Gopikrishna’s paintings are examples of intricate technique and carefully formed compositions. Specific characters with specific stories come together in his works to form complex narratives and allegories that articulate wisdom and humour.
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Mithu Sen’s recent mise en scène at Chemould Art Gallery, Mumbai, comprises of provocative, bizarre snippets of the audio, hyperactive texts fused with multifaceted images and sarcastic titles.
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“My real education began when the celebrated photographer S. Paul took me under his wings,” says Madhavi Swarup, who had, in fact bagged the best student award for photography at NIFT, Delhi.
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‘Resemble Reassemble’ presents facets of life peculiar to Pakistan. While the artworks are indicative of global influences in terms of the media and a visual language that is used world-wide, the artists do not engage with global issues, being more involved with those of immediate concern.
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‘Urban Testimonies’ was as fresh, puzzling and exhilarating as the metro milieu for which it purports to bear witness.
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The painted photographs in off white, greys and whites with minimal use of red are neither comforting nor alienating. In fact the problem is that they do not engage you for their own sake but in their apparent incompleteness compel you question.
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Size in itself does not count for anything, but in relation to something it can pose a problem, be the solution or become a symbol of appreciation or disdain. Gallery Latitude 28 initiates this debate via their inaugural exhibition in Lado Sarai: ‘Size Matters or Does it?
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Jyoti Bhatt’s journey began in the post Independent milieu where Indian artists were eager to actively interact with the world and at the same time seek to engage with the local in search of a national identity.
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Do we see such textiles as traditional, modern or contemporary? Of the past or of the present? Or, as the title of this exhibition offers, is it a part of new traditions altogether? The exhibition unfolds with a section devoted to khadi and nationalism, the hand-spun and hand-woven coarse cotton, which Mahatma Gandhi made the symbol of Swaraj India.
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The exhibition is eponymously based on the subject of history, and subsequently attempts to explore the idea of ‘memory’ and the ethics of it.
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