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Review

A Changing World

By Meera Menezes

Arpita Singh’s canvases in her solo exhibition Meeting at Vadehra Art Gallery in Delhi were awash in shades of blue. In several of her paintings on display, it appeared as if tides carrying flotsam and jetsam had swept over them, generating surfaces swimming with detail. Nowhere was this more evident than in the poignantly titled The swans did not come back this year. Irregular patches of white, oddly reminiscent of corrugated roofs of shanty houses, peppered the waterscape as did a few stretches of brown and lettering in differing colours and sizes. If in the past Singh inserted flora or custard apples to fill in empty spaces in the pictorial plane, then here her flower fetish was strangely absent.

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Review

Nasreen Mohamedi: Singularity and Sociability

By Pooja Savansukha

Nasreen Mohamedi’s hand-written letter to her close friend, artist Nilima Sheikh exudes a sense of both restraint and tenderness. With her formal handwriting, she composes what appears as a verse of concrete poetry – simultaneously referencing and exploring ideas of space – on a piece of graph paper. Providing a window into the late Modernist’s preoccupations with nature, abstraction, and the limits of perception, this letter, describing the seashore at Kihim, also inspires the title of her latest retrospective at Jehangir Nicholson Art Foundation (JNAF) – Nasreen Mohamedi: The Vastness, Again and Again.

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Review

Weaving a World: Kanishka Raja’s Ground Control

By Aparna Andhare

Bright as a computer game on a screen, Ground Control began with references to music, borrowing its title from David Bowie, and has an aerial perspective, if not the tin-can view. Is the artist Ground Control and who is Major Tom? The roles reverse playfully, and the show, like a game, moves effortlessly between footprints of buildings, courts and playing fields, and outlines of urban spaces. The vibrant several shades of colour — earthy oranges and reds, purples, greens, blues — are interspersed with bold white lines, which resemble chalk or markers on a field.

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International Reviews

Imprinting Nature: Simryn Gill’s Naga Doodles

By Henry Noltie

In the display case next to the skin is a nature-printed image made in Madras in 1857 by Henry Smith. Unlike Gill’s snakes, Smith’s specimen was artfully laid out in an elegant sinuosity, its two surfaces inked to yield a mirror-image pair when passed through a printing press. There is a history behind the contemporary work. Smith was a government printer, who claimed originality to his method of nature-printing (a process that has always been somewhat experimental), but one that was taken up by Hugh Cleghorn who in South India made many simple black prints of plant and tree parts as part of the earliest phase of the conversion of tropical forests into plantations: in his case for coffee and cinchona.

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Review

The Street and the Gallery: Shahidul Alam’s Archives of Practices

By Ranu Roychoudhuri

In bearing witness to the historical and the everyday, Alam continuously blurs the boundaries between the aesthetic, the political and the personal. Simultaneously, the retrospective showcased Alam’s critique of the Global South’s erasure from the history of photography and how his prominent presence in the “West” is a corrective towards decolonizing photography.

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Review

Between Warp and Weft: On Kallol Datta’s Textile Objects

By Najrin Islam

Datta’s objects carry secrets around knots and folds at the kernel, and point to his practice of cutting patterns in a circular fashion at the formative stage. The circular pattern-cutting registers as an attempt to eliminate the possibility of waste, where the leftover fabric is turned into appendages for the installations.

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Current Issue

current-issue

Sustainability

TAKE Sustainability is centred around well-researched articles and in-depth features that aim to dispel myths, rectify misconceptions, and advocate for collective action. Through actionable steps, the issue empowers individuals to adopt mindful choices that shrink their ecological footprint and positively impact the environment. Additionally, it acts as a platform to showcase success stories and innovative initiatives that offer inspiration, emphasizing the potential for change, even through small actions. It challenges the status quo and encourages critical thinking, fostering a reader base that becomes more aware and engaged. This impact extends beyond the issue, promising a brighter future for generations ahead.

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Inside Sustainability

Editor's Note

Co-Editor's Note

Ahmiyat

Cultural Sustainability: A Just Transition from Ego to Eco and the Way to Craft a Sustainable Future for All

Amplifying Culture, Humanity and Sustainability

Imperfection and Sustainability

Crafting Tomorrow

Sonam Tashi Gyaltsen

Jeanne de Kroon

Huma Adan

Co-Editor's Note- Uthra Rajgopal

The Black Gold Tapestry: An Epic Yarn

Uthra Rajgopal in conversation with Ibrahim Mahama Jute: Unlocking the Grid

Ruxmini Reckvana Q Choudhury

Fluctuating Fortunes - Ladakh and the Production of Pashmina Fibre

Wholesome Utopia of Sustainability: Living and Learning Design Centre, Bhuj

Hidden in Plain Sight

From Mills to Museums: Pioneering South Asian Textile Artists

The Elephant in the Room

A Changing World

Reflection, Perception and Distortion: A Three-Way Guide to Sunil Gawde's It Goes On

Then, Now and Everything In Between: Mapping South Asia through Artistic Explorations in the Popular

The Simultaneous Narrative: Engaging with the multi-narratives of artist Shrimanti Saha

I have a secret to tell...

Apparatus at Play explores Nepalese entangled history through a contemporary lens

Nuanced Expressions

Weaving a World: Kanishka Raja's Ground Control

Nasreen Mohamedi: Singularity and Sociability

Mül Mäthi // from the roots. A Keen Postscript

Eyes in the Sky: Gaze on Afghanistan

Kolikatar Nokshi-Kotha: Tracing a River Beyond its Existence

The Dream of an Idiot

Unmaking Mithu Sen: Of interventions, the now, and the museum

Imprinting Nature: Simryn Gill's Naga Doodles

Dhaka Art Summit: Indigenisation, Social Relations and Beyond

First Feminist Metal Mosaic Sculpture Looms in Lower Manhattan

Engaging Nature, Encountering Space: South Asian Landscape on Display at the Smithsonian’s National Museum of Asian Art

A Certain Homecoming

For, In Your Tongue, I Cannot Fit: Encounters with Prison

Unframed: Discovering Image Practices in South Asia

Sudhir Patwardhan: Walking Through Soul City

Paper Trails: Modern Indian Works on Paper from the Gaur Collection

Bhavna Kakar in conversation with Esme Ward and Nusrat Ahmed South Asia Gallery, Manchester Museum: Reimagines Linear South Asian Art History

Kunal Ray in conversation with Atul Dodiya Cinema Has Made Me Think and Rethink What I Know

Manan Shah in conversation with Leticia Marranghello 200 Years and Counting: Brasilia, Art and Architecture

Saloni in conversation with Sandhini Poddar and Sabih Ahmed Rewind and Replay: Exploring the exhibition Notation on Time

Interwoven Threads of Identity: Self-Exploratory Narratives in the Experimenter Curators' Hub 2022

Reflecting on my Residency Process

Fly on the Wall

Vivan Sundaram (1943-2023)

Experiential Narrative Performance - My Cloak Made of Colour, Air and Songs

TAKE Features

Review

Devraj Dakoji – A Force of Nature

By Lina Vincent

Dakoji’s journey of artistic production has been prolific. His training in printmaking under the tutelage of powerful thinkers such as K.G.Subramanyan and Jyoti Bhatt during his stint at M.S. University Baroda in the mid-60s; his post-graduate studies at the Chelsea School of Arts in the mid-70s through a British Council scholarship; and his later presence at the Tamarind Institute, Albuquerque New Mexico U.S.A in the early 90s, all contributed to the immense possibilities he found in the print process. Keen on new experiences, Dakoji found inspiration in travels that took him through England and Europe, as well as across India.

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feature
Review

Looking from an ‘Aesthetic Distance’: Photographing Babasaheb Ambedkar in Vellore

By Soujit Das

An ambiance of trepidation prevails in most of the Dalit localities of Vellore; thus as an outsider, these statues appear appealing only if seen from an ‘aesthetic distance’, and Marcelo abided by it. Being a foreigner in India, his social identity was not perceived as a threat to the community and he operated from a rather safer zone. His photographs read these sculptures in many layers, forcing the viewers to engage with critical contexts. They often evoke a sense of ambivalence between the ideas of sacred and profane, haptic and the optic. The cage act like a barrier between the viewer and the viewed.

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feature
Interview

200 Years and Counting: Brasilia, Art and Architecture: Manan Shah in conversation with Leticia Marranghello

By Manan Shah

The museums traditionally have been the representatives of history and human civilisation. Over the course of time, they have evolved to have a multi-disciplinary nature in terms of having an audience-friendly milieu by including a variety of programs and outreach activities. In the said manner, Bihar Museum in Patna has been working towards creating an environment which attracts visitors, providing information with an interactive experience. Bihar Museum, moving beyond the place of traditional knowledge systems, has forged to become a space for cultural exchange, inviting national and international artists, speakers and exhibitions to Patna.

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feature
Review

Unmaking Mithu Sen: Of interventions, the now, and the museum

By Chloe Ho

In the 2023 present of mOTHERTONGUE, this installation serves as an elusive historical example of Sen’s conscious use of reframing and recontextualization. The slippage between 2020 and 2023 is revealed through reference to the fair but also concretised with the October dating of Sen’s statement. The dates of each caption, the curatorial suggests to the visitor, are less relevant than the persistent and singular present of ACCA. Persistent reframing and recontextualization is a mainstay of Sen’s practice and are visible in discrete artworks within the show. Having been curated with the same artistic strategies in mind, mOTHERTONGUE is both a solo exhibition and a single work of art, dated 2023.

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feature
Review

A Changing World

By Meera Menezes

Arpita Singh’s canvases in her solo exhibition Meeting at Vadehra Art Gallery in Delhi were awash in shades of blue. In several of her paintings on display, it appeared as if tides carrying flotsam and jetsam had swept over them, generating surfaces swimming with detail. Nowhere was this more evident than in the poignantly titled The swans did not come back this year. Irregular patches of white, oddly reminiscent of corrugated roofs of shanty houses, peppered the waterscape as did a few stretches of brown and lettering in differing colours and sizes. If in the past Singh inserted flora or custard apples to fill in empty spaces in the pictorial plane, then here her flower fetish was strangely absent.

Read More

News & Events

TAKE on writing

Demise of Vivan Sundaram

 29 March 2023
New Delhi

Growing Like A Tree: Sent A Letter

 14 December 2022 – 15 May 2023
Sunaparanta Goa Centre for the Arts, Goa

Kochi-Muziris Biennale 2022

 23 December 2022 – 10 April 2023
Fort Kochi, Kerala

Ghare, Khet, Dera: Shubham Kumar

 18 November 2022 – 2 January 2023
Latitude 28, New Delhi
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Take Editions

Unique, limited editioned and handcrafted affordable artworks by eminent artists exclusively commissioned for TAKE on Art.

G R Iranna

The Story Which You Have Written, Bronze, 5 x 11 x 4 inches, The Story Which You Have Written by G R Iranna, 2023

Not Available

Ashiesh Shah

Lingam Lamp, Sculpture Cast aluminium, toggle switch cast in aluminium, Edition of 25, 10 x 7.25 x 14 inches, Lingam Lamp by Ashiesh Shah, 2020

Not Available

Ganesh Haloi

Untitled , Hand–painting on Papier Mache, 11 x 9.5 x 1.5 inches, Hand-painted book object by Ganesh Haloi, 2021

Not Available

Mithu Sen

Uncalendar Unever, Mixed media work with embossed print, hand and pin drawing on paper, Series of 100, each one is unique and signed, 17 x 20 inches, Uncalendar Unever by Mithu Sen, 2023

Not Available

Rekha Rodwittiya

My Bonsai Tiger, Stainless Steel, 264.4 mm x 306.6 mm x 1.5 mm, Limited edition of 35 , My Bonsai Tiger by Rekha Rodwittiya, 2022

Not Available

Shilpa Gupta

Untitled, Mirror Acrylic, Limited edition of of 50, 13 x 9.2 inches, Untitled by Shilpa Gupta, 2022

Not Available

Kavita Pandya Ganguly

Birds from the Golden Cage, Stoneware ceramics in Nerikomi technique, 8.5 inches each clapper, Series of 5 (Compositions of Hoopoe, Indian Pitta, Kingfisher, Muniya & Owl), A series of ceramic clappers made in Nerikomi technique by Kavita Pandya Ganguly., 2022

Not Available

Gulam Mohammed Sheikh

Talisman (Twin-1), Digital collage printed on rice paper (100 GSM), with wooden boxes for encasing Limited edition of 10, each numbered and signed, 9 x 9.4 cm (h x w), length of spread out 514.5 cm, the attached wooden support covers 2 cm, outer box: 10.4 x 12.4 x 6 cm (h x w x d), A digital collage accordion format book named ‘Talisman’, Second edition, 2022

Not Available

Vibha Galhotra

Re[construction], Brass ghungroos (trinkets) and steel, 14x 8 x 8 inches, A series of unique sculptures made of brass ghungroos (trinkets) and steel by Vibha Galhotra, 2022

Not Available

Ayesha Singh

Skewed Histories: Amalgamation as sculpture (1), Biodegradable polylactic acid, Limited edition of 10, 21 x 16 x 12 inches, Editioned sculptures made of biodegradable polylactic acid by Ayesha Singh, 2022

Not Available

Dhruvi Acharya

Drop, Unbleached cotton painted with acrylic paints, aluminium wire, Limited series of 35, 6 x 3 inches approx., wire: 38 inches approx., outer acrylic box: 6.5 x 6.5 x 8.75 inches, A series of soft fabric sculptures by Dhruvi Acharya, 2022

Not Available

Jayasri Burman

Untitled, Paper mache and acrylic paint Hand-painted Unique Book , 11 x 11 x 2 inches, Untitled, 2016

Not Available

Jagannath Panda

Table Lamp, Mixed Media Unique Series of 12, 20 inches (lamp shade 7 x 12 inches, stand: 12 x 9 inches), Table Lamp, 2011

Not Available

George Martin PJ

Painted Palettes, Acrylic on palette (MFD board) Series of 10, , Painted Palettes, 2012

Not Available

Dayanita Singh

Museum Bhavan, Nine individual ‘museums’ in book form in a handmade box , 3.7 x 5.5 inches , Museum Bhavan, 2017

Not Available

Chittrovanu Mazumdar

Untitled, Etching on copper and carved mahogany wood Edition of 50, 12 x 10 inches, Untitled, 2009

Not Available

Bose Krishnamachari

Stretched Body Series, Watercolour on arches paper-pulp book cast sculpture Hand-painted Unique Book , 11 x 9.5 x 1.5 inches, Stretched Body Series, 2014

Not Available

Anupam Sud

Untitled, Collage, watercolour, graphite on paper mache Hand-painted Unique Book, 11 x 9.5 x 1.5 inches, Untitled, 2014

Not Available

Anupam Sud

Untitled , Collage, watercolour, graphite on paper mache Hand-painted Unique Book , 11 x 9.5 x 1.5 inches, Untitled , 2014

Not Available

Ravinder Reddy

Torso, Hand gilded on polyester resin fiber Exclusive Edition of 30, 9 inches, Torso by G. Ravinder Reddy, 2017-2018

Not Available

Raqs Media Collective

Two Thousand Three Hundred Grams of What?, Acrylic and decoup acrylic Limited Edition of 50, 11.5 x 8.7 x 1.5 inches, Two Thousand Three Hundred Grams of What? by Raqs Media Collective, 2013

Not Available

Pushpamala N

The Popular Series, Native Women of South India: Manners and Customs, Giclee Print, 5.5 x 8 inches each, The Popular Series, Native Women of South India: Manners and Customs by Pushpamala N and Clare Arni, 2000-2004

Not Available

Shilpa Gupta

I Never Promised You A Rose Garden, Single book in metal Editions of 50, 8.6 x 5.9 x 1.1 inches, I Never Promised You a Rose Garden by Shilpa Gupta, 2011

Not Available

Atul Dodiya

The Book of Sand – II, Watercolour and marble dust on arches paper-pulp book cast sculpture Hand-painted Unique Book, 11 x 9.5 x 1.5 inches, The Book of Sand Series by Atul Dodiya, 2016

Not Available

Atul Dodiya

The Book of Sand – I, Watercolour and marble dust on arches paper-pulp book cast sculpture Hand-painted Unique Book, 11 x 9.5 x 1.5 inches, The Book of Sand Series by Atul Dodiya, 2016

Not Available

Manjunath Kamath

Pink elephant in bathtub, Digital print on archival paper Edition of 50, 5 x 7 inches, Pink Anubhav Highres by Manjunath Kamath, 2011

Not Available

Prajjwal Choudhury

Matchbox, Digitally printed matchboxes, 15 x 15 inches , Series of unique pieces signed by the artist , 2018

Not Available

Pooja Iranna

Forbidden Stories, Paper Mache and acrylic paint on arches paper-pulp book cast sculpture Hand-painted Unique Book , 11 x 11 x 2 inches, Series of unique pieces signed by the artist , 2016

Not Available

Mithu Sen

Anti-clock, Mixed media (water colour on hand-made sheet, velvet etc.), Sizes vary, Series of unique pieces signed by the artist , 2011

Not Available

Arun Kumar HG

Tract, Visual book with 100 images, 1200 gsm, natural evolution hard bound Limited Editions of 100, 12 x 17 inches, A photo book that encapsulates the collapse of ecological terrain to advance the multitude of urban life.,

Not Available

Sustainability

September 2023

Memory

December 2022

Books

April 2022

Quarantine

April 2021

Bengal

December 2019

Fashion

July 2019

Architecture

October 2018

Fiction

March 2017

Ecology

March 2017
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