Category Archives: India

KRISHEN KHANNA: “WHEN THE BAND BEGAN TO PLAY HE PACKED UP HIS TROUBLES AND MARCHED AWAY” │ Grosvenor Gallery, London → 10 July 2015

Bandwallas, 2015. Oil on canvas, 76.2 x 91.4cm. (30 x 36 in.)
Bandwallas, 2015. Oil on canvas, 76.2 x 91.4cm. (30 x 36 in.)

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“Hiz wrc hz ofn fôc̣st on myzc n myziśnz, az ɖo h wr trayñ t capćr its undyletñ riɖmz in ýl n in tu dmnśnz.”

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Continue reading KRISHEN KHANNA: “WHEN THE BAND BEGAN TO PLAY HE PACKED UP HIS TROUBLES AND MARCHED AWAY” │ Grosvenor Gallery, London → 10 July 2015

FRANCESCO CLEMENTE: EMBLEMS OF TRANSFORMATION │ Blain Southern, London → 4 July 2015

Photo: John Berens
Photo: John Berens

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India Irving ART ATTACK 6 May 2015
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Continue reading FRANCESCO CLEMENTE: EMBLEMS OF TRANSFORMATION │ Blain Southern, London → 4 July 2015

NEHA CHOKSI: MINDS TO LOSE │ Hayward Gallery, London → 14 June 2015

Iceboat, 2012-13 (video still). Courtesy the artist and Project 88

Mîndz t Lūz z ɖ frst YC sôlo xbišn bî multīmīdia ātist Neha Čôxi.

Bginñ fṛm sngl proṗzišnz – rowñ a bôt md v îs ât intu a lêc, or stripñ ol ɖ līvz fṛm a tri t îṣlet wn sprig – Čôxi’z wrcs mc trajīcomic intvnšnz in ɖ lîf v plants, animlz; even hr ôn. In ɖ prôses, ɖz absurd aẋnz unfold âtwdz intu rflẋnz on irežr n absns.

Ɖs xbišn priznts a siriz v rīsnt vidiowrcs, Triḷji on Absntñ, tgɖr wɖ a ny pfwmns dvîzd fr Hêwd Gaḷri Projctspês. Sentrñ on ɖ ātist’s aplicešn v pênt t livñ triz ovr ɖ cws v a sngl de, ɖs pfwmns cntinyz hr wrc’s on-gwñ srč fr n axptns v absns n emptiṇs.

Ɖr z ofn an eḷmnt v ɖ absrd n ɖ trwmatc in mî projcts’ oṗrešnz, n ɖs wrc z no xpšn. Mî wrcs ol aproč absns ʈru an xes v jesčr n v prezns. (Neha Čôxi)

Born in 1973, Neha Čôxi livz n wrcs in Los Anjlīz n Mmbî. Hr wrc hz bn xibitd wrldwîd, includñ prezntešnz at ɖ Côči-Mziris Bienāle 2014; ɖ nînʈ Šañhî Bienāle; Ẇîtčapl Gaḷri, Lundn; Ytā Myziym v Cntmprri Āt; Toṛns Ātmyziym,Califwnia; Jon Hansād Gaḷri, Sâʈamtn; n ɖ 10ʈ Venis Ācitecčr Bienāle.

Neha Čôxi: Mîndz t Lūz z kretd bî Īmr Mātin, Hêwd Gaḷri Asistnt Kretr


Plīz nôt: no animlz wr hāmd jrñ ɖ pfwmns v Mîndz t Lūz.”

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Continue reading NEHA CHOKSI: MINDS TO LOSE │ Hayward Gallery, London → 14 June 2015

NS HARSHA: UPWARD MOVEMENT │ Victoria Miro, London → 25 April 2015

“Victoria Miro z dlîtd t priznt Upwd Muvmnt, N.S. Hāša’z secnd sôlo xibišn wɖ Victoria Miro n hiz frst in ɖ Mêfer gaḷri. Wn v ɖ most significnt Indı̣n ātists v hiz jeṇrešn, Hāša drwz on a brwd spectṛm v Indı̣n ātistc n fiğṛtv pêntñ tṛdišnz n popylr āts, az wel az ɖ westn ātcann. H hz wrct acrs a renj v mīdia, includñ pêntñ, sculpčr, insṭlešn n pfwmns.

Fr hiz xibišn at Victoria Miro Mêfer, Hāša hz pṛdyst a siriz v pêntñz ɖt xplor nošnz v asent. Č canvs fīčrz vẹriešnz on ɖ mtif v a ptklr hymn, animl or hîbrid figr ingejd in a snğlr activti, ẇč me involv fizicl eḷvešn, tecṇlojicl iṇvešn or spiričl trnsndns. Ɖz figrz r strîvñ t rīč smʈñ abv or bynd, acnoḷjñ n atmtñ t cnct wɖ uņon rījnz.

Indivijl pêntñz fôc̣s on myzišnz n dansrz n on langurmunciz n câz, bʈ v ẇč r veṇretd in Hindu culčr. Ɖ figrz r dpictd in a flat, šalo spês on bacgrândz fīčrñ a sngl stroñ culr. Ɖr z a myzicl coṇtešn t ɖ comṗzišnz; ɖ figrz, in ōdrli roz, sjst nôts on myzicl stevz, n ɖer rcuṛns n vrayti cn b sīn az a vižl anaḷji fr čantñ n uɖr rpettv or siclicl myzicl strucčrz.

Hāša hz sd v ɖs siriz, Slôli I fīl mî ʈts r muvñ twdz a cnd v abstraẋn, ẇl cīpñ ɖ absrd naṛtv az its sentṛl ingejmnt. H hz sáitd Samyl Becit’s Wêtñ fr Godo az a pýnt v refṛns, n ɖ pêntñz emfsîz hâ a qest fr hîr mīnñ sits alñsd ɖ absrḍti v evrīde xistns.

Raha Dikhanaywalay Thay Hai Rahengay (Paʈšârz Wr/R/Wl B Ɖr) fīčrz langurz arnd n atp scripčṛl stônfmešnz inspîrd bî ɖ arenjmnts v rocs in Jaṗnīz landscep̓êntñ. Ɖ munciz r pýntñ upwdz, sjstñ ɖ dzîr t trnsnd ŕʈ-bând cnsrnz. Ɖs wrc folod on fṛm Hāša’z lj 2013 insṭlešn Tamaša, md jrñ ɖ ātist’s rezidnsi at ɖ DAAD, ẇč fīčrd lîfsîz langursculpčrz scêlñ ɖ fsād v a bildñ in Brlin-Mita. Az in ɖ insṭlešn, in ɖ pêntñ ɖ munciz’ loñ teilz r intwînd; ɖs posčr z drwn fṛm Jrmn miʈoḷji rletd t ratcñz, grūps v ɖ rôdnts cnjýnd bî ɖer tangld teilz.

Muwñ Hir n Nâ n Onli We z ʈru Milcñ We wr inspîrd bî Hāša’z vizits t dẹrīfāmz nir hiz hom in Mîsor in suɖn India n in Jrṃni. Vywñ ɖ rapid adaptešn v tecnoḷji bî ɖ fāmñinḍstri n ɖ inṭraẋnz btwn catl n hymnz, h cnsivd ɖ absrd dẹrīscep v Muwñ Hir n Nâ, ẇč jentli satirîzz ɖ incrisñli rmot sạntific rlešnšp btwn ppl n câz on industrı̣l fāmz. Cnvrsli, Onli We z ʈru Milcñ We picčrz a mr ṗetc, bycolic vižn v dẹrīfāmñ, šowñ ɖ simpl act v ppl milcñ câz bî hand.

Hāša rdysz ɖs ênčnt tṛdišn t its pyrist fwm, rmuvñ īvn ɖ cntenrz in ẇč ɖ milc wd b c̣lctd. In bʈ pêntñz ɖ aẋn z inṭruptd bî a čājñ eḷfnt. Ɖs sriyl inṭvnšn wz drwn fṛm an insidnt in Mîsor in 2011 in ẇč tu wîld eḷfnts went on a rampej cilñ a man n svṛl câz.

Črp pīp črp pīp… xmplifîz ɖ ambiğwti v cntmprri sạntific n industrı̣l dveḷpmnt. A ranc v paṛthedd figrz crâd arnd teḷscops n mîcṛscops, simblz v ɖ insesnt hymn dzîr t xplor ɖ macrocozmic n ɖ mîcrocozmic. Lîc wrcrz on an asmblīlîn v yrīc̣mmnts ɖe sīm fêtd t cntiny ɖer srč indefinitli. Ɖz absrdist figrz r puncčuetd bî myzišnz, hu sjst an oltrṇtv meʈd v dscuvri, n ɖ indyrñ nīd fr ātists t pṛvîd a contxt n comntri arnd sạntific jrniz.

Ɖz myzišnz, sṗsficli vīṇpleyrz, rcŕ in Čembrconṣt. Č pleyr z îṣletd fṛm ɖ uɖrz, sīmñli pleyñ alon yt phps loññ fr a cnẋn wɖ uɖr myzišnz n lisnrz. Aftr mni yirz v travlñ, Hāša spent ol v 2014 in Mîsor, ẇr h spent tîm at conṣts wɖ lôcl myzišnz. Blac on blac ftprints on ɖ strips v îɖr sîd v ɖ canvs sjst hâ intrnl jrniz in dācṇs pṛvîd a cndysv atṃsfir t fôc̣s on ɖ fînist dītelz v cmynicešn fṛm elsẇr.

In Tîm n Agn Upwd Muvmnt Bytifl Bytifl, Hāša xplorz ɖ hymn figr in an xtrim posčr, wɖ ɖ leg xtndd abv ɖ hed. Ɖs pzišn, fmiłr fṛm clasicl Indı̣n dans n sculpčr, hz bn yzd historicli t dnot upwd muvmnt n a qest t rīč ât intu ɖ uņon. Ɖ pêntñ fīčrz a ṗred v figrz in ɖs posčr, emfsîzñ ɖ byti v cntiňli rīčñ ât intu ɖ uņon. Hāša includz a nod t dpiẋnz v a similr spiričl n fiḷsoficl qest in westn Rnesnsāt in ɖ top rît cwnr v ɖ comṗzišn, replicetñ ɖ figrz v Plêto n Aristotl fṛm Rafel’z Vaticn fresco Ɖ Scūl v Aʈnz. Brāma, a Hindu îcon fr criešn v ɖ wrld, olso apirz az an obzrvr v ɖs bale.

Bạgraficl dītelz:

Born in 1969, NS Hāša livz n wrcs in Mîsor, India. H wz a rsipı̣nt v ɖ prestijs DAAD Scolršp in 2012. H wz olso awōdd ɖ Artes Mundi Prîz in 2008. Hāša hz têcn pāt in a vrayti v c̣labṛtv projcts n xibišnz inṭnašnli. H hz hd sôlo prezntešnz at INIVA, Lundn (2009), n at Maison Hermes Tôcio (2008), n hz bn includd in verı̣s grūpxibišnz, includñ ɖ Mosco Bîeňl v Cntmprri Āt (2013); Dojima Bîeňl, Osaca (2013); Aḍled Inṭnašnl Festivl (2012); Ežn Āt Myziym, San Fṛnsisco (2012); ɖ Yôcohama Trîeňl (2011) n ɖ Bienal di Sâ Pâlu (2010). H wz olso a ptisipnt in ɖ mêjr turñ xibišn Indı̣n Hîwe, ẇč wz stêjd at ɖ Srpntîn Gaḷri, Lundn (2008); Astrŭp Frnli Myziym v Modn Āt, Oslo (2009); Hernñ Āt Myziym, Denmāc (2010); Musée d’Art Contemporain, Liõ (2011); MAXXI, Rôm (2011-12) n Ŭḷnz Sentr fr Cntmprri Āt, Bêžñ (2012).”

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Continue reading NS HARSHA: UPWARD MOVEMENT │ Victoria Miro, London → 25 April 2015

PEOPLE OF INDIA: PHOTOGRAPHS BY JASON SCOTT TILLEY │ Herbert Art Gallery and Museum, Coventry → 11 January 2015

Ppl v India z an xibišn v ʈri siriz v fôṭgrafs, têcn in India at dfṛnt tîmpirı̣dz spanñ ɖ last 150 yirz. It invîts ɖ vywr t cmper ɖ wez in ẇč w capčr a mmnt or memri, n ẇɖr ɖ esns v a prsn cn b cntend wɖn eni gvn mmnt.

At ɖ hāt v ɖ xibišn z a siriz v strîcñ cntmprri strītpwtrits bî Covntri-bêst ftogṛfr Jêsn Scot Tili. Têcn btwn 1999 n 2009 jrñ ten yirz v travl acrs India, hiz blac n ẇît studiz capčr a slîs v India ʈru a sošl n anʈṛṗlojicl lenz.

Olso on dsple z a renj v famli, ssayti n āmi fôṭgrafs têcn bî Brt Scot, Jêsn Scot Tili’z Anglo-Indı̣n grandfaɖr, ẇč capčr dfînñ mmnts in Britiš-Indı̣n histri. Scot wz a presftogṛfr fr Ɖ Tîmz v India nyzpêpr fṛm 1936 t 1940, n hed v ɖ Indı̣n āmi’z fôṭgrafic ynit in Brma jrñ ɖ Secnd Wrldwor.

Ɖ xibišn olso šoz wrc fṛm ɖ seminl 19ʈsenčri fôṭgrafic undrtecñ, Ɖ Ppl v India. Ɖ orijinz v ɖs studi le in ɖ dzîr v ɖ Britiš guvnmnt t criet a vižl dokmntešn v tipicl fizicl atribyts n caṛcṭristcs, az a mīnz v undrstandñ n cntrolñ ɖ Indı̣n popylešn undr Britiš rūl.

Ppl v India rezz qesčnz abt ɖ wez in ẇč w dfîn n dokment uɖrz.

Ɖs xibišn z a pātnršp btwn ɖ Hrbt Ātgaḷri n Myziym, Jêsn Scot Tili n ɖ Lîbrri v Brmñm.”

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Continue reading PEOPLE OF INDIA: PHOTOGRAPHS BY JASON SCOTT TILLEY │ Herbert Art Gallery and Museum, Coventry → 11 January 2015

NASREEN MOHAMEDI │ Tate Liverpool → 5 October 2014

“Dscuvr ɖ intrīgñ wrc v Indı̣n ātist Nazrīn Mhaṃdi (1937–1990). Born in C̣rāči n rêzd in Mmbî, Mhaṃdi z nâ cnsidrd t b wn v ɖ most significnt ātists wɖn ɖ moḍnist tṛdišn, wɖ hr wrc rsivñ grt critcl aclem inṭnašnli in rīsnt yirz. Nazrīn Mhaṃdi z ɖ ljst sôlo šo v hr wrc in ɖ YC t dêt, gvñ mni vizitrz ɖer frst incântr wɖ hr vẹrid practis, ẇč includz pêntñ, drōñ n ftogṛfi.

Fīčrñ mr ɖn 50 v hr wrcs, Nazrīn Mhaṃdi runz in paṛlel wɖ Mondrian n hiz Stydioz, n čāts ɖ ivlušn v Mhaṃdi’z wrc, xplorñ hâ š, lîc Mondrian, muvd awe fṛm a fiğṛtv stîl n dveḷpt hr ôn ynīc aproč t abstraẋn.

Ɖs xibišn hîlîts significnt fezz in ɖ ātist’s practis; fṛm semiabstract liricl pêntñz v ɖ 1960z, t hr intric̣t ingejmnt n sbvršn v ɖ moḍnist grid ʈrt ɖ 1970z, n dīteld drōñz v sspndd dîaġnl lînz, trîanglz n sfirz in ɖ 1980z. Ɖ latr rcwl ɖ ytopı̣n dzînz v cnstructivist ātists sč az Cazimir Małevič, hu š grtli admîrd. A frɖr hîlît wl b Mhaṃdi’z prsnl fôtgrafic practis ʈru ẇč š mntend a vižl recwd v hr xpirı̣nsz, capčrñ imijz v deẓt landsceps, sìsceps, modn strucčrz, n ɖ Izlamic ācitecčr v Fatepur Sicri.

Aftr studiyñ āt at Sentṛl Snt Mātin’z in Lundn (1954–7) Mhaṃdi wrct in Yṛp bfr rtrnñ t India in ɖ ŕli 1970z, t bcm a tīčr in ɖ Faclti v Fîn Āts, MS Ynivrṣti, Ḅroda. It wz hir ɖt š wrct alñsd mni nôtbl ātists n bgan t dveḷp hr abstraẋn, pṛdysñ sml-scêl, jı̣mtric drōñz, pênztecñli cmpozd on an ācitect’s tebl, yzñ pensl n pen. Vrčli alon amñst hr pirz, Mhaṃdi brôc awe fṛm ɖ mênstrīm practis v fiğṛtv pêntñ in pôstindipndns India. Hr emf̣sis on miniml linı̣r jesčrz t criet infiṇt imajinri landsceps n strucčrz xmplifîz hr dzîr t, az š rôt in hr dayriz, obten ɖ maximm v ɖ minimm.

Dspt cmparisnz t Americn ātists sč az Agnis Mātin n Cāl Andre, Mhaṃdi’s wrc dfîz īzi catġrîzešn n wz ɖ prodct v hr dstnctv prṣnaḷti, prôses, n isʈetc valyz. Nazrīn Mhaṃdi rvilz ɖ ātist’s significnt contribyšn t moḍnizm ɖt xpandz ɖ bândriz v Westn āthistri n ofrz an oṗtyṇti t rīcnsidr ɖ mīnñ v abstract āt.”

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Continue reading NASREEN MOHAMEDI │ Tate Liverpool → 5 October 2014