Interrogating truth

If you missed this very important exhibition by Shaunak Mahbubani, here is a comprehensive review of the show, by Georgina Maddox

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Saavdhaan: The Regimes of Truth poses questions to the voices of authority

Georgina Maddox

Stumbling through the dark, avoiding stones and brambles, one is not quite sure what one will discover down the rabbit hole that is Saavdhaan: The Regimes of Truth. The recently concluded exhibition, curated by Shaunak Mahbubani at the little-known venue, Kalakar Theatre near Saket Metro Station, Saidul-Ajab, is not the conventional well-lit, white cube gallery display, that we have all come to expect when attending art openings. The raw brick and motor bowels of the theatre, is shadowy with wisps of cobwebs festooning nooks and crevices. The exhibition is not easily forthcoming rather it slowly reveals its contents as one negotiates through the slightly bewildering space.

IMG_1911 Arko Datto’s nigh-time photography captures the essence of the word Saavdhaan, a military call to attention as well as a neighbourly
hark of safety. All photographs of the exhibition are by…

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The Earthiness of Vipul Kumar’s Ceramic Sculptures

art1st India

Ankush Arora

The ceramic works of Jaipur-based artist Vipul Kumar, currently on view at Delhi’s Threshold Gallery, demonstrate a strong sense of the Earth element, while exploring the turbulent relationship between humans, as a profligate race, and Nature, as a depleting yet bountiful force.

19 Gallery View of Jantar Mantar and Untitled 2 Gallery View. Picture Courtesy: Threshold Gallery

Kumar’s ‘Earth Diaries’, as the show is titled, engage with two materials – stoneware and porcelain, which are different types of ceramics. Sculpted into dissimilar shapes and forms, his exhibits embody decay and doom, palpable through cracks and lava-like formations coiling over the objects. The artist, a student of fine arts at Benaras Hindu University, attributes his experimentation with ceramic art to his brother Kesarinandan, who runs a studio in Delhi. Prior to that, he was trained under famous sculptor Balbir Singh Katt, known for his adept use of marble and wood materials on a large scale.

As…

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When Art Transcends Human Creativity

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Delhi-based Nature Morte Gallery’s recent exhibition, ‘Gradient Descent’, seeks to establish artificial intelligence as a new genre of contemporary art-making

Ankush Arora

What happens when a statistician and an artist decide to create a new form of art? The outcome is an experimental initiative for artists and technologies of ‘Artificial Intelligence’ (AI) to reimagine creativity in contemporary art practices, while establishing a collaborative human-machine relationship. That is the stated goal of ‘64/1’, the Bengaluru-based art curation and research collective founded by brothers Karthik Kalyanaraman, whose interest in visual arts predates his career as an economist, and Raghava KK, a multidisciplinary artist known for creating an art book for children on the iPad.

And what happens when a gallerist realises that AI (broadly, the ability of machines to replicate human intelligence) is slowly beginning to shape the way we access technology? The result, this time, is a startling…

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From ‘India and the World’, a gallery tour of masterpieces on 200-year-old freedom struggles

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Ankush Arora

An oil painting by Amrita Sher-Gil, recently mounted at New Delhi’s National Museum, showed a confident-looking European girl with a comparatively demure Indian. The European, painted in bright yellow, had her arm around the shoulders of the visibly dark Indian girl. While the painting has been interpreted as an exploration of the artist’s mixed identity (she was born to a Sikh father and a Jewish-Hungarian mother) and her corresponding artistic influences, it also deals with a transforming social and political landscape.

‘Two Girls’ was painted by Sher-Gil during her brief visit to Budapest in 1939, around the time Europe witnessed the rise in fascism, and India a nationalist, anti-colonialism struggle against the British rule. The artwork, by one of the greatest avant-garde artists of the 20thcentury, was part of a large-scale, transcontinental collaboration that offers a unique perspective on India’s history by placing it…

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Colours, only

art1st India

A new exhibition in Delhi introduces the rare genre of ‘colour field’ painting to art lovers  

Ankush Arora

How does an artist’s canvas reflect natural landscapes, without using any kind of recognisable shapes, images, forms or human figures? A good example of this style of art-making is the work of Pandit Bhila Khairnar, who is known as a ‘colour field’ artist. Delhi-based Gallery Threshold recently inaugurated a solo show of the artist, who hails from Nashik city in Maharashtra.

Nashik_Flickr_Deeku's.jpg Nashik. Courtesy: Flickr

As a young man, Khairnar found himself drawn towards abstract painting, and began his training in art at Yashwant Kala Mahavidyalaya, Aurangabad, and L. S. Raheja School of Art, Mumbai. His early interest in abstract painting deeply influenced his artistic vocabulary that we see today, so much so that he is now considered one of the lesser known, but foremost, colour field painters of India.

Pandit Bhila Khairnar Profile Photo.png Pandit Bhila…

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Interwoven narratives of Indian and Thai textiles   

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The revival of Thai’s ‘mudmee’ silk industry is the subject of a new exhibition at New Delhi’s National Museum

Ankush Arora

Between the 14th and 18thcentury, the Kingdom of Ayutthaya (present-day Thailand) began importing various kinds of Indian textiles for the local market and royal court. These included block-printed or painted cotton from Masulipatnam (Andhra Pradesh), silk brocades from Banaras, and Gujarat’s patolaor double ikat silk—the latter was believed to have been commissioned for the Ayutthaya king during the 1660s.

1024px-Gezicht_op_Judea,_de_hoofdstad_van_Siam_Rijksmuseum_SK-A-4477.jpg Painting of Ayutthaya c.1665, painted by Johannes Vingboons, ordered by the Dutch East India Company, Amsterdam. Courtesy: Wikipedia

While the origin of silkworm breeding and silk weaving in Thailand remains unknown, the early hybridization of Indian-made textiles with Siamese (dated term for Thai people) royal court patterns began to take place sometime during the Ayutthaya kingdom, according to a new art exhibition at New Delhi’s National…

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In a rare showing, Delhi gets a glimpse of indigenous art from National Gallery of Australia

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Fiona Foley, HHH

New Delhi’s National Gallery of Modern Art is currently showing masterpieces from Australia’s indigenous artists – a rare, large-scale project that is not only a precursor to the upcoming Australia-India Fest, but also part of India’s long-standing initiative of cementing ties with other nations through the realm of art and culture.

In the recent past, for example, the NGMA has hosted art exhibitions from different countries such as Slovenia, South Korea and Italy. In its latest showing, titled ‘Indigenous Australia: Masterworks from the National Gallery of Australia’, more than a hundred masterworks tell the story of the world’s oldest continuous culture. The artworks, which date back to the 1800s to the present, reveal diverse artistic styles of Australia’s most important indigenous artists.

Having existed on the Australian continent for tens of thousands of years, the art and traditions of Aboriginal and Torres Strait Islander people are among the oldest and richest in human history. Their art reveals a deep relationship between creative expression and everyday life. Themes related to nature, fertility, aquatic life, spiritual seeking, race and colonialism find expression in these artworks.

The masterpieces–from paintings, videos, sculptures to installations–are a significant contribution towards understanding the traditional and modern art vocabulary that emerged in the last three hundred years. The exhibits offer a peep into the NGA’s vast collection of Aboriginal and Torres Strait Islander artworks, numbered around 8000, the largest of its own kind in the world.

“The Aboriginal and Torres Strait Islander artists draw on a long tradition of oral storytelling, and their art reflects this deep, ancient knowledge. Traditionally, legends were expressed through rituals, secret ceremonial songs and dances, body painting, rock engravings, and designs and patterns on domestic and ritual objects. The exhibition mirrors this variety of expression with paintings on canvas and bark, weaving and sculpture, new media, prints and photography.”
Art Critic Meera Menezes

Here’s a virtual tour of the collection:


The exhibition is on view until August 26.