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Sadequain at AICON, New York

July 15, 2014

Josheen Oberoi visits AICON Gallery’s expansive Sadequain exhibition

New York: It’s been a quiet month in the New York art world. With half the community decamping to Art Basel and the rest distracted by the blessed warm weather (we had a tough winter here!); interesting shows have been relatively thin on the ground. Not for South Asian art, thankfully. AICON Gallery is showing a mini retrospective of the Pakistani artist Syed Sadequain (1930-1987) and I was excited to see it not only for the quality of art but also the rarity of having access to such a body of work.

Occupying the entire expansive space of AICON’s Lower East Side gallery, this exhibit shows the gamut of Sadequain’s oeuvre. One of Pakistan’s most celebrated modernist artists, Sadequain was born in 1930 in Amroha, east of Delhi, in a family of calligraphers. He subsequently moved to Pakistan after his graduation from Agra University in 1948. He shot to fame at the young age of 31, when his work won recognition at the 1961 Paris Biennale.

A self-taught artist, he is most commonly identified with the development of a uniquely idiomatic calligraphic aesthetic. However, his visual language is in fact one of the most variegated and complex of the South Asian modernists working post 1947. He simultaneously worked through a variety of calligraphic, narrative, abstract registers, with artistic influences that ranged from multiple mediums; poetry, Western and South Asian historical artistic traditions. His compatriot, collaborator and famed poet Faiz Ahmed Faiz stated about his work, “In spite of his considerable pre-occupation with the solution of technical formal problems, Sadequain has never been purely a formal painter. Recordist, abstractionist, social critic, emotional visionary, within a few short years, Sadequain has sped from one role or compulsion to another with equal impetuosity.”

Three standing figures

Three Standing Figures, 1966, Oil on canvas, 72 x 48 inches Image courtesy: AICON Gallery, New York

Sadequain’s engagement with language was seminal to his work and this is visible in this exhibition. Comprising twenty seven paintings and three drawings, the show is dominated by a collection of paintings from the 1960s, when Sadequain lived and worked in Paris. Titled The Lost Exhibition, this set of eight paintings are dancing figures of calligraphy; lyrical despite their scale. These works are considered examples of what the artist called “Calligraphic Cubism”. Employing the scratched surface technique on the background, the texture produces volume and three- dimensionality. Seemingly caught in action, the elongated movement of the script along the vertical axis make these works appear monumental in viewing. Sadequain described himself as a figurative painter and the dramatic execution of the Arabic Kufic script in these works, the ensuing conversations that are taking place on the canvas, did bring home that idea to me. These are the strongest works in the exhibit and definitely worth a dekko.

Man with Dagger, Oil on canvas, 54 x 30 inches Image courtesy: AICON Gallery

Man with Dagger, Oil on canvas, 54 x 30 inches
Image courtesy: AICON Gallery

Some of Sadequain’s formally figurative works are also part of this exhibition and these underline the remarkable range of his visual vernacular. Line, form, perspective – I was hard won to find a singly unifying element among these paintings. One of the more striking of these was Man With Dagger, showing a man holding a dagger in one hand and a head that resembles his own in the other, accompanied by a smaller figure of a woman holding a leaf. These muscular renderings, so different from The Lost Exhibition, are echoed in another set of calligraphic paintings in the exhibition, Untitled (Abstract Formation I and II). Interestingly, the image of a severed head is repeated in one of the works on paper, Untitled, Headless Self-Portrait. It clearly shows the headless artist in a studio, with a work of calligraphy in the background.

Untitled, Abstract Formation 1, c. 1960, Oil on canvas, 25.5 x 16 inches Image courtesy: AICON Gallery, New York

Untitled, Abstract Formation 1, c. 1960, Oil on canvas, 25.5 x 16 inches
Image courtesy: AICON Gallery, New York

Untitled, Headless Self Portrait, 1967, Ink on Paper, 28 x 20 inches Image courtesy: AICON Gallery, New York

Untitled, Headless Self Portrait, 1967, Ink on Paper, 28 x 20 inches
Image courtesy: AICON Gallery, New York

 

 

 

 

 

 

 

 

 

 

 

 

 

In 1962, an edition of the Parisian newspaper Le Figaro rightly noted, “Sadequain adds up the impression of space, density, volume and the reality of matter, which transforms an abstract thought into a material fact in plastic.” He shifted the paradigms of calligraphy, especially in his realization of its abstracted and stylized forms. This post cannot effectively capture the entire spectrum of his languages and so I would strongly recommend a trip down to the gallery to see them yourself if you’re in New York.

You can learn more about Sadequain at the Sadequain Foundation website (co sponsor of this exhibition) and from this article by art historian Iftikhar Dadi.

Beirut Art Fair 2014 Showcases the Tiny and Beautiful of Contemporary Indian Art

July 9, 2014

Elizabeth Prendiville of Saffronart discusses the Indian Pavilion in the upcoming Beirut Art Fair

Beirut Art Fair 2014 Photo courtesy of Beirut Art Fair.

Beirut Art Fair 2014
Photo courtesy of Beirut Art Fair.

 This September Lebanon will once again thrive as a major cultural hotspot in the global art community with the 5th edition of the Beirut Art Fair. Held at the Beirut International Exhibition Leisure Center, the fair will represent the most contemporary and innovative work from the local and international art markets. As it grows in popularity the Beirut Art Fair is proving more and more to be a vessel of booming international art sales, meshing together buyers and artists from both the Western and Eastern art markets. Last year, the 4th edition of the fair, displayed galleries from 14 countries and welcomed over 18,000 guests. Leading collectors throughout the Middle East and beyond flock to this event, because it assembles a global showcase of work in a creatively liberated environment.

Beirut Art Fair 2014 Photo courtesy of Beirut Art Fair.

Beirut Art Fair 2014
Photo courtesy of Beirut Art Fair.

In past years, the fair has focused primarily on a wealth of offerings from local galleries. However, there is a growing trend for outside influences. Last year the fair featured a South East Asia pavilion curated by Richard Koh. This year the focus will be the Indian Pavilion curated by Fabrice Bousteau. Bousteau’s previous credits include co-curating “Paris-Delhi-Bombay:India Through The Eyes of Indian and French Artists” at Paris’ Centre Pompidou focusing on the Indian subcontinent. The curator’s approach to the Indian Pavilion will break away from the now-typical rhythm and layout of traditional art fairs. He plans to channel a cabinet of curiosities, displaying a wide range of sizes and mediums. Bousteau’s vision of small and ornate rather than large and dramatic purposefully goes against what he believes is a trend in contemporary Indian art. “It will represent the Indian art scene from Subodh Gupta, the star, to the youngest Indian artists…the concept of the exhibition is to create a cabinet of curiosities. Indian artists love to make enormous sculptures…The idea was to [exhibit] some very small things, for a number of reasons, one of which is a question of budget…The idea is that small art is beautiful” Bousteau told The Daily Star. This shift away from large pieces should present an opportunity for less represented artists or artists with a different artistic process to be shown. The curator utilizes themes in traditional Hinduism as well as drawing comparisons between the Middle East and Indian societal makeup to select the works that will be presented. This nuanced curatorial approach may make the Indian Pavilion the creative focal point of Beirut.

By going against the grain in terms of classic fair curating, the Indian Pavilion may be tapping into a new buyer experience. How will art sales change if the offerings of a fair are depicted as a museum or private collection rather than a commerce-driven gallery? This is surely a more thoughtful and engaging methodology. The Beirut Art Fair 2014, and the Indian Pavilion specifically, will clearly be a pivotal event in the international art world this year. The Beirut Art Fair will run September 18th-21st, for more information about the fair please click here.

Can Site-Specific Artists Really Claim Space? The Georges Rousse Apnalaya Benefit Collection

June 28, 2014

Elizabeth Prendiville of Saffronart discusses appropriation in the site-specific work of artist Georges Rousse.

“Mumbai 2014/Shivaji Nagar IV” by Georges Rousse Photo Courtesy of StoryLTD

“Mumbai 2014/Shivaji Nagar IV” by Georges Rousse
Photo Courtesy of StoryLTD

Paris-based artist Georges Rousse is a master of layering perceptions for his viewers. Locations, shapes, and spaces that were once familiar are reformed and combined in unexpected ways forming a multi-dimensional work that presents itself as both familiar and foreign. This summer StoryLTD presents Rousse’s Apnalaya Benefit Collection. This location is an interesting choice for the artist who often works in ruins or forgotten architectural spaces. In contrast, the Apnalaya center’s mission focuses on rebuilding the lives and communities of individuals in the poorest slum neighborhoods of Mumbai. I see a noteworthy correlation between the artist’s dedication to revitalizing and repositioning locations through his work and the center’s goals for supporting and improving nearby communities. Both the artist and the center create change in seemingly bleak circumstances. But how does the artist’s process bring new life into a location while still honoring the true history of the space? Unlike deteriorating ruins or forgotten spaces, the Apnalaya center is alive and active, making it harder to find this appropriative balance. Can Rousse truly claim a space as his own when the singular purpose of the location is fostering greater communities? This brings forward an intriguing discussion in regards to site-specific work in general.

Georges Rousse and his team from the Apnalaya center Photo courtesy of Apnalaya

Georges Rousse and his team from the Apnalaya center
Photo courtesy of Apnalaya

 

Rousse’s work has been acclaimed internationally for his unique utilization of multiple mediums simultaneously molded together to create a single dynamic piece. His practice typically consists of creating a site-specific installation using paints and other traditional mediums to bring a new aesthetic to the space. In the case of the Apnalaya collection, large stars were painted in the space to create a playful effect of physical depth and perspective. After completing the space Rousse photographs it, creating a permanent and tangible testimony of the artistic occurrence. The photograph is intended to last, while the installation is temporary. Throughout his work we see the fleeting and liminal quality of public art installations in juxtaposition with the documented finality of photography.

 

Installation with the Apnalaya Team Photo courtesy of Apnalaya

Installation with the Apnalaya Team
Photo courtesy of Apnalaya

Although the pieces in this collection appear simple in composition and color scheme initially, they have an entrancing quality that invites you into a unique space that is only truly represented in the artist’s photographs. He achieves the perfect balance of removing viewers from the familiar and paying visual homage to an everyday location.  The familiarity and safety of a school works in dialogue with the slightly dizzying change of perspective. Rousse’s “Nagar” series (I, II, III, IV) allow viewer’s perspective to dictate how they take in the work. The iconography in these pieces is nothing new. However, the placement and technical choices both in the original installation and the photography create an open-ended product that gives viewers freedom to determine their own viewpoint. Simply viewing the work I found it difficult to determine what is a manipulated through photography and what is in the actual space. Rousse is successful in creating an engaging mysterious quality for his viewers; familiar landscapes are tweaked to transport you elsewhere. However, with this visceral appropriation in mind, is the original space truly honored or is it simply a stepping-stone to the artist’s final product?

The Apnalya Benefit Collection will be shown on StoryLTD through July 15th. However, limited edition prints are selling fast. Find out what pieces are still available for sale here. You can also learn more about Rousse’s process by watching a video by the artist here.

 

 

Your E-Pocket Guide to Exhibitions This June

June 7, 2014

The folks at Saffronart have put together a compact list of art events in Mumbai, Delhi, London and New York. All you need is a fully-charged phone to guide you and enough money if you’ve got travel plans.

There’s a lot happening in the South Asian art world that shouldn’t be missed. We’ve got it mapped for you, so head out and start taking it all in, beginning with…

Mumbai

Meera Devidayal: A Terrible Beauty, at Gallery Chemould Source: http://www.gallerychemould.com/exhibitions-works/a-terrible-beauty-meera-devidayal-chemould-prescott-road-art-mumbai-exhibition-mill-photograph-video-2014-cricket/Untitled_Painting.html

From the exhibition Meera Devidayal: A Terrible Beauty, at Gallery Chemould
Source: Gallery Chemould Website


Waswo X. Waswo: Sleeping Through the Museum
Where:  Sakshi Art Gallery, Colaba
On View Till: June 21, 2014

Has the title of the show piqued your interest yet? Udaipur based American artist Waswo X. Waswo simulates a museum in this solo show through numerous “artifacts” and photographs arranged to replicate the look and feel of one. On a deeper level, it questions the act of preserving and displaying such pieces as perpetuators of culture and heritage. For folks hanging out at SoBo and looking to do more than just kill time, head to Sakshi Art Gallery between 11am and 6pm, except on Sundays when they’re closed.

Amrita Sher-Gil: The Passionate Quest
Where: National Gallery of Modern Art, Mumbai
On View Till: June 30, 2014

Commemorating the birthday of the well-renowned late artist Amrita Sher-gil, this exhibition curated by art historian Yashodhara Dalmia presents a range of her oeuvre including works depicting her life in Paris, nude studies, still-life studies and portraits of her friends and her fellow students. Sher-gil, who is also recognized as India’s own Frida Kahlo, has been the youngest and only Indian artist to be elected as an Associate of the Grand Salon in Paris. The exhibition also includes her photographs, and original letters. A must-visit show for art enthusiasts in the city.

A Terrible Beauty
Where: Gallery Chemould, Mumbai
On View Till: July 9, 2014

This exhibition includes works by Delhi-based artist Meera Devidayal who has adopted the theme of the dilapidated mills of Mumbai and their future as the subject for her works. Her unique style and extremely sight-specific theme make this a show that is bound to make viewers not just appreciate the aesthetics of the works but also ponder about the future of the mills.

Figures of Speech: Using the Written Word in Contemporary Art
Where: Four Seasons Hotel, Mumbai
On View Till: July 15, 2014

Exploring the relationship between words and images, this exhibition features the works of contemporary artists such as N. Ramachandran, Bhavna Sonawane, Brinda Miller and Rajesh Patil among others. Of course, you can combine a visit to this exhibition with a meal or a coffee at the Four Seasons Hotel to make for a lovely afternoon or evening.

Walk the Line with Sudhir Patwardhan
Where: Jehangir Nicholson Gallery, Kala Ghoda, Mumbai
Walkthrough: Wednesday 11th June, 5 – 6:30 pm
On View Till: August 30, 2014

If the ongoing exhibition, “Taking the Line for a Walk” at the Jehangir Nicholson Gallery already doesn’t sound exciting enough to visit, the idea of being walked through it with contemporary artist Sudhir Patwardhan himself certainly makes it hard to miss. The exhibition showcases 45 drawings by well-acclaimed artists such as Tyeb Mehta, Akbar Padamsee, F.N. Souza, S.H. Raza, Laxman Shreshtha, Manjit Bawa and Sudhir Patwardhan. A message especially for the drawing enthusiasts out there: don’t miss this event!

 

Delhi

Raj Rewal: “Memory, Metaphor and Meaning in his Constructed Landscape” at NGMA, Delhi Source: caravanmagazine.in

From the exhibition Raj Rewal: “Memory, Metaphor and Meaning in his Constructed Landscape”, at NGMA, Delhi
Source: caravanmagazine.in

Kaleidoscope: Group Art Show
Where: Chawla Art Gallery, Delhi
On View Till: June 14, 2014 

This group exhibition shows some of the finest works of contemporary artists such Asit Kumar Patnaik, Bharat Bhushan Singh, Farhad Hussain, Jayasri Burman, K.S. Radhakrishnan, Ramesh Gorjala, Satish Gujral, Shipra Bhattacharya, Surya Prakash, Thota Vaikuntam, Tapas Sarkar and Manu Parekh. Having works by so many artists under one roof makes for an interesting variety of styles and themes. There is bound to be something that catches the eye of every individual view!

Raj Rewal: “Memory, Metaphor and Meaning in his Constructed Landscape”
Where: National Gallery of Modern Art, New Delhi
On View Till: June 15, 2014

This is a retrospective show of the works of Raj Rewal, one of India’s finest architects. Known for several iconic buildings in India and abroad, his works have also been showcased at famous museums abroad such as the Pompidou Centre in Paris. Looking at architecture as a visual art allows for a unique experience for many viewers who may otherwise overlook the artistic element in buildings, which are typically judged by their functionality.

Identity Control
Where: Vadehra Art Gallery, Delhi
On View Till: June 17, 2014

This exhibition features works that deal with “notions of policing, tracking, security, immigration, loss of individuality and rebellion, all of which are issues that affect us in more than one level.” Considering the different perspectives and approaches of leading contemporary artists such as Shilpa Gupta, Jitish Kallat, Karthik KG, Rafael Lozano-Hemmer, Natalia Ludmila, Armando Miguelez, should allow you to gain an extensive view of the complexities surrounding one’s identity.

Degenerate
Where: VadehraArt Gallery, Delhi
On View Till: June 17, 2014

Featuring the works of contemporary artists such as Atul Bhalla, Ruby Chishti, Minal Damani, Jagannath Panda, Ashim Purkayastha and B. Ajay Sharma, this exhibition focuses on the different facets of Indian urban life in contemporary times. Combine a visit to this show with the ‘Identity Control’ exhibition, taking place in the same gallery!


London

M.F. Husain, Ganesha, 2008 from the exhibition M.F. Husain: Master of Modern Indian Painting at the Victoria and Albert Museum, London Source: http://www.vam.ac.uk/content/exhibitions/mfhusain/about-the-exhibition/

From the exhibition M.F. Husain: Master of Modern Indian Painting, at the Victoria and Albert Museum, London
Source: http://www.vam.ac.uk/content/exhibitions/mfhusain/about-the-exhibition/

S.H. Raza: Pyaas
Where: Grosvenor Gallery
On View Till: June 14, 2014

What would you say to being in London in summer for an exhibition of paintings by one of India’s most revered Modern artists? If it isn’t a whoop and a jump (or an acknowledging smile for the more poised amongst you), we can only surmise you don’t have a visa to make the trip. The exhibition ‘S.H. Raza: Pyaas’ is just the thing for art enthusiasts—it intends to display the development and range of styles in which Raza has depicted his characteristic subject matter in recent times. The paintings contain a great deal of vigour, vibrancy and a strong connection to India and its religious heritage.

Art Antiques London
Where: Kensington Gardens opposite the Royal Albert Hall
On View: June 12 – 18, 2014, 11am onwards

‘The most important Asian sales of the year will be held in London during this annual event.’ —BBC Homes & Antiques Magazine

‘Asian Art in London is a brilliantly conceived celebration of Asian Art and has made London the undisputed Asian Art capital of the world.’ — Essential London Magazine

Accolades alone won’t do it, so hear it from us. Asian Art London has grown to become a highly prestigious art fair dealing in antiques and art, bringing together renowned dealers, collectors and enthusiasts. It is a one-of-a-kind opportunity to procure beautiful and rare items in antique and contemporary Asian art. Among participating galleries from London and Paris, Galerie Christophe Hioco is one to look out for. Crowning this is its convenient location opposite the Royal Albert Hall, against the backdrop of the verdant Kensington Gardens—you certainly can’t say no to that!

Olivia Fraser: Subtle Bodies Exhibition
Where: Grosvenor Gallery
On View Till: June 21, 2014

India’s art traditions draw the internationally-acclaimed artist Olivia Fraser to reference it in her works, and her latest paintings attest to this. Having lived in India for the last ten years, Fraser’s work reflects a grasp of Indian traditional iconography, but used to express sensations of a meditative process. ‘Subtle Bodies’ displays a mix of paintings on hand-made paper and limited-edition prints prepared during the last few years and the work announces Fraser’s emergence. The incredible blend of east and west, traditional, and contemporary for the new exhibition is a direct reflection of Fraser’s ideology.

M.F. Husain: Master of Modern Indian Painting
Where: Victoria & Albert Museum, South Kensington
On View Till: July 27, 2014

Seems like there’s no end to exhibitions featuring South Asian art in Central London. Head to the V&A for a sumptuous collection of paintings by Maqbool Fida Husain (1915-2011). A member of the Bombay Progressives, he was famed for his freehand drawing and vibrant colours and was among India’s pioneering Modern artists. The eight painted triptychs on display illustrate Indian civilization and were commissioned in 2008 by Mrs Usha Mittal as a tribute to the richness of India’s history. The artist was still working on the project at the time of his death and originally envisaged a series of 96 panels. History and religion feature in a feisty splurge of colours and expression—be sure to not miss out on this one!


New York

Sadequain UNTITLED, RED BRACELET, 1980s from the exhibition Sadequain: A Retrospective at Aicon Gallery, New York Source: http://www.aicongallery.com/exhibitions/2014-06-12_sadequain-a-retrospective/?page=2#/images/20/

From the exhibition Sadequain: A Retrospective at Aicon Gallery, New York
Source: http://www.aicongallery.com/exhibitions/2014-06-12_sadequain-a-retrospective/?page=2#/images/20/

Sadequain: A Retrospective
Where: Aicon Gallery, New York
On View: June 12 – July 12, 2014

When the Moderns were earning a name in India, Sadequain Naqqash carved his path to fame and later came to be known as a pioneering Pakistani artist in his country and the world. He came from a family of scribes and the background served him well: Sadequain came to be recognised as Pakistan’s foremost calligrapher and painter and is credited with the renaissance of Islamic calligraphy in Pakistan. His vocabulary developed through a mingling of Eastern and Western artistic traditions, as well as Hindu and Muslim ideology. Aicon Gallery hosts a collection of 24 works from the 1960s to the ’80s that trace the trajectory of his artistic development.

Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century
Where: Metropolitan Museum of Art
On View Till: July 27, 2014

This monumental exhibit is the first of its kind and scale to bring together works on loan from South East Asia’s distinguished national collections, showcasing sculptural art produced in the earliest kingdoms of the Southeast Asian region. The Lost Kingdom features some 160 sculptures representing distinct Hindu and Buddhist cultural groups that flourished in the Southeast Asian region, that has been out of view owing to the shadow of time. Epigraphic efforts of the 20th century brought to the fore the cultural practices and remains of the Pyu, Funan, Zhenla, Champa, Dvāravatī, Kedah, and Śrīvijaya groups, which date back to many centuries. The art works highlight the influence and local amalgamation of Indic culture in regional belief systems and practices. It is interesting to see popular deities from India being depicted in a different avatar by these regional patrons. Many of the works have never travelled outside their source countries before providing visitors an opportunity to view works they may not have access to easily.

SxSE: Selections from the Asia Society Museum Collection
Where: The Asia Society Museum
On View: June 17 – August 3, 2014

Don’t miss out on this selection of video artworks which will be on display at the Asia Society Museum, starting June 17. It features works since 2000 by South and Southeast Asian artists that highlight current artistic trends in the region, with a special focus on disparities between globalisation, modernisation, urbanisation and tradition.

For the insatiable among you, we have an events listing page that is updated each month. Be sure to drop by regularly for updates.

“Nalini Malani: Transgressions” at Asia Society Museum

April 29, 2014

New York: The Asia Society Museum in New York is currently showing their latest contemporary exhibition, “Nalini Malani: Transgressions”. Malani received her technical training in painting at the Sir Jamsetjee Jeejebhoy School of Art in Mumbai and throughout her career has focused on a number of controversial topics such as feminism, race, gender and global politics. This was especially powerful in the 1980’s when feminist topics were less prominent in art on the Indian subcontinent. In her process the artist is inspired by myths and allegories from a variety of cultural backgrounds including Hindu and Greek. “Transgressions” is no exception as it brings forward a strong narrative depicting globalization and transnational current events focusing specifically on the powerful western influence in postcolonial India.

Transgressions II by Nalini Malani. Source: http://www.e-flux.com/announcements/nalini-malani-2/

Transgressions II by Nalini Malani
Source: http://www.e-flux.com/announcements/nalini-malani-2/

 

I was fortunate enough to slip into the Asia Society thirty minutes before closing, the ideal time to experience the central installation of the exhibition: “Transgressions II”. This enchanting piece, created in 2009, is part of the Asia Society Museum’s collection and depicts cultural negotiations in India. The piece consists of video projections combined with shadows utilizing three large transparent cylinders. “Transgressions” is both playful and visually haunting with the multifaceted use of a variety of mediums and sound. Each aspect of the work is an independent artistic expression that when combined, brings forward a dramatic multisensory experience for the viewer. Malani’s paintings on the transparent cylinders are in homage to the Chinese reverse glass painting of the 18th century and are aesthetically engaging all on their own. Viewers can walk freely through the projections and examine these dynamic paintings individually. The only other additions to the exhibition aside from the large installation are a selection of books by the artist depicting the drawing and painting technique in full. This addition invites Malani’s audience into her artistic process. Holistically, the work creates an engaging contrast between histories of seasoned storytelling and modern technology.

“Transgressions II” by Nalini Malani Source: Asia Society

“Transgressions II” by Nalini Malani
Source: Asia Society

 

As a viewer, I felt fortunate to experience the work completely alone and be ensconced in the ever evolving and shifting visuals of animals, characters and designs. Accompanying the moving colors and imagery was a poem written and read by the artist. Both the painting and poem touched on the artist’s central topics of colonialism and world politics. However, the visuals rarely depicted the poem in a literal sense, creating a dizzying, dreamlike quality. “Transgressions II” is an all-consuming and enthralling installation that allows Malani to fully absorb her audience in her multiple levels of creative expression and storytelling. This exhibition is a uniquely beautiful success for both the artist and the Asia Society Museum. While in New York this summer be sure to take in “Nalini Malani: Transgressions”. The exhibition will be up through August 3rd 2014.