A Certain Grace- The Sidi: Indians of African Descent by Ketaki Sheth

Tarika Agarwal of Saffronart discusses Ketaki Sheth’s photography and her recent exhibition

Ketaki Sheth, A Certain Grace The Sidi: Indians of African Descent

Ketaki Sheth, A Certain Grace The Sidi: Indians of African Descent. Image Credit: http://www.ngmaindia.gov.in/pdf/ketaki_invite.pdf

Mumbai: The National Gallery of Modern Art in Delhi is currently hosting “A Certain Grace, The Sidi: Indians of African Descent” by Ketaki Sheth until November 3.

Ketaki Sheth began taking pictures of Bombay in the late 1980s, under the guidance of renowned photographer Raghubir Singh. Her fascination with the city of Bombay and its teeming masses extends beyond the poverty, the population and the pollution of the city.

Sheth has slowly moved onto different aspects of photography. On Monday 16th of September 2013 her exhibition at the NGMA was inaugurated by Raghu Rai. Her photographs impressively narrate the lives of Sidi’s – Indians of African descent that over the past many centuries have migrated to India. She has meticulously compiled the photographs as part of a long study carried out about the county’s least talked about community and sensitively narrates the fabulous tales of the people through her photographs.

Below you can enjoy few images of her photographs. It doesn’t tell the whole story, but does give us an idea of the work she has done and the influence she has tried to make…

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To see more photographs click here.

Dayanita Singh: Go Away Closer

Elisabetta Marabotto announces the forthcoming retrospective exhibition of Dayanita Singh at Hayward Gallery, London

Dayanita Singh, Dream Villa 11, 2007, 2008

Dayanita Singh, Dream Villa 11, 2007, 2008. Image Credit: http://www.frithstreetgallery.com/artists/works/dayanita_singh/2/

London: Hayward Gallery from October 8 will host the first UK retrospective of the internationally acclaimed photographer Dayanita Singh.

The exhibition will include works produced in the past several decades as well as recent images which have never been exhibited before. “Go Away Closer” celebrates Singh’s oeuvre which examines and challenges the boundaries and usage of photography as an artistic practice.

“Singh brings her portable ‘museums’ of stories, themes and image repertoires to Hayward Gallery for the first time. These large wooden structures can be placed and opened in different ways, each holding about a hundred images. Old and new pictures are endlessly displayed, sequenced, edited and archived into the continually-evolving ‘museums’.”

Dayanita Singh, Dream Villa 7, 2007-2008

Dayanita Singh, Dream Villa 7, 2007-2008. Image Credit: http://www.saffronart.com/auctions/PostWork.aspx?l=8306

Among the works on display feature some of Singh’s early works such as “Dream Villa”, “Blue Book”, “I am as I am”, “Bombay Portraits” and “Mona and Myself”.

Dayanita Singh, (From top left) Go Away Closer; I Am As I Am; Myself Mona Ahmed; Ladies of Calcutta; Dream Villa

Dayanita Singh, (From top left) Go Away Closer; I Am As I Am; Myself Mona Ahmed; Ladies of Calcutta; Dream Villa. Image Credit: http://www.thehindu.com/features/magazine/a-story-in-each-frame/article584041.ece

For more information click here.

She Who Tells A Story: Women Photographers from Iran and the Arab World

Elisabetta Marabotto of Saffronart shares a note on the current exhibition at the Museum of Fine Arts, Boston

Untitled #5 Gohar Dashti, Untitled #5, 2008. Chromogenic print. Courtesy of the artist and Galerie White Project, Paris. Copyright Gohar Dashti.

Untitled #5
Gohar Dashti, Untitled #5, 2008. Chromogenic print. Courtesy of the artist and Galerie White Project, Paris. Copyright Gohar Dashti. Image Credit: http://www.mfa.org/exhibitions/she-who-tells-story

London: The Museum of Fine Arts in Boston is currently hosting “She Who Tells A Story: Women Photographers from Iran and the Arab World”, the first exhibition of its kind in North America.

Dont Forget This Is Not You (for Sahar Lotfi) Newsha Tavakolian, Dont Forget This Is Not You (for Sahar Lotfi), 2010. Chromogenic print mounted on aluminum. Courtesy of the artist and East Wing Contemporary Gallery.

Dont Forget This Is Not You (for Sahar Lotfi)
Newsha Tavakolian, Dont Forget This Is Not You (for Sahar Lotfi), 2010. Chromogenic print mounted on aluminum. Courtesy of the artist and East Wing Contemporary Gallery. Image Credit: http://www.mfa.org/exhibitions/she-who-tells-story

The exhibition, curated by Kristen Gresh, includes the works of twelve women photographers from Iran and the Arab World: Jananne Al-Ani, Boushra Almutawakel, Gohar Dashti, Rana El Nemr, Lalla Essaydi, Shadi Ghadirian, Tanya Habjouqa, Rula Halawani, Nermine Hammam, Rania Matar, Shirin Neshat, and Newsha Tavakolian.

Roja Shirin Neshat, Roja, 2012. Photograph, gelatin silver print with India ink. Charles Bain Hoyt Fund and Francis Welch Fund. Copyright Shirin Neshat.

Roja
Shirin Neshat, Roja, 2012. Photograph, gelatin silver print with India ink. Charles Bain Hoyt Fund and Francis Welch Fund. Copyright Shirin Neshat. Image Credit: http://www.mfa.org/exhibitions/she-who-tells-story

The artists through their artworks, which range from fine art to photojournalism, questioned the traditional and contemporary perceptions of Middle Eastern identity providing insights into the current political and social issues.

Metro #7 Rana El Nemr, Metro #7, 2003. Chromogenic print. Museum purchase with general funds and the Abbott Lawrence Fund.

Metro #7
Rana El Nemr, Metro #7, 2003. Chromogenic print. Museum purchase with general funds and the Abbott Lawrence Fund. Image Credit: http://www.mfa.org/exhibitions/she-who-tells-story

“Their works tell stories that evoke a range of emotion, challenge our perception, and present the Middle East with a fresh perspective.”said Malcolm Rogers, Ann and Graham Gund Director of the MFA.

Bullet Revisited #3 Lalla Assia Essaydi, Bullet Revisited #3, 2012. Triptych, three chromogenic prints on aluminum. Courtesy of the artist, Miller Yezerski Gallery Boston, and Edwynn Houk Gallery NYC.

Bullet Revisited #3
Lalla Assia Essaydi, Bullet Revisited #3, 2012. Triptych, three chromogenic prints on aluminum. Courtesy of the artist, Miller Yezerski Gallery Boston, and Edwynn Houk Gallery NYC. Image Credit: http://www.mfa.org/exhibitions/she-who-tells-story

“Reflecting on the power of politics and the legacy of war, the photographs in this exhibition challenge Western notions about the ‘Orient,’ examine the complexities of identity, and redefine documentary as a genre,” said curator Kristen Gresh, who was first exposed to this work while living abroad for 15 years, teaching history of photography in Paris and Cairo.

Alia, Beirut, Lebanon Rania Matar, Alia, Beirut, Lebanon, 2010. Pigment Print. Courtesy of the artist and Carroll and Sons, Boston. © Rania Matar.

Alia, Beirut, Lebanon
Rania Matar, Alia, Beirut, Lebanon, 2010. Pigment Print. Courtesy of the artist and Carroll and Sons, Boston. © Rania Matar. Image Credit: http://www.mfa.org/exhibitions/she-who-tells-story

The exhibition will be on until January 12 and you can find here more information about the show and its related events.

Women of Gaza 3 Tanya Habjouqa, Women of Gaza 3, 2009. Museum purchase with general funds and the Horace W. Goldsmith Fund for Photography. © Tanya Habjouqa.

Women of Gaza 3
Tanya Habjouqa, Women of Gaza 3, 2009. Museum purchase with general funds and the Horace W. Goldsmith Fund for Photography. © Tanya Habjouqa. Image Credit: http://www.mfa.org/exhibitions/she-who-tells-story

Also you can read more information about the artists here.

 

 

Charmi Gada Shah and Sujith SN at Vadehra Art Gallery

Ipshita Sen of Saffronart shares a note on the current exhibitions at Vadehra Art Gallery, New Delhi

New York: After a long hot summer, Vadehra Art gallery in New Delhi, welcomed the new art season with cutting edge solo exhibitions by artists Charmi Gada Shah & Sujith SN. The exhibitions are presented as part of the Foundation for Indian Contemporary Art’s (FICA) Emerging Artist Award 2011, shared by the two artists.

Charmi Gada Shah, A House on Joshi Lane, 2013

Charmi Gada Shah, A House on Joshi Lane, 2013. Image Credit: http://vadehraart.com/exhibition/viewDetails/109/3161

Charmi Gada Shah, a Mumbai based artist shows the underlying beauty in the undervalued and the forgotten to the audience through her aesthetic lens . Her solo show, titled “Neighbourhood Souvenirs”, includes work that can be defined as ‘architectural sculptures’, painstakingly created with construction debris around her Mumbai neighbourhood; salvaged wood, concrete blocks and plaster.

Charmi Gada Shah, Interior of an Abandoned Room, 2013

Charmi Gada Shah, Interior of an Abandoned Room, 2013. Image Credit: http://vadehraart.com/exhibition/viewDetails/109/3164

“It is a slow process that captures the degradation and loss of a particular time, architecture and lifestyle,” said Shah.

Her innovative re-constructs of broken interiors and once standing architecture, in exquisitely detailed and three dimensional miniature models, reveal untold stories and resonate stories of a forgotten past. Her work powerful in character, emanates the emotion of loss, instigating one to remember and celebrate the rich elements of a lost past.

Charmi Gada Shah, Still Life of a Landscape, 2010

Charmi Gada Shah, Still Life of a Landscape, 2010. Image Credit: http://vadehraart.com/exhibition/viewDetails/109/3167

“A city has its own character and globalization tends to remove these differences and introduce a similitude in the city. My work speaks of this loss of cultural moorings.”

 Sujith SN’s exhibition of watercolors titled “Psalms of an Invisible River” speaks in a dialect of Holbeinesque metaphors and meanings. His large-scale paper works, radiate a poetic and apocalyptic oeuvre. The undercurrent of his work communicates with an audience through the metaphor of an invisible river, as the title suggests. His work is narrative and conveys the underlying message of humanity’s relationship with the world and it’s other inhabitants. The invisible river that the artist illustrates could be any of the hundreds of forgotten and misused rivers that fertilize the Indian soil. His work thus portrays a double-edged metaphor, wherein one can relate it to the people and lives that go unseen and forgotten under the unappealing humdrum of urbanization.

Sujith SN, Psalms of an (In)visible River, 2013

Sujith SN, Psalms of an (In)visible River, 2013. Image Credit: http://vadehraart.com/exhibition/viewDetails/108/3145?pages=1

“For the last two years I have been working on a body of watercolors that examine the concept of ‘what makes a city?’ from a different lens. The river is an important motif because civilizations and urbanization often takes place on the banks of a river. Very often the river changes its color and direction as a result of this so-called civilization,” says Sujith.

Sujith SN, Let a Thousand Flowers Bloom III, 2013

Sujith SN, Let a Thousand Flowers Bloom III, 2013. Image Credit: http://vadehraart.com/exhibition/viewDetails/108/3155?pages=1

Both the artists bring forth the notion of reviving a forgotten grey past and provide the audience with a lens to see perspective and beauty in the hidden and undervalued.

Sujith SN, Testimony, 2012

Sujith SN, Testimony, 2012. Image Credit: http://vadehraart.com/exhibition/viewDetails/108/3152?pages=1

Charmi Gada Shah has acquired her Bachelors in Fine Art from the Raheja School of Art in Mumbai, and further pursued her masters in Fine Arts at The Chelsea School of Art in London. She is the recipient of the ‘Promising Artist Award from Art India and India Habitat Centre in 2009. She currently lives and works in Mumbai.

Sujith SN has acquired his Bachelors in Fine Art from the College of Fine Art, Trissur and Masters in Fine Arts at the Sarojini Naidu School of Fine Art, Performing Arts and Communication, University of Hyderabad. He currently lives and works in Mumbai and Kerala.

The exhibitions are on until September 12. For more information click here.

Diver-Cities II

Elisabetta Marabotto of Saffronart shares a note on the forthcoming exhibition at Latitude 28 in New Delhi

Arun Kumar HG, Untitled, 2012

Arun Kumar HG, Untitled, 2012. Image Credit: http://www.latitude28.com/index.php/works/newarrival/793

London: Starting from August 27, Latitude 28 presents Diver-Cities II. This exhibition is a celebration of cultural and urban diversities within India.

Baiju Parthan, End of Season, 2012

Baiju Parthan, End of Season, 2012. Image Credit: http://www.latitude28.com/index.php/works/newarrival/794

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.

Sarnath Banerjee, Lalbazaar Detective Department: Lower Pile

Sarnath Banerjee, Lalbazaar Detective Department: Lower Pile. Image Credit: http://www.latitude28.com/index.php/works/newarrival/804

Among the artists feature Baiju Parthan, Sarnath Banerjee, Gigi Scaria, Arun Kumar HG, Praneet Soi and Sudipta Das.

Gigi Scaria, Icarus, Yet Another Attempt, 2013

Gigi Scaria, Icarus, Yet Another Attempt, 2013. Image Credit: http://www.latitude28.com/index.php/works/new
arrival/908

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.’

Praneet Soi, The Dream, 2008

Praneet Soi, The Dream, 2008. Image Credit: http://www.latitude28.com/index.php/works/newarrival/803

For more information on the exhibition click here.