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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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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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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The cosmopolitan charm of the city never loses sight of its glorious past. When architectural space is conducive to viewing and understanding arts within a historical context, the imaginative and observational powers are heightened to complement each other and allow the viewers to contemplate what they have witnessed.
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The fifth edition of Delhi Contemporary Art Week (DCAW) 2022—held at the sprawling Bikaner House, New Delhi—pushes the discussions around art and economy with a spectrum of young contemporary artists.
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‘Epigraphica Indica’ pulls the viewer inward, and is a powerful reminder of the complexities of culture, identity, and belonging – and everything we take for granted in this contemporary, virtually driven world.
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Khimji’s work animates a gaze on the body that conforms to, and in tandem, deviates from reductive tropes. Through an exercise in de-sexualisation, the female nude is stripped of its historical weight as the artistic ideal, and re-examined as a body in transit—a revelatory, yet equally opaque script of desires.
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At once personal and political, Saraf creates islands and clusters around her works, while speaking up about issues that currently dominate our newspapers, and are in circulation all around us. Literature and criticism is also drawn in, sometimes through quotes accompanying artworks and at other times as references.
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Despite some exceptions, the show has appeared as the inner urge of a community to be close to the people next door. Subsequently, this perspective of the post-covid art world becomes a hallmark by looking at their foundation and soil. The concept of home itself can be seen as an essential visual metaphor of many works.
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In this show it is tempting to ask oneself; what home does Samanta seek? Is it a cocoon? A place to germinate? Or something amorphous, constantly evolving and shape shifting, as explored in a series of ten diptychs, that the show is named after?
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