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NAVJOT ALTAF Selected Biography
1260 Carillion Point nyb@nybgallery Kirkland, WA 98033, USA +1 425 466 1776 NAVJOT ALTAF Selected biography From Meerut, India. Education Fine and Applied Arts, Sir J.J. School of Arts, Mumbai, India Graphics, Garhi Studios, New Delhi, India Solo Exhibitions 2018 Lost Text, The Guild Gallery, Alibaug, India. Lost Text, Special Project, Art Fair, New Delhi, The Guild Gallery, India. 2016 How Perfect Perfection Can Be Installation with drawings, sculptures, soil, rice grain, and video, Chemould Prescott Road Art Gallery, Mumbai, India. Catalogue. 2015 How Perfect Perfection Can Be Installation with drawings, sculptures, soil, rice grain, and video, The Guild Gallery Alibaug, India. 2013 Horn in the Head, Sculpture Installation with audio and video, Talwar Gallery, New Delhi, India. 2010 TOUCH IV22 monitors video installation, Talwar Gallery, New Delhi, The Guild, Bombay, India. A place in NY, Photomontage, The Guild Gallery, Bombay and NY, USA. Catalogue. 2009 Lacuna in Testimony - Patricia and Phillip Frost Art Museum, Florida, USA. 2008 Touch 4 projection video installation and interactive sculptures, Sakshi Gallery, Bombay, India. Bombay Shots- Photomontage, The Guild Gallery, Bombay, India. Catalogue. 2006 Jagar Multimedia Installation, and Water Weaving, video Installation, Sakshi Gallery, Bombay, India. Junctions 1 – 2 – 3 Photo installation with sound, The Guild Gallery, Bombay, India. Catalogue. 2005 Water Weaving, Video Installation, Talwar Gallery, NY, USA. Catalogue. 2004 Bombay Meri Jaan and 'Lacuna in Testimony', video Installation, Sakshi Gallery, Bombay, India. Catalogue. 2003 In Response To, sculpture installation with photographs by Ravi Agarwal, Talwar Gallery, NY, USA. Catalogue. Displaced Self, Interactive project with artists from Israel and Ireland, Sakshi gallery, Bombay, India. -
Sea Change Hajra Waheed
INSTALLATION WHO ARE YOU DEFENDERS SEA CHANGE HAJRA WAHEED January 18 – March 2, 2013 Sea Change: A Short Film (1-14) / 2012, Polaroid Back, Collage and ink on paper, 4.5 x 7 in each, Suite of 14 works (detail) 60 61 INSTALLATION SEA CHANGE 62 63 INSTALLATION SEA CHANGE 64 65 ESSAY SEA CHANGE selves at this moment. You remark on the child’s smile that still resembles your friend’s today. Re- Sea Change member the old cars? The shoreline was so beautiful before they built the hotels. Why exactly then does it feel so unfamiliar, and challenging, to look at a series such as Hajra’s Sea Change, A Short Film (2012)? These cut fragments of sepia-tinted photographs, mounted on the I. backing of old Polaroid film, with little square tabs on the top right, mounted on twice-punched, perforated notebook paper. They areso utterly unyielding. [ . ] And how the future It begins poetically (with words slightly modified from lyrics by Twin Shadow). The first panel Takes shape in the sequence reads: “Some people say you are the golden light, but if I chase after you, [it] doesn’t too quickly. The permanent is ebbing. Is leaving mean that it’s true.” nothing in the way of The photographic components—our locus of information—have largely been cut and cropped trails. [ . ] away, leaving us with blank, black fields, and just mere traces of what we are looking at. Perhaps some sand and rocks, a small body of water, some distant mountains, clouds, arid hills, a fencepost. – Jorie Graham, Sea Change, 2008 The rest has been stripped away. -
Ranjit Hoskote: Signposting the Indian Highway Ranjit Hoskote
HERNING MUSEUM OF CONTEMPORARY ART Ranjit Hoskote: Signposting the Indian Highway Ranjit Hoskote You Can’t Drive Down the Same Highway Twice… …as Ed Ruscha might have said to Heraclitus. But to begin this story properly: two artists, two highways, two time horizons a decade apart in India. Atul Dodiya’s memorable painting, ‘Highway: For Mansur’, was first shown at his 1999Vadehra Art Gallery solo exhibition in New Delhi. The painting is dominated by a pair of vultures, a quotation culled from the folios of the Mughal artist Mansur; the birds look down on a highway that cuts diagonally across a desert. The decisiveness of this symbol of progress is negated by a broken-down car that stands right in the middle of it. The sun beats down on the marooned driver, whose ineffectual attempts at repairing his vehicle are viewed with interest by the predators. In the lower half of the frame, Dodiya inserts an enclosure in which a painter, identifiably the irrepressible satirist and gay artist Bhupen Khakhar, bends over his work. Veined with melancholia as well as quixotic humour, this painting prompts several interpretations. Does the car symbolise the fate of painting as an artistic choice, at a time when new media possibilities were opening up; is the car shorthand for the project of modernism? Or is this an elegy for the beat-up postcolonial nation-state, becalmed in the dunes of globalisation? In an admittedly summary reading, ‘Highway: For Mansur’ could be viewed as an allegory embodying a dilemma that has immobilised the artist, even as he contemplates flamboyant encounters with history in the confines of his studio. -
Art in the Asia-Pacific
Art in the Asia-Pacifi c As social, locative, and mobile media render the intimate public and the public intimate, this volume interrogates how this phenomenon impacts art practice and politics. Contributors bring together the worlds of art and media culture to rethink their intersections in light of participatory social media. By focusing upon the Asia-Pacifi c region, they seek to examine how regionalism and locality affect global circuits of culture. The book also offers a set of theoretical frameworks and methodological paradigms for thinking about contemporary art practice more generally. Larissa Hjorth is Professor in the Games Programs, School of Media & Communication, RMIT University, Australia. Natalie King is Director of Utopia at Asialink, The University of Melbourne, Australia. Mami Kataoka is Chief Curator at the Mori Art Museum in Tokyo, Japan. Routledge Advances in Art and Visual Studies 1 Ethics and Images of Pain 5 Manga’s Cultural Crossroads Edited by Asbjørn Grønstad & Edited by Jaqueline Berndt Henrik Gustafsson and Bettina Kümmerling- Meibauer 2 Meanings of Abstract Art Between Nature and Theory 6 Mobility and Fantasy in Visual Edited by Paul Crowther and Isabel Culture Wünsche Edited by Lewis Johnson 3 Genealogy and Ontology of the 7 Spiritual Art and Art Western Image and its Digital Education Future Janis Lander John Lechte 8 Art in the Asia-Pacifi c 4 Representations of Pain in Art Intimate Publics and Visual Culture Edited by Larissa Hjorth, Edited by Maria Pia Di Bella and Natalie King, and Mami James Elkins Kataoka -
The Paintings of Ram Kumar
SWASTI RAM KUMAR SMRITI Raza Foundation 1 The Paintings of Ram Kumar Among the Indian painters today Ram Kumar is he strives after in his paintings would influence his perhaps the only one who has no imitators and no method of work. His hours are regular the fresh hours followers, for both his themes and method are simple. of the morning he spends in his studio in Karol Bagh in His themes are everyday subjects we in the cities see; Delhi. There he paints, sketches, thinks his way out of the poor, the oppressed, the destitute, the frustrated problems, always within reach and in the company of lower middle class, not necessarily or typically Indian, the finished work and the tools and implements of his but nevertheless alive and boldly stated in non- craft. This is a very necessary discipline, for the ground theatrical yet dramatic terms. of a great painting is craft, the knowledge of surfaces, textures, the limits there can be no heavenly bread he For all this there is nothing of the grotesque or the knows, too, that the spirit of man that destroys the ugly or the sentimental in his paintings. Subject matter enemy of essentially fragile in its desire for peace and and style are mutually supporting. With the minimum for love. He is content to depict the fragility of life and delineation of the human figure, he strengthens line people. He is a painter of the people, not the people of and perspective, allowing eye to see first things first, a the people of the countryside but of the city. -
MGW-Digital-Schedule .Pdf
th th 161JANUARY6 2019 , JANUARYWEDNE SD 201A Y 9 , WEDNE SDA Y PREVIEWS :PREVIEWS 6:00PM - :9:30PM 6:00PM - 9:30PM Akara Art Akara ArtNo Place like the PresentNo Place | Curated like theby RanjitPresent Hoskote | Curated | Atul by Dodiya,Ranjit Hoskote | Atul Dodiya, Sudhir Patwardhan, JagannathSudhir Patwardhan, Panda and Jagannath more Panda and more Apparao Galleries Apparao Grey Galleries Air | A Balasubramaniam Grey Air | A Balasubramaniam Art & Soul Art & SoulMuthukulam – Backwater Muthukulam Narratives – Backwater| Suresh Muthukulam Narratives | Suresh Muthukulam Art Musings Art MusingsShadows of Water, StepsShadows of Light of |Water, Ranjit Steps Hoskote, of Light Smriti | Ranjit Dixit, Hoskote,Yashwant Smriti Pitkar Dixit, Yashwant Pitkar Chatterjee & Lal Chatterjee Juggernaut & Lal | Sahej RahalJuggernaut | Sahej Rahal Chemould Prescott RoadChemould Seven Prescott Minutes Road of BlackmailSeven Minutes| Atul Dodiya of Blackmail | Atul Dodiya Christie’s Christie’s Highlights from the upcomingHighlights auction from the of Southupcoming Asian auction Modern of +South Contemporary Asian Modern Art, + Contemporary Art, New York | M F Hussain,New Ram York Kumar, | M F Hussain, Rameshwar Ram Broota Kumar, and Rameshwar more Broota and more 04 04 PREVIEWS :PREVIEWS 6:00PM - :9:30PM 6:00PM - 9:30PM Akara Art No Place like the Present | Curated by Ranjit Hoskote | Atul Dodiya, Galerie Isa Galerie WeIsa Contain Multitudes We | CuratedContain byMultitudes Ali Banisadr | Curated | Jules by de Ali Balincourt, Banisadr | Jules de Balincourt, -
Sharmistha Ray Artist / Writer / Educator
SHARMISTHA RAY ARTIST / WRITER / EDUCATOR www.sharmistharay.com EDUCATION 2001-2005 Pratt Institute, Dual degree: Master of Sciences (Art History) and Master of Fine Arts (Painting). Brooklyn, NY 1997-2001 Williams College, Bachelor of Art (Art). Williamstown, MA. Concentration: Printmaking SOLO EXHIBITIONS / PROJECTS 2017 “we are all islands 2,” Mill Hall, Kochi, India 2016 “we are all islands,” Nine Fish Art Gallery, Mumbai, India 2015 “On the Seashore of Endless Worlds,” Kala Ghoda Arts Festival, Mumbai, India 2014 “Sweet Surrender,” Galerie Steph, Singapore 2013 “Reflections + Transformations,” Aicon Gallery, New York, NY 2012 “hidden geographies,” Galerie Mirchandani + Steinruecke, Mumbai, India 2004 “Crossroads,” M.F.A. Thesis Exhibition, Pratt Institute, NY 1998 “Queer Series,” WLS Spencer Gallery, Williamstown, MA SELECTED GROUP EXHIBITIONS / ART FAIRS 2020 “Abstract Notations,” curated by Jesal Thacker, Gallery Espace, New Delhi 2020 “Art Off-Screen,” curated by Eileen Jeng Lynch 2020 “Streaming,” https://s-t-r-e-a-m-i-n-g.com, curated by Mike Childs and Melissa Staiger 2020 “Now, more than ever.” Wassaic Project, wassaicproject.org 2020 Leslie Lohman Museum, Curated by Osman Can Yerebekan, New York, NY (Postponed to ‘21) 2020 Pen + Brush Gallery, curated by Bina Sarkar Ellias, New York, NY (Postponed to ‘21) 2019 “Making Space,” Sakshi Gallery, Mumbai, NY 2019 “Outdoorsy Love,’ FTP Art Salon, Brooklyn, NY 2019 India Art Fair, Booth: Emami Art, New Delhi, India 2018 Untitled Art Fair, Booth: Pratt Fine Arts Alumni, Miami Beach, -
Ranjit Hoskote - Poems
Classic Poetry Series Ranjit Hoskote - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Ranjit Hoskote(29 March 1969 -) Ranjit Hoskote is a contemporary Indian poet, art critic, cultural theorist and independent curator. <b> Early Life and Education </b> Ranjit Hoskote was born in Mumbai, India. He educated at the Bombay Scottish School, Elphinstone College, where he read for a BA in Politics, and the University of Bombay, where he took an MA in English Literature and Aesthetics. <b> Career </b> <b> As Poet </b> Hoskote belongs to the younger generation of Indian poets who began to publish their work during the early 1990s. His work has been published in numerous Indian and international journals, including Poetry Review (London), Wasafiri, Poetry Wales, Nthposition, The Iowa Review, Green Integer Review, Fulcrum (annual), Rattapallax, Lyric Poetry Review, West Coast Line, Kavya Bharati and Indian Literature. His poems have also appeared in German translation in Die Zeit, Akzente, the Neue Zuercher Zeitung, Wespennest and Art & Thought/ Fikrun-wa-Fann. He is the author of four collections of poetry, has translated the Marathi poet Vasant Abaji Dahake, co-translated the German novelist and essayist Ilija Trojanow, and edited an anthology of contemporary Indian verse. His poems have appeared in many major anthologies, including Language for a New Century (New York: W. W. Norton, 2008) and The Bloodaxe Book of Contemporary Indian Poets (Newcastle: Bloodaxe, 2008). Hoskote has also translated the 14th-century Kashmiri mystic-poet Lal Ded, variously known as Lalleshwari, Lalla and Lal Arifa, for the Penguin Classics imprint, under the title I, Lalla: The Poems of Lal Ded. -
The Discourse and Practice of Radicalism in Contemporary Indian Art 1960-1990
THE DISCOURSE AND PRACTICE OF RADICALISM IN CONTEMPORARY INDIAN ART 1960-1990 by KATHLEEN LYNNE WYMA B.F.A., University of British Columbia, 1993 Diploma in Art History, University of British Columbia, 1997 M.A., University of British Columbia, 2000 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In The Faculty of Graduate Studies (Art History) THE UNIVERSITY OF BRITISH COLUMBIA June 2007 © Kathleen Lynne Wyma, 2007 ABSTRACT By the early 1980s the Department of Fine Arts and Aesthetics at the Maharaja Sayajirao University in Baroda stood as the key institution for contemporary art in India. Its reputation had been carefully cultivated over the last fifteen years by both K. G. Subramanyan and Geeta Kapur. Under their careful artistic and theoretical tutelage, the Facuhy of Fine Arts turned to narrative-figuration as a self-proclaimed polemical stance against the materialist/determinist thrust of history. The narrative turn moved beyond the regional locality of Baroda in 1981 with the exhibition Place for People. Held in the cosmopolitan art centres of Delhi and Bombay the show included the work of six artists variously affiliated with the school in Baroda: Bhupen Khakhar, Vivan Sundaram, Gulammohammed Sheikh, Nalini Malani, Jogen Chowdhury, and Sudhir Patwardhan. The arrival of Place for People in the 1980s must be situated within the larger frames of contemporary art in the post-colonial moment. In attending to the variegated terrain spanning both theory and practice, my project has as its underlying concern the interface between discursive formations, institutional structures, and sites of artistic intervention. -
2020 Atul Dodiya, Detroit Institute of Arts Museum, Detroit, USA
Atul DODIYA Born in 1959 in Mumbai, India Lives and works in Mumbai, India EDUCATION Sir Jamsetjee Jeejebhoy School of Art, Mumbai (1982) École Nationale Supérieure des Beaux-Arts, Paris, France (1991–1992) SOLO EXHIBITIONS (SELECTION) 2020 Atul Dodiya, Detroit Institute of Arts Museum, Detroit, USA 2019 Atul Dodiya - Seven Minutes of Blackmail, Chemould Prescott Road, Mumbai, India 2018 The Fragance of a Paper Rose, Galerie Daniel Templon, Paris, France 2017 Girlfriends: French, German, Italian, Egyptian, Santiniketan, Ghatkopar…, Vadehra Art Gallery, New Delhi, India 2015 Mahatma and the Masters, Galerie Daniel Templon, Brussels, Belgium 2014 7000 Museums: A Project for the Republic of India, Dr. Bhau Daji Lad Museum, Mumbai, India 2013 Experiments with Truth: Atul Dodiya, Works 1981–2013, National Gallery of Modern Art, New Delhi, India Atul Dodiya, curated by Raphaela Platow, Contemporary Arts Centre, Cincinnati, USA 2012 Scribes from Timbuktu, Galerie Daniel Templon, Paris, France 2011 Bako Exists. Imagine, Chemould Prescott Road, Mumbai, India 2010 If It Rains Fire, Nature Morte, Berlin, Germany Malevich Matters and Other Shutters, Vadehra Art Gallery, New Delhi, India 2008 Pale Ancestors, Bodhi Art Mumbai, Mumbai, India 2007 Shri Khakhar Prasanna, Chemould Prescott Road, Mumbai, India Saptapadi: Scenes from Marriage (Regardless), Museum Gallery, Mumbai, India and Vadehra Art Gallery, New Delhi, India 2006 The Wet Sleeves of My Paper Robe, Gallery Sumukha, Bangalore, India ; Singapore Tyler Print Institute, Singapore, Republic of -
INDEPENDENT CURATORS INTERNATIONAL SPRING/SUMMER 2011 PROGRAM INTER NA TIONAL NET WORKS Welcome 1
INDEPENDENT CURATORS INTERNATIONAL SPRING/SUMMER 2011 PROGRAM INTER NA TIONAL NET WORKS Welcome 1 Spring/Summer Calendar 2 EXHIBITIONS Performance Now: The First Decade of the New Century 4 The California Experiment: New Art Circa 1970 6 Create 8 Martha Wilson 10 Exhibitions in a Box 13 With Hidden Noise 14 Harald Szeemann: Documenta 5 15 Raymond Pettibon: The Punk Years, 1978–86 16 Image Transfer: Pictures in a Remix Culture 18 Project 35 20 FAX 22 Experimental Geography 24 Mixed Signals: Artists Consider Masculinity in Sports 26 People’s Biennial 28 TRAINING AND RESEARCH Independent Vision Award 30 Training Programs 31 Curatorial Intensive 32 DISPATCH 34 EVENTS The Now Museum 36 Curator’s Perspective 38 The Curator’s Lounge 40 ACCESS Contact 41 Thank you 42 Support 44 Booking Info 48 Editor: Kate Fowle and in what way. For any reuse or dis- Designer: Scott Ponik tribution you must make clear to others Copy Editor: Alaina Claire Feldman the license terms of this work. You must Printing: Linco Printing, Queens, NY inform the copyright holder and editor of Big thanks to: Nancy Adajania and any reproduction, display, or distribution Ranjit Hoskote, John Baldessari, of any part of this publication. Amy Cheng, Doryun Chong, Michelle Jubin, Alex Kleiman, Weng Choy Lee, To receive a downloadable pdf Glenn Phillips, Loretta Yarlow version of this publication, or more copies by mail contact Bryan Granger, © 2011 Independent Curators Communications Administrator at International (ICI), and the authors. [email protected] Reproduction rights: You are free to copy, display, and distribute the contents of this publication under the following conditions: You must attribute the work or any portion of the work reproduced to the author, and ICI, giving the article and publication title and date. -
Shilpa Gupta
SHILPA GUPTA 1976 Born in Mumbai, Maharashtra 1992-1997 B.F.A. Sculpture, Sir J. J. School of Fine Arts, Mumbai SOLO PRESENTATIONS 2019 Altered Inheritances: Home is a Foreign Place (two-person show), Ishara Art Foundation, Dubai. Curated by Nada Raza 2018 Where do I Begin Voorlinden Museum and Gardens, Wassenaar For, in your tongue, I cannot fit Yarat Contemporary Art Center, Baku. Curated by Björn Geldhof Shilpa Gupta Galleria Continua, San Gimignano 2017 We Change Each Other Outdoor Project, Carter Road, Mumbai Drawing in the Dark Kiosk, Ghent; Bielefelder Kunstverein, Bielefeld; La synagogue de Delme contemporary art center, Delme Luther and the Avantgarde (two-person show), Karlskirche church, Kassel 2016 Shilpa Gupta Vadehra Art Gallery, New Delhi My East is Your West Outdoor Project, Altrove, Gagliano del Capo, Puglia. Curated by Massimo Torrigiani Shilpa Gupta Dvir Gallery, Tel Aviv 2015 My East is Your West (two-person joint India Pakistan show), Gujral Foundation, collateral event of 56th Venice Biennale, Venice 2014 Shilpa Gupta Galleria Continua, San Gimignano Shilpa Gupta Kunstnernes Hus, Oslo. Curated by Ida Kierulf 2013 24:00:01 MO, Mucsarnok, Kunsthalle, Budapest. Curated by Lívia Rózsás Shilpa Gupta MAAP Space, Brisbane. Curated by Kim Machan I live under your sky too Outdoor Project, Carter Road, Mumbai Will we ever be able to mark enough? Galerie im Taxispalais, Innsbruck. Curated by Renee Baert 2012 Will we ever be able to mark enough? Museum voor Moderne Kunst, Arnhem; Cultuurcentrum, Bruges. Curated by Renee Baert Someone Else Arnolfini, Bristol. Curated by Nav Haq Notes Dvir Gallery, Tel Aviv Someone Else Chemould Prescott Road, Mumbai 2011 Will we ever be able to mark enough? Darling Foundary, Montreal.