present day.
The premiere of the film was held at the National Film Archive of India in Pune on the 7th of June; and it is now travelling to film festivals in the UK from the 13th-14th and returning to India for its debut in Mumbai and Delhi.
The film intends to document the depth and diversity in contemporary Indian art by outlining “the artists’ concerns reflected in their work, tracing it down to the present day,” according to the press release. The first volume begins discussing the monumental 1981 exhibition “Place For People” in Delhi and Bombay, in which a group of artists conveyed through their work and engagement with locality, class and politics and further touching on how younger artists have been impacted by the inherited legacy of this movement. Central characters in the first volume include artists Arpita Singh, Gulammohammed Sheikh and Vivan Sundaram; inputs are also heard from influential art critic Geeta Kapur and the late Bhupen Khakhar, a co-artist and close friend.
The second part of the film focuses on practitioners such as Shilpa Gupta, Atul Dodiya and T.V. Santosh; major political and social changes in India make up the backdrop of the beginning of this volume. Issues such as the liberalization of the Indian economy and the funding of dangerous religious extremist that ensued and also the lack of sophisticated educational practices in Indian artistic establishments are all topics that contribute to the setting of the second volume.
The film also conveys the new Indian artistic generations preoccupation with the past and engagement with history; one of the films main goals is to re-ignite to public consciousness the significant role played by the senior generation of Indian artists who were dedicated to forming their unique artistic styles in previous times.
If you are in Cambridge on 20 June, then you can view the film at 17:30 pm at the Center for South Asian Studies; more information here.
For details of the multi-city screening schedule, visit the film’s Facebook page. The DVD will be released shortly.