Experiments with Truth: Atul Dodiya

Ipshita Sen of Saffronart shares a note on Atul Dodiya’s current exhibition at the National Gallery of Modern Art in New Delhi. 

New York: Atul Dodiya, is one of India’s leading and most significant contemporary artists. His solo exhibition ‘ Experiments with Truth’ at the National Gallery of Modern Art in New Delhi, curated by cultural theorist and poet Ranjit Hoskote, brings together for the first time over 80 works by the artist over his prolific career from 1981-2013. It will also show works made by the artist during his time as a student at the J. J. School of Art in the early 1980’s.

Atul Dodiya at National Gallery of Modern Art, New Delhi<br />Image Source: http://www.platform-mag.com/art/atul-dodiya.html?para=2#article_title

Atul Dodiya at National Gallery of Modern Art, New Delhi
Image Source: http://www.platform-mag.com/art/atul-dodiya.html?para=2#article_title

The exhibition highlights Dodiya’s versatile artistic practice as he experiments, embraces and explores with various mediums- oil, acrylic, watercolor, mixed media works, sculpture installations, assemblages and photography. His tendency to work with different media and refusing to stick to a homogenous style is distinctive of Dodiya’s work. It is this ability of working across various mediums and juxtaposing Western art history and popular Indian culture through his work, that marks his oeuvre and makes him one of the most sort after and distinguished contemporary artists in India.

Dadagiri, 1998. Oil, acrylic and marble dust on canvas.<br />Image Source: http://www.gallerychemould.com/news/atul-dodiya-experiments%20with%20truth.html

Dadagiri, 1998. Oil, acrylic and marble dust on canvas.
Image Source: http://www.gallerychemould.com/news/atul-dodiya-experiments%20with%20truth.html

The audience is confronted with a variety of forms and mediums capturing the contrasting nature of change. Dodiya being highly influenced by Mahatma Gandhi and his philosophy puts the exhibition in perspective and forms an invisible string connecting the political, cultural and spiritual contexts in his expansive work. Atul Dodiya’s own artistic journey has been considered as constant experiments with the ‘truth’.

Collecting for the Harijan, 1944.<br />Image Source: http://www.sunday-guardian.com/artbeat/dodiya-looks-for-truth-in-a-changing-world

Collecting for the Harijan, 1944.
Image Source: http://www.sunday-guardian.com/artbeat/dodiya-looks-for-truth-in-a-changing-world

Strong influences of artists such as Nandalal Bose, Benodebehari Mukherjee, Marcel Duchamp, Joseph Beuys, Tyeb Mehta, Gerhard Richter and Bhupen Khakhar can be traced in Atul Dodiya’s art. Works by these masters will also be on display as reference points, enabling the visitor to comprehend Dodiya’s work more effectively.

Image Source: http://caravanmagazine.in/showcase/experiments-truth-art

Image Source: http://caravanmagazine.in/showcase/experiments-truth-art

Atul Dodiya pursued his bachelors of Fine Arts from Sir J. J. School of Art in Mumbai. He furthered his academic training at the École des Beaux-Arts in Paris from 1991 to 1992 subsequent to a scholarship awarded by the French Government. He currently lives and works in Mumbai.

Jitish Kallat @ Thinking Big

Shradha Ramesh of Saffronart follows the auction of Public Notice 2 at Thinking Big in London

New York:  Through Jitish Kallat’s Public Notice series emerges a new visual vocabulary that reiterates powerful speeches given by our Nation’s leaders- Mahatma Gandhi, Jawaharlal Nehru and Swami Vivekananda. Preceding his seminal work Public Notice 3, his Public Notice 2 (2007) is a commentary on the devolution of Mahatma Gandhi’s secular vision of non-violence in the face of civil disobedience, which contradicts our eight day propaganda that takes place in our country today.  He confronts the audience by creating a didactic visual awareness of the speech delivered by Mahatma Gandhi on the eve of the famous Dandi March, 11th March 1930.

In a three dimensional textual format he creates a contextual paradigm that emphasises on the forgotten speeches and the lack of communal co-existence. The factual presence of forty five thousand bone-shaped fibre glass alphabets culminating to a large-scale exhibit echoes the struggle of Colonial India. Each letter creates a textual relic, canonizing Gandhiji’s speech on a large saffron wall that resembles a large book, leaves a lasting impression on the viewer’s mind. The monumental installation was exhibited at the Hall of Nations in Washington (2011) enhancing India’s historic prowess.

Jitish Kallat, Public Notice 2, 2007

Jitish Kallat, Public Notice 2, 2007. Image Credit: http://www.saatchigallery.com/artists/artpages/jitish_kallat_public7.htm

Serving a higher cause than what it already does, the installation was auctioned in London on October 17 for educational development. Thinking Big was collaborative effort by Saatchi Gallery and Christie’s auction house to raise funds for facilitating free art education programmes for schools, and to support the Saatchi Gallery’s continuing policy for free entry to all exhibitions. Jitish Kallat’s Public Notice 2 is among 50 other artworks that were selected across five different continents, celebrating the twenty-first century sculptures.

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Jitish Kallat: Overturning Expectations Through Artistic Dynamism

Ipshita Sen of Saffronart shares a note on Jitish Kallat’s recent work

New York: If there were one versatile and imaginative contemporary Indian artist, who, through his art evoked spiraling chains of thought and overturned expectations, it would be Jitish Kallat. Topping Artprice.com’s list of prominent contemporary Indian artists, he is definitely one of the most dynamic artists you will read about.

His works cover a vast array of genres and themes: from exploring the socio-economic and political circumstances of his city, Mumbai, in a manner that brings out the liveliness and exuberance of the city instead of the sunken reality, to addressing issues of peace and tolerance post the 9/11 terror attacks. Some works will take you back in time, reviving a past with contemporary lessons, whereas others will makes you question our being and the different aspects of life.

Kallat is an artist who has grown tremendously over the last decade, establishing himself not only nationally, but making a substantial impact in the international art market as well, leaving behind a trail of his exciting aesthetic creations. He has had his works exhibited in major museums such as the Tate Modern in London and the ZKM Museum in Karlsruhe in addition to having his works held in collections like those of the Saatchi Gallery and the Museum of Contemporary Art in Los Angeles.

Jitish Kallat, Public Notice

Jitish Kallat, Public Notice. Image Credit: http://travel.cnn.com/mumbai/life/jitish-kallat-mumbai-artist-brings-hinduism-obamas-hood-154658

His Public Notice series of works (2003-2010) takes three important moments in Indian history, with an international holding and impact, and reinforces their existence and significance in today’s times. These are large scale installations, comprising the text of speeches delivered by three prominent personalities in Indian history: India’s first prime Minister, Jawaharlal Nehru, delivering his freedom speech on 15 August 1947, Mahatma Gandhi’s speech in 1930 on the eve of his historic Dandi March during India’s struggle for independence from the British empire, and lastly Swami Vivekananda’s historic speech at the World Parliament of Religions in Chicago, 1893.

Jitish Kallat, Public Notice,  Art Institute of Chicago

Jitish Kallat, Public Notice, Art Institute of Chicago. Image Credit: http://www.artic.edu/aic/resources/resource/1150?search_id=1

Of the three, the most well known is Public Notice 3, shown at the Art Institute of Chicago. This installation converted the speech’s text into LED displays on each of the 118 risers of the main stairway at the Art Institute. This installation aims to connect two great historical periods – the first World Parliament of Religions, which took place on September 11, 1893, and the terrorist attacks of September 11, 2001, on the World Trade Centre, both happening on the same date, 108 years apart. Vivekananda’s landmark speech at the Parliament addressed issues of fanaticism and encouraged universal tolerance and respectful recognition of different faiths and traditions, concepts as relevant 108 years later.

This installation, of course, represented the interesting chasm between the underlying message of tolerance in the speech and the conflicting events of the September 11 terror attacks. Through this installation, Kallat not only addresses the intriguing juxtaposition between the two significant events in history, but also sheds light on the immense contemporary significance of a historical event that was forgotten with the passage of time.

Jitish Kallat at Art Basel Hong Kong

Jitish Kallat at Art Basel Hong Kong. Image Credit: http://blogs.wsj.com/scene/2013/07/10/jitish-kallats-corridors-of-suspicion/

The artist’s recent projects have been equally enticing and rich in concept and technique. He is working towards installing a massive sculpture, 60 feet long and 26 feet high in lower Austria. The sculpture as he calls it is “ an endless loop in the open landscape”. It involves the recreation of the typical blue highway signage and its conversion into a huge ribbon in the air. The ribbon displays information about travel distances from Austria to different parts of India and the Far East.

Kallat also has an upcoming solo exhibition this September at Galerie Daniel Templon, Paris, which explores the concepts of “time, sustenance, laughter, suspicion and sleep.” The show will involve a good mix of works. He notes, “One video piece called “Breath” shows seven rotis. There are seven lunar cycles where each roti slowly grows from dust, starts becoming a crescent moon, then a full moon, and then returns to dust. There is another sculpture of a Lilliputian world of small figures paired. Each figure is seen frisking the other one. All of these pairs come from found photographs of security checks at airports, rock concerts and entrances to nightclubs. It’s like a small corridor of suspicion. There is also series of paintings that come from laughter clubs”.

Kallat makes art with a powerful purpose. Whether it might be reviving elements of a lost history, emphasizing the richness of Indian cultures and traditions, or making visible the beauty underlying the simple aspects of everyday life.

He says about the origins of his artistic creations: “All of these works have been questions I ask myself. How do I manifest my experience of the world I inhabit in forms that I find? Everyone carries a world inside themselves; it’s when their world interacts with mine that the work of art actually happens. Until then I just make a dormant piece of something that’s made of atoms and molecules”

 For more information on Public Notice 3 you can click here.

Jitish Kallat studied painting at the J.J. School of Art in Mumbai. He lives and works in Mumbai, India.

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