Ghiya presents his creations with a vague matrix-like flair, announcing a Download Error that will be familiar to anyone who had tried to access a heavy picture file from internet. And for a moment it seems as if there has been a serious problem in printing out the images displayed.
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Anju Dodiya is a thoughtful woman. Her art is complex, involved, thought provoking and, yes, thoughtful. One look and you, her audience, know that it has a lot more meaning and significance than it seems on casual viewing. There is history, there is intellect, there is travel and reading and, again, a great deal of thought that has gone into creating it.
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A River Inside, Manisha Parekh's latest show in Mumbai at the Jhaveri Contemporary gallery, was rooted in the line in its various forms. It showed off various shapes and forms, most notable being the layered perforated stories she created with handmade paper.
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Can a painting be ‘heard’? When one encounters the works of the artist Gopi Gajwani, it is not difficult to experience the whispering strokes of charcoal and paint. The confidant vibrancy conveys the assuredness of their being, yet there is a sense of contradicting fragility, a layer of calm and subtle seduction.
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In this age of the internet, we have a group of artists presented as ‘Neti-netizens’. Curated by Girish Shahane at Gallery Threshold, these ‘Vanguards’ bring forth a legacy that produces meditative imagery, which differs refreshingly from the populist present-day avant-garde expression.
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Kansara seems obsessed with his family. He records and rerecords conversations around the dining table; his grandparents sleeping and moaning and reminiscing, projecting videos previously recorded, onto wall spaces and then re-recording them.
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A love story that didn’t happen, a bowl of boiling water that isn’t actually boiling, a setting that doesn’t exist – such are the fictions that make up ‘This is Unreal’, a group show of works by RAQS Media Collective (RMC), Yamini Nayar and Susanta Mandal held at Experimenter.
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The seven Indian and international artists in the show sourced from diverse aspects of film and the photographic image without even addressing cinema verite directly, but Merali was able to make the viewer recognise a number of strands that deep down linked with this heritage and in a manner admitted their debt to it.
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An artist known for painterly and graceful qualities, Nilima’s ciphers are undemanding and reflective; whereas her subject matter is more emotional. Her works attempt to thematize violence and terror, trauma, grief of common mass.
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In Neha Choksi’s new show death is sometimes cute, sometimes beautiful, and occasionally melancholy but never the stuff of Gothic horror. For Choksi, the burial ground is a starting point for her exploration of forms and reality, rather than an excuse to sink into nostalgia.
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