Click Here for the E-CATALOGUE

Total Page:16

File Type:pdf, Size:1020Kb

Click Here for the E-CATALOGUE Introduction This Exhibition of recent acquisitions of Modern South Asian Masters is first a celebration of our new gallery premises at 35 Bury Street, in the heart of St James’s. It is also a celebration of fifteen years of dealing in Modern Artists from India and 35 Bury Street Pakistan. This catalogue is testament to our journey and we look forward to many London SW1Y 6AY more surprises along the way. The Grosvenor Gallery has a longer history as it was started in the 1960’s, then +44 (0)20 7484 7979 dealing in Italian Futurists and Russian Avant-Garde. In 1999 we dealt successfully [email protected] for a few years in the remainder of the old stock from this period however it became increasingly apparent that the material was simply disappearing into museums. So we decided to invest in Post War works and started acquiring largely Modern British works and put together some very good collections. At the same time we also looked at Souza, who had exhibited with Grosvenor Gallery in the 1960’s and I was very interested in this artist then viewed as a bit of an outsider by the British. We collected and acquired works and did a show in 2002 which did well and then another show in 2003 which did better. That gave us the confidence to acquire in depth and also to look at other Indian artists who had worked in Europe, Husain, Raza, and Padamsee. Luckily our timing was good and our shows coincided with a new wave of Indian collectors chasing these then largely under-appreciated artists. Today we stand as one of the most highly regarded galleries in this field. Dealing is a precarious career, with lows and highs; despite this we are very happy doing it. None of this would have been possible without our friends, colleagues and clients and a very large thank you to you all. I hope that our next years will be as successful and we very much look forward to welcoming all our families, friends and colleagues to the Grosvenor Gallery. However, I would like to make a separate thanks to our team at the Gallery past and present without whom none of this would have been possible. To Ray Perman, for his generosity and unflinching support. To Charles Moore my fellow Director, who’s dealing skills is as good as it gets. To Kajoli Khanna, Associate Director, who runs the gallery brilliantly and who is a much loved figure in the Indian Art World. To past staff, Gauri Agarwal, Emily Austin, Vinita Agarwal and Justin Fitzpatrick, and lastly to Anne, whom I married and to our great children, Millie, Harvey and Samuel, Thanks. Conor Macklin May 2017 grosvenorgallery.com 2 3 18 Albemarle Street 2002 Grosvenor Vadehra London W1S 4HR Souza and Friends House of Mirrors In association with Rob Dean 4 July 2007–14 July 2007 3–27 September 2002 Grosvenor Vadehra 37 Albemarle Street 2003 Bacon, Freud, Mehta, Souza London W1S 4HR Modern Indian Paintings from European Collections 30 August 2007–19 September 2007 In association with Rob Dean 4–22 May 2003 Grosvenor Vadehra Sumedh Rajendran: Chemical Smuggle 2005 13 October 2007–26 October 2007 Modern Indian Paintings 17–25 February 2005 Grosvenor Vadehra Paramjit Singh: Nature’s Labyrinth Shibu Natesan: Vision Unlimited 7 November 2007–30 November 2007 6–29 July 2005 Angeli Sowani: Inner Weaves F N Souza 6 December 2007–20 December 2007 in association with Saffronart New York and London 14 October–19 November 2005 2008 Grosvenor Vadehra Souza at Tate Britain Click! Contemporary Photography from India 14 November 2005–14 November 2006 27 February–27 March 2008 T .V. Santhosh - False Promises Spring Contemporary Exhibition 2008 30 November–15 December 2005 18–30 April 2008 21 Ryder Street 2006 Grosvenor Vadehra London SW1Y 6PX Dilip Sur: Works 1992–2006 Bari Kumar: In Transit 24 May–23 June 2006 9–23 May 2008 Grosvenor Vadehra Grosvenor Vadehra Indian Art Part I: The Moderns Revisited Chameli Ramachandran 11 October–3 November 2006 28 May–10 June 2008 Grosvenor Vadehra Grosvenor Vadehra Indian Art Part II Inventing / Inverting Tradition A. Ramachandran 14 December 2006–14 January 2007 12–30 June 2008 2007 F N Souza Dilip Sur: Broken Boundaries in association with Saffronart New York 11–24 January 2007 16 September–15 October 2008 Grosvenor Vadehra Grosvenor Vadehra Indian Art Part III Here and Now Ravinder Reddy 2008 15 February–11 March 2007 20 September–10 October 2008 Modern and Contemporary Indian Art Contemporary Indian Art 2008 12 April 2007–11 May 2007 15–30 October 2008 Grosvenor Vadehra 2009 Hema Upadhyay: The Glass House Shibu Natesan External Affairs 2009 18 May 2007–2 June 2007 8–30 January 2009 Grosvenor Vadehra Grosvenor Vadehra Ram Kumar: Recent Works T.V. Santhosh - Living With A Wound 15 June 2007–29 June 2007 6–27 February 2009 Shibu Natesan – rescheduled Progressive to Altermodern 2009 18 July 2007–11 August 2007 6–28 May 2009 6 7 Grosvenor Vadehra Grosvenor Vadehra Indian Modern Masters Ida Kar: Portraits of F.N. Souza 1957–1961 incl works by MF Husain 31 May–15 June 2011 8–17 June 2009 Step Across this Line Grosvenor Vadehra Exhibition at Asia House Sunoj D: Between Land and Sky 10–22 October 2011 13 July–13 August 2009 The path of the Lotus: September Group Show: 2009 Indian Art - Ancient to Contemporary 9–30 September 2009 4–12 November 2011 F.N. SOUZA ‘Heads, Grosvenor Vadehra Landscapes and Nudes’ Picasso and Souza in Delhi 8–27 October 2009 17 December 2011–25 January 2012 Grosvenor Vadehra 2012 Anglo-Indian Express F.N. Souza: Landscapes, Heads and Nudes 9–21 December 2009 11 May–1 June 2012 2010 Grosvenor Vadehra Grosvenor Vadehra S. H. Raza: Bindu Vistaar Sunil Gupta: The New Pre-Raphaelites 9–30 June 2012 12–30 January 2010 Grosvenor Vadehra The Progressives & Associates 2012: A Further Global Encounter 26 May–11 June 2010 25 July–10 August 2012 Grosvenor Vadehra Olivia Fraser: Miniatures Prajakta Palav Aher: Sprouting Beads 1–16 November 2012 15 June–15 July 2010 Angeli Sowani: Seraphim Grosvenor Vadehra 22 November–4 December 2012 Etchings, Lithographs and Serigraphs M.F Husain, S.H Raza, Ram Kumar, 2013 Arpita Singh, Paramjit Singh Warli Paintings 20–29 July 2010 In association with Herve Perdriolle 13 February–1 March 2013 Grosvenor Vadehra Variant Space: Group Show Dilip Sur 4–20 August 2010 6–22 March 2013 Grosvenor Vadehra Miniature Rewind Indian (Sub)Way Art Dubai 22 September–7 October 2010 20–23 March 2013 Grosvenor Vadehra Bhupen Khakhar Faiza Butt: Pehlwan 12 April–3 May 2013 13–29 October 2010 Modern Masters Angeli Sowani: Vaahan 18 May–5 June 2013 3–17 November 2010 Grosvenor Vadehra 2011 Anjolie Ela Menon Grosvenor Vadehra 7–27 June 2013 Narrations, Quotations and Commentaries 4–24 March 2011 F.N Souza: Black on Black Frieze Masters London Dhruva Mistry: Bronzes 1987 – 1990 8–28 October 2013 7 May–31 June 2011 8 9 Visions of India: Photographs by Irfan Hasan: Courbet to GudRung Derry Moore and Prarthana Modi 13–30 October 2015 4 –20 December 2013 S.H Raza: Paintings Exhibition at Galerie Lara Vincy 2014 19 October–29 November 2015 Rasheed Araeen Art Dubai Sadequain in Paris 1961–1967 19––22 March 2014 5–14 November 2015 T.V Santhosh Angeli Sowani, Olivia Fraser, 8–30 May 2014 Senaka Senanayake Pop up Exhibition in Singapore Senaka Senanayake 10–11 December 2015 19 June–11 July 2014 32 St James’s Street 2016 Grosvenor Vadehra London SW1A 1HD Picking up the pieces: S.H Raza: Pyaas Collage in Post War Britain 2–14 June 2014 3 March–29 April 2016 Present Re-Inventions: Irfan Hasan, Grosvenor Vadehra Muzzumil Ruheel and Muhammad Zeeshan Bhupen Khakhar’s Contemporaries, 10–27 October 2014 India 1960 – 2016 26 May–17 June 2016 Chughtai’s Etchings: Editions of a Master 29 October–8 November 2014 Muzzumil Ruheel: Lost in his own Garden 26th May – 17th June 2016 Lancelot Ribeiro - An Artist in India and Europe-Delhi-Mumbai-Goa The Writer’s Eye: Photographs 10–24 November 2014 by William Dalrymple in association with Sunaparata Goa Christmas Exhibition featuring centre for the Arts Modern and Contemporary works 24 June–22 July 2016 11 December 2014–20 January 2015 Priyantha Udagedara: The Garden of Earthly Rasheed Araeen: Homecoming Delights A Retrospective at VM Gallery, Karachi 16–30 September 2016 3 December 2014–7 January 2015 Hopes of Paradise, Contemporary Art of Pakistan 2015 17–31 October 2016 Krishen Khanna India Art Fair Indian Modernist Landscapes, 1950–1970 29 January–1 February 2015 Bakre, Ribeiro, Souza 2–25 November 2016 Rasheed Araeen Art Dubai Inner Weaves: Recent Paintings 17–21 March 2015 by Angeli Sowani 6–23 December 2016 Lancelot Ribeiro – An Artist in India and Europe 2017 15 April–8 May 2015 Olivia Fraser: Anahat Art Dubai Grosvenor Vadehra 15–18 March 2017 M.F Husain: Paintings and Drawings from a Private Collection 35 Bury Street South Asian Modern Masters 11 May–9 June 2015 London SW1Y 6AY 19 May–9 June 2017 Krishen Khanna: “when Senaka Senanayake the band began to play...” 15 June–7 July 2017 11 June–10 July 2015 Rasheed Araeen and Anthony Caro Thota Vaikuntam: The Telangana Icons 12 July–7 August 2017 25 September–10 October 2015 10 11 Francis Newton SOUZA Provenance Maurice Jadot 1924–2002 Private UK collection (By descent) Maurice Jadot (1893–1983) was a Belgian artist who had settled in London in 1919, following service in the 1st World War.
Recommended publications
  • High-Level Nuclear Wastes and the Environment: Analyses of Challenges and Engineering Strategies
    World Journal of Nuclear Science and Technology, 2012, 2, 89-105 http://dx.doi.org/10.4236/wjnst.2012.23015 Published Online July 2012 (http://www.SciRP.org/journal/wjnst) High-Level Nuclear Wastes and the Environment: Analyses of Challenges and Engineering Strategies Mukhtar Ahmed Rana Physics Division, Directorate of Science, PINSTECH, Islamabad, Pakistan Email: [email protected], [email protected] Received February 11, 2012; revised April 2, 2012; accepted April 19, 2012 ABSTRACT The main objective of this paper is to analyze the current status of high-level nuclear waste disposal along with presen- tation of practical perspectives about the environmental issues involved. Present disposal designs and concepts are ana- lyzed on a scientific basis and modifications to existing designs are proposed from the perspective of environmental safety. A new concept of a chemical heat sink is introduced for the removal of heat emitted due to radioactive decay in the spent nuclear fuel or high-level radioactive waste, and thermal spikes produced by radiation in containment materi- als. Mainly, UO2 and metallic U are used as fuels in nuclear reactors. Spent nuclear fuel contains fission products and transuranium elements which would remain radioactive for 104 to 108 years. Essential concepts and engineering strate- gies for spent nuclear fuel disposal are described. Conceptual designs are described and discussed considering the long-term radiation and thermal activity of spent nuclear fuel. Notions of physical and chemical barriers to contain nu- clear waste are highlighted. A timeframe for nuclear waste disposal is proposed and time-line nuclear waste disposal plan or policy is described and discussed.
    [Show full text]
  • Trends of Pakistani Films: an Analytical Study of Restoration of Cinema
    Trends of Pakistani films: An analytical study of restoration of cinema Fouzia Naz* Sadia Mehmood** ABSTRACT People prefer to go to the cinema as compared to theaters because of its way of execution and performance. Background music, sound effects, lights, direction attract people, and its demonstrations relate people to their lives. It is true that films have a unique and powerful connection between human behavior and societal culture. Pakistani film industry faced the downfall and now it is doing its best to make the films on international standards. In this research article, the background of Pakistani cinema and causes of downfall will be discussed. The main idea of this research article is to identify and study the development of Pakistani film industry. Qualitative and quantitative data collection will be used as the research method of this research. This research article helps in observing different mass media theory based on Pakistani cinema. Moreover, it will be explained what filmmakers critiques and people say regarding revival or restoration. Keywords: downfall, revival, the impact of the Pakistani film industry, Lollywood *Assistant professor, Mass Communication, University of Karachi) **Assistant professor, Mass Communication, University of Karachi) 33 Jhss, Vol. 8, No. 2 , July to December, 2017 The definition of cinema can be explained as “another word of moving a picture”1This is the place where films are shown to the public. Most of the people who are not into the arts get confused in cinema and theater. The theater is the building where live performance is performed2. The similarity between cinema and theaters are both of them execute act and created for public entertainment.
    [Show full text]
  • Raja Ravi Varma 145
    viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art.
    [Show full text]
  • PRESS RELEASE Homeward ARPITA SINGH 18 March
    D-40 Defence Colony, New Delhi 110024 | T +91-11-24622545/24615368 D-53 Defence Colony, New Delhi - 110024 | T +91-11-46103550/46103551 E [email protected] | W www.vadehraart.com PRESS RELEASE Homeward ARPITA SINGH 18 March – 16 April 2021 D-40 Defence Colony, New Delhi Vadehra Art Gallery is pleased to announce a continuation of our presentation titled Homeward, featuring a recent body of worK by Arpita Singh, which was recently presented as part of On Site, a collaborative exhibition by four leading galleries held at BiKaner House, New Delhi, earlier this month, and is now on view at our modern gallery. Described as a figurative artist and a modernist, Arpita Singh still maKes it a point to stay tuned in to traditional Indian art forms and aesthetics, like miniaturist painting and different forms of folk art, employing them regularly in her work. Afflicted by the problems that are faced each and every day by women in her country and the world in general, Singh paints the range of emotions that she exchanges with these subjects – from sorrow to joy and from suffering to hope – providing a view of the ongoing communication she maintains with them. In this latest body of watercolours on paper and oil paintings, Singh’s cartographical autobiographies assume new dimensions through an intensification of colour, accenting her imagined landscapes with the flourish of expressionist emotion. With compositions foregrounded in movement, Singh tends to emphasize the potential of individual agency operating within collective constraints, though her mapping doesn’t seem to prioritize any one aspect – whether the fictional, mythical, personal, public fact or dream.
    [Show full text]
  • Utopias and Dystopias in World Literature
    MEJO The MELOW Journal of World Literature Volume 4 February 2020 ISSN: 2581-5768 A peer-refereed journal published annually by MELOW (The Society for the Study of the Multi-Ethnic Literatures of the World) Sunny Pleasure Domes and Caves of Ice: Utopias and Dystopias in World Literature Editor Manpreet Kaur Kang Volume Sub-Editors Neela Sarkar Barnali Saha 1 Editor Manpreet Kaur Kang, Professor of English, Guru Gobind Singh IP University, Delhi Email: [email protected] Volume Sub-Editors Neela Sarkar, Associate Professor, New Alipore College, W.B. Email: [email protected] Barnali Saha, Research Scholar, Guru Gobind Singh IP University, Delhi Email: [email protected] Editorial Board: Anil Raina, Professor of English, Panjab University Email: [email protected] Debarati Bandyopadhyay, Professor of English, Visva-Bharati, Santiniketan Email: [email protected] Himadri Lahiri, Professor of English, University of Burdwan Email: [email protected] Manju Jaidka, Professor, Shoolini University, Solan Email: [email protected] Rimika Singhvi, Associate Professor, IIS University, Jaipur Email: [email protected] Roshan Lal Sharma, Professor, Central University of Himachal Pradesh, Dharamshala Email: [email protected] 2 3 EDITORIAL NOTE MEJO, or the MELOW Journal of World Literature, is a peer-refereed E-journal brought out biannually by MELOW, the Society for the Study of the Multi-Ethnic Literatures of the World. It is a reincarnation of the previous publications brought out in book or printed form by the Society right since its inception in 1998. MELOW is an academic organization, one of the foremost of its kind in India.
    [Show full text]
  • July 2021 Birmingham City University | Award Ceremonies 2021 Birmingham City University | Award Ceremonies 2021
    GRADUATION CELEBRATIONS July 2021 Birmingham City University | Award Ceremonies 2021 Birmingham City University | Award Ceremonies 2021 WELCOME TO YOUR AWARD CEREMONIES My people. The sorting hat has spoken. Chuffed to little meatballs in honour of your magnificence in completing your academic studies to date. You are officially a super-certified genius. The portfolio of specialised skills attained at BCU are sure to equip you for success, world domination and beyond. I couldn’t be prouder. I congratulate you from my toes to the top of my pointy head. Know this, and know it well: you rock. Sir Lenny Henry Chancellor of the University Welcome to our Virtual Graduation Ceremonies. While we have to wait a little longer to welcome you to our in person ceremonies, this is a day for celebration for our graduates, and for your families, friends and supporters. As Vice-Chancellor of the University I take particular pleasure in these ceremonies which mark the great achievements of our graduates, and celebrate the power of education to help to transform lives. As our graduates become alumni of the University, we look forward to continuing to work together. You are part of our community and we take great pride in what you have achieved. On behalf of all of the staff of the University, I wish all our graduates every success in their chosen careers. Professor Philip Plowden Vice-Chancellor CONTENTS CELEBRATE ON SOCIAL MEDIA Order of proceedings 4 Graduands 8 We’re so proud of every student graduating and we’d love /birminghamcityuniversity to see your photos and posts celebrating this fantastic Graduand presentation order 5 Alumni and careers 42 day.
    [Show full text]
  • Khwaja Sira: Culture, Identity Politics, and "Transgender" Activism in Pakistan
    Syracuse University SURFACE Dissertations - ALL SURFACE June 2014 Khwaja Sira: Culture, Identity Politics, and "Transgender" Activism in Pakistan Faris Ahmed Khan Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Khan, Faris Ahmed, "Khwaja Sira: Culture, Identity Politics, and "Transgender" Activism in Pakistan" (2014). Dissertations - ALL. 56. https://surface.syr.edu/etd/56 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract In 2009, the Pakistani Supreme Court began granting rights to gender ambiguous people who are locally known as khwaja siras. The Court organized this population into taxonomic groups and ordered the government to ‘mainstream’ them. These actions were based on certain cultural assumptions and occurred amid uncertainties about who khwaja siras really were. Meanwhile, khwaja siras began to mobilize in an effort to control their public image. Based on fourteen months of ethnographic fieldwork on the identity politics of khwaja siras in Karachi, this dissertation seeks to understand the ways in which gender ambiguous people constructed, negotiated and represented themselves both within their social networks and in the wider society, as well as the factors underpinning their public portrayals. I conceive khwaja sira politics as a ‘game’, that is, as the art of manipulation and concealment. I argue that the games of secrecy and deception in which this minority population engaged were responses to the stigma they experienced in everyday life.
    [Show full text]
  • List of Ngos
    Registration Sr. Name of NGO Address Status(Reg No,& No Date & Relevant Law Malot Commercial Center, Shahpur VSWA/ICT/494 ,Date: 1. Aas Welfare Association Simly Dam Road, Islamabad. 051- 6/9/2006, VSWA 2232394, 03005167142 Ordinance 1961 VSWA/ICT/439, Village Khana Dak, Madina Town, Date:31/3/2004, 2. Abaseen Welfare Society Jabbah, Barma Chowk, Islamabad. VSWA Ordinance 03005308511 1961 Office No.5, 1st Floor, A & K Plaza, F- VSWA/ICT/511,Date 3. Acid Survivors Foundation. 10 Markaz, Islamabad. 051-2214052, 02/08/2007, VSWA 03008438984 Ordinance 1961 VSWA/ICT/282, Date Ali Pur Frash Lehtrar Road, 4. Akhmat Welfare Centre 24/04/1998, VSWA Islamabad. 051-2519062 Ordinance 1961 Al Mustafa Towers VSWA/ICT/438, Date # 204, Al Mustafa Towers F-10 5. Residents Associations 27/03/2004,VSWA Markaz, Islamabad. 03458555872 (AMPTRWA) Ordinance 1961 VSWA/ICT/520, Date Al-Firdous Welfare Mohallah Ara, Bharakau, Islamabad. 6. 2/04/2008, VSWA Association 051-2512308, 03008565227 Ordinance 1961 VSWA/ICT/261,Date:0 Model Village Ali Pur Farash 7. Al-Itehad Welfare Society 5/08/1996, VSWA Islamabad. Ordinance 1961 VSWA/ICT/202,Date:1 NearF.G.Boys High School Shahdra 8. Al-Jihad Youth Organization 7/06/1993,VSWA Islamabad Ordinance 1961 VSWA/ICT/377, Date H.No.39 Gali No.67 I- 9. Al-Noor Foundation. 17.4.2002, VSWA 10/1,Islamabad.051-4443227 Ordinance 1961 VSWA/ICT/90, Date 10. Al-Noor Islamic Center Rawal Town Islamabad 2.12.1990 VSWA Ordinance 1961 VSWA/ICT/89, Date 11. Al-Noor Islamic Center Sharifabad Tarlai Islamabad 2.12.1990 VSWA Ordinance 1961 VSWA/ICT/271, Date PEC Building, Ataturk Avenue, G-5/2, 12.
    [Show full text]
  • National Law University, Delhi Sector-14, Dwarka New Delhi-110078
    NATIONAL LAW UNIVERSITY, DELHI SECTOR-14, DWARKA NEW DELHI-110078 ALL INDIA LAW ENTRANCE TEST-2016 (AILET-2016), B.A. LL.B.(HONS.) RESULT Marks Wise S.No. Roll No Name of the Candidate Name of Father/Mother/ Guardian DoB Gender Marks 1 52788 KARAN DHALLA DEEPESH DHALLA 03/02/1998 M 119 2 55979 SHUBHAM JAIN BHUPENDRA JAIN 20/11/1997 M 116 3 56876 VANSH AGGARWAL PAWAN SINGHAL 25/03/1998 M 116 4 63245 ARTH NAGPAL RAJESH NAGPAL 28/08/1997 M 114 5 64122 RIJU SHRIVASTAVA YUGENDRA ARYA 27/04/1998 F 114 6 69185 ROHIL BIPIN DESHPANDE BIPIN GAJANAN DESHPANDE 10/05/1998 M 114 7 70191 ARVIND KUMAR TIWARI AKHILESH CHANDRA TIWARI 03/10/1997 M 114 8 75260 ANUBHUTI GARG ARUN GARG 13/06/1997 F 114 9 63398 EKANSH ARORA RAJESH ARORA 08/01/1997 M 113 10 66089 KARISHMA KARTHIK KARTHIK SUBRAMANIAN 06/04/1998 F 113 11 75266 ANUNA TIWARI SANJAY TIWARI 14/08/1997 F 113 12 77055 ANMOL DHAWAN SANJEEV DHAWAN 29/12/1998 M 113 13 77061 ANUKRITI KUDESHIA ANURODH KUDESHIA 27/09/1997 F 113 14 64048 PRANSHU SHUKLA SANJAY SHUKLA 24/02/1998 M 112 15 71044 NIKHIL SHARMA PRAMOD KUMAR SHARMA 21/01/1997 M 112 16 75365 AVANI AGARWAL SURENDRA KUMAR AGARWAL 28/06/1998 F 112 17 63385 DIVYA KUMAR GARG NITIN GARG 05/04/1998 M 111 18 64071 PRIYANKA CHATURVEDI D. P. CHATURVEDI 20/02/1997 F 111 19 72316 PRITHVI JOSHI ARUN JOSHI 28/10/1998 M 111 20 74213 SHIVAM SINGHANIA SUNIL SINGHANIA 27/02/1998 M 111 21 74227 SHREYA JAIPURIA BIRENDRA JAIPURIA 22/12/1997 F 111 22 77417 SREEDEVI GOPALAKRISHNAN NAIR GOPALAKRISHNAN NAIR 01/07/1997 F 111 23 50911 ANKUR SINGHAL ANIL KUMAR SINGHAL 26/12/1997
    [Show full text]
  • 20Years of Sahmat.Pdf
    SAHMAT – 20 Years 1 SAHMAT 20 YEARS 1989-2009 A Document of Activities and Statements 2 PUBLICATIONS SAHMAT – 20 YEARS, 1989-2009 A Document of Activities and Statements © SAHMAT, 2009 ISBN: 978-81-86219-90-4 Rs. 250 Cover design: Ram Rahman Printed by: Creative Advertisers & Printers New Delhi Ph: 98110 04852 Safdar Hashmi Memorial Trust 29 Ferozeshah Road New Delhi 110 001 Tel: (011) 2307 0787, 2338 1276 E-mail: [email protected] www.sahmat.org SAHMAT – 20 Years 3 4 PUBLICATIONS SAHMAT – 20 Years 5 Safdar Hashmi 1954–1989 Twenty years ago, on 1 January 1989, Safdar Hashmi was fatally attacked in broad daylight while performing a street play in Sahibabad, a working-class area just outside Delhi. Political activist, actor, playwright and poet, Safdar had been deeply committed, like so many young men and women of his generation, to the anti-imperialist, secular and egalitarian values that were woven into the rich fabric of the nation’s liberation struggle. Safdar moved closer to the Left, eventually joining the CPI(M), to pursue his goal of being part of a social order worthy of a free people. Tragically, it would be of the manner of his death at the hands of a politically patronised mafia that would single him out. The spontaneous, nationwide wave of revulsion, grief and resistance aroused by his brutal murder transformed him into a powerful symbol of the very values that had been sought to be crushed by his death. Such a death belongs to the revolutionary martyr. 6 PUBLICATIONS Safdar was thirty-four years old when he died.
    [Show full text]
  • Modernisms in India
    Modernisms in India Modernisms in India Supriya Chaudhuri The Oxford Handbook of Modernisms Edited by Peter Brooker, Andrzej Gąsiorek, Deborah Longworth, and Andrew Thacker Print Publication Date: Dec 2010 Subject: Literature, Literary Studies - 20th Century Onwards, Literary Studies - Postcolonial Literature Online Publication Date: Sep 2012 DOI: 10.1093/oxfordhb/9780199545445.013.0053 Abstract and Keywords This article examines the history of modernism in India. It suggests that though the dis­ tinctions between modernity, modernization, and modernism are particularly complicated in the case of India, they remain crucial to a historical understanding of the ‘modern’ in all its senses. The article argues that the characteristic feature of Indian modernism in In­ dia is that it is manifestly social and historical rather than a hypostasis of the new as in the West. It contends that modernisms in India are deeply implicated in the construction of a secular national identity at home in the world, and in this respect answer a historical need to fashion a style for the modern as it is locally experienced. Keywords: modernism, India, modernization, modernity, national identity, hypostasis THE distinctions between modernity, modernization, and modernism are particularly com­ plicated in the case of India, but remain crucial to a historical understanding of the ‘mod­ ern’ in all its senses. Modernity, as a social and intellectual project, and modernization, as its means, are associated with the influence in India of Europe and of Enlightenment ra­ tionality from the eighteenth century onwards. Modernism, as an aesthetic, is far more limited in period and scope. Nevertheless, just as recent cultural criticism has proposed the existence of ‘alternative modernities’1 not native to the West, so too our attention has been drawn to ‘alternative modernisms’, or ‘modernisms at large’.2 The question of peri­ odicity, as of location, is complicated by the historical fact that modernism as an aesthetic was simultaneously restricted and elitist, and international and democratic.
    [Show full text]
  • Archer Art Gallery
    A Ramachandran (Archer Art Gallery) Aaditi Joshi (TARQ) Abanindranath Tagore (Akar Prakar) Abhijith Pathak (Art Explore) Abhishek Narayan Verma (Anant Art) Abir Karmakar (GALLERYSKE) Achia Anzi (Serendipity Arts Foundation, Threshold Art Gallery) Addepalli Tirupathi Rao (Art District XIII) Adi Davierwalla (DAG) Adip Dutta (Experimenter) Aditi Singh (Chemould Prescott Road) Ai Weiwei (neugerriemschneider) Ajay Rajgarhia (Wonderwall) Ajit Kumar Jha (Gallery Ragini) Ajit Nelumangad (Metta Contemporary) Akhil Chandra Das (Aakriti Art Gallery) Alexander Gorlizki (Anant Art) Alice Neel (David Zwirner) Amber Hammad (Wonderwall) Amina Ahmed (Italian Embassy Cultural Centre Aminul Islam Ashik (Britto Arts Trust) Amit Mahadev Dombhare (Arts of the Earth) Amitava Das (Art Indus) Amitesh Shrivastava (Project 88) Amol K Patil (Metta Contemporary) Amrita Sher-Gil (Akara Art, Crayon Art Gallery) Anant Joshi (Chemould Prescott Road) Andreas Eriksson (neugerriemschneider) Anindita Bhattacharya (Threshold Art Gallery) Anisuzzaman Sohel (Britto Arts Trust) Anita Dube (MASH Sculptural Space, MASH) Anjan Modak (Emami Art) Anjaneyulu G (Art Alive Gallery) Anjolie Ela Menon (Dhoomimal Gallery) Anju Dodiya (Chemould Prescott Road, Vadehra Art Gallery) Ankon Mitra (Art.Motif) Ankush Safaya (Sakshi Gallery) Anna Leonhardt (Marc Straus) Anni Albers (David Zwirner) Anni Kumari (Art District XIII) Anoli Perera (Shrine Empire) Anu Malhotra (Wonderwall) Anupam Sud (Art Heritage) Anwar Jalal Shemza (Jhaveri Contemporary) Apnavi Makanji (TARQ) Apurba Nandi (Palette Art
    [Show full text]