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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With their sombre palette, haunting quality, texture-laden dense hues still glimmering with hints of hope, Indrapramit Roy’s recent works of his solo show ‘Soliloquy’ at Threshold Art Gallery are an eyeful for all of us, emerging from the shadows of the Corona Pandemic.
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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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Shreya’s fascination lies at challenging perspectival, perceptive, and pre-conditioned notions in the processes of form making that keeps evolving with a touch of surprise or sublime. Among the rigorous built structures of her works are careful endeavour that results in moments of silence, of calm.
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A truant pebble disturbs the otherwise clean, unwavering lines of the pavement in Tiananmen Square. One feels the urge to push it aside, restore the harmony of the composition. It’s impossible to do so as a viewer standing in front of an image. It also must not have been an easy task for those standing around while the image was made.
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