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KRISHEN KHANNA: “WHEN THE BAND BEGAN TO PLAY HE PACKED UP HIS TROUBLES AND MARCHED AWAY” │ Grosvenor Gallery, London → 10 July 2015
GALLERY • ARTIST
“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.”
Tuba Players, 2008. Oil on canvas, 121.9 x 91.4 cm. (48 x 36 in.)
Untitled. Charcoal on canvas, 51 x 41 cm (20 ¼ x 16 in.)
Untitled. Oil on canvas, 46 x 41 cm (18 x 16 ¼ in.)
Untitled. Oil on canvas, 25 x 20cm (9 ¾ x 9 ¾ in.)
Untitled (Profile). Oil on canvas, 30 x 30cm (11 3/4 x 11 3/4 in.)
Untitled. Oil on canvas, 51 x 51cm (20 x 20 in.)
Untitled (Bandwallas at Dusk), 2014. Oil on canvas, 60.9 x 91.4 cm. (24 x 36 in.)
Untitled (Procession of four Bandsman). Oil on canvas, 46 x 66 cm (18 x 26 in.)
Untitled (Bandwallas), 2015. Oil on canvas, 60.9 x 38.1 cm. (24 x 15 in.)
Untitled (Bandwalla with Trumpet), 2015. Oil on canvas, 60.9 x 38.1 cm. (24 x 15 in.)
Bandwalla. Watercolour on paper 20 x 20cm (8 x 8 in.)
FRANCESCO CLEMENTE: EMBLEMS OF TRANSFORMATION │ Blain Southern, London → 4 July 2015
NEHA CHOKSI: MINDS TO LOSE │ Hayward Gallery, London → 14 June 2015
“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.”
STILZ FṚM MÎNDZ T LŪZ:
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).”
Only Way Is through Milking Way, 2014. Acrylic on canvas, 190 x 150 cm, 74 3/4 x 59 1/8 in
Time and Again Upward Movement Beautiful Beautiful, 2014. Acrylic and gold foil on canvas, 190 x 150 cm, 74 3/4 x 59 1/8 in
Raha Dikhanaywalay Hai Rahengay (Those who show us the path were there, are here, will be there), 2013. Acrylic on canvas, 190 x 150 cm, 74 3/4 x 59 1/8 in
Mooing Here and Now, 2014 (detail). Acrylic on canvas, 190 x 150 cm, 74 3/4 x 59 1/8 in
In Search of Masala of the Universe, 2015. Acrylic on canvas, 190 x 150 cm, 74 3/4 x 59 1/8 in
Being Without, 2015. Acrylic and gold foil on canvas, 190 x 150 cm, 74 3/4 x 59 1/8 in
Why, 2014. Acrylic on canvas, 61 x 86 cm, 24 1/8 x 33 7/8 in
Chamber Concert, 2014. Acrylic and gold foil on canvas, 190 x 150 cm, 74 3/4 x 59 1/8 in
Being Here and Now, 2014. Acrylic and gold foil on canvas. 190 x 150 x 3.5 cm, 74 3/4 x 59 1/8 x 1 3/8 in
Peep Chirp Peep Chirp…, 2014. Acrylic on canvas, 190 x 150 cm, 74 3/4 x 59 1/8 in
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
The Mountbattens ceremoniously leaving India, 1947. Photo: Bert Scott.
Portrait of Marguerite Mumford, Bombay, 1937. Colour-tinted print. Photo: Bert Scott.
Ghandi walking on Juhu Beach, Bombay, 1936. Photo: Bert Scott
Bert Scott in Bombay as Times of India newspaper photographer in 1936
Chowpatty Beach, Mumbai. Photo: Jason Scott Tilley
The wedding-band trombone player. 2004. Photo: Jason Scott Tilley
The lady with jellyfish, Kovalam, Kerala. Photo: Jason Scott Tilley
The man from Puri, Orissa, with his crab supper. 2006. Photo: Jason Scott Tilley.
Because I came here on a motorbike. Photo: Jason Scott Tilley
The buffalo lady, Varanasi, Uttar Pradesh. Photo: Jason Scott Tilley.
“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.”
NASREEN MOHAMEDI │ Tate Liverpool → 5 October 2014
UNTÎTLD │ Ŕli t mid 1960z
UNTÎTLD │ Ŕli t mid 1960z
UNTÎTLD │ c. 1970z │ Ñc on pêpr
UNTÎTLD │ c. 1970z │ Fôṭgrafic print on pêpr │ 280 x 343 mm
UNTÎTLD │ c. 1970z
UNTÎTLD │ Ŕli 1980z
UNTÎTLD
UNTÎTLD
Nazrīn in hr stydio in Bombe at ɖ Būḷbî Instityt│Fôto dêtd 2 Nvembr 1960
“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.”
Continue reading NASREEN MOHAMEDI │ Tate Liverpool → 5 October 2014