Faris Kallayi, Author at Take Art Magazine

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.

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.

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.

Review

Mapping Connections: Linking Nature, History and Art

By Jasmine Shah Varma

The 101 years old Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS) in Mumbai, home to historical artefacts that tell stories about India’s past, hosted unusual visitors – contemporary art installations. Fourteen Indian artists were invited to create artworks for an exhibition Rhizome – Tracing Ecocultural Identities, curated by Jesal Thacker, amidst the museum’s vast collection. The display of the artworks is spread across the museum’s two levels and in thematically different sections. As a visitor to this exhibition, you need a map in hand to spot the works, which are not easy to locate or noticeable in the museum’s stellar collection.

Review

Collective Actions to Haul Muffled Voices from an Abyss of Convoluted Noise – A Staged Hearing ‘In the Matter Re: Rights of Nature’

By Dilpreet Bhullar

The fourth episode of the 3-year-long project 'Does the Blue Sky Lie: Testimonies of Air’s Toxicities' is a staged hearing titled 'In the matter Re: Rights of Nature'. Conceived by Khoj International Artists' Association and Zuleikha Chaudhari, in collaboration with lawyer Harish Mehla, the hearing leads an inquiry into the suspended histories of agrarian communities and the environment through the naturalist and socio-economic standpoints.

Review

Coming full circle: Pre and post Pandemic Art

By Tanya Dutt

Manchester-based curator Alnoor Mitha curated his very first show in India at Art Centrix Space, 'The Circle of Life', which ran from 12th November 2022 to 12th January 2023. Combining films, painting, drawing, installation, mixed media, and sculpture, the show was conceived in February 2020, just before the pandemic hit and came to fruition after 2 years and 9 months.

Review

Engulfed by impediments, Kochi-Muziris Biennale survived to return with the 5th edition

By Dilpreet Bhullar

The fifth edition of Kochi-Muziris Biennale "In Our Veins Flow Ink and Fire", curated by Singapore-based Indian origin artist Shubigi Rao, opened in its entirety on December 23, 2022.

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.

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.

Review

Pinning History to Paper

By Arushi Vats

In the recent works of Manisha Gera Baswani, repair and tending are transformative acts with complex contours, reminding us that healing and growing are interlaced with pain and grief, and that the fabric of life is studded with harvest and hibernation.

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