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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Archive, by nature, is based on a series of selections and deletions, the motivation being to preserve material deemed most representative of the production in question. I look at these questions through the processual journeys of the artists, spaces and productions to see if or how the notion of the archive extends beyond its traditional role as static repositories of information.
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My filter for books is purely an integrity of purpose and the creation and articulation of new bodies of knowledge. Books featured across this issue include those on paintings, botanical drawings, photography, cinema, textiles, design, architecture, ecology, children’s publication, material culture, exhibition catalogues and more; all made public within this new era of the Anthropocene.
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While the pandemic may have killed the viability of running several physical bookstores, the endless lockdowns nevertheless brought us closer to the printed matter and the written word than ever before.
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Chagani is emotional as he narrates how the city of Lahore with its historic red brick architecture has given him everything from the fulfilment of his goals to inspiration for art making. His site of discourse may appear to be a homage to the city of Lahore but the choice of material and meticulous making and production of his works call for a much more nuanced understanding of Chagani’s work.
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The city is all set to launch its tenth edition of the gallery weekend with a gamut of artists: from the modernists, Akbar Padamsee and Vijay Shinde, to the contemporary, Saju Kunhan, Desmond Lazaro, to name a few. Twenty-four art institutions are part of this four-day preview.
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Taslima Akhter’s ongoing project is on the garment workers’ life and struggle. In a unique collaboration, the volunteer quilters donate their memories and time to produce the commemorations for their relatives who fell victim to the 2013 Rana Plaza collapse. The quilts are intended to activate a conversation between the relatives of the victims and the public.
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Though there is much work needed to be done in India in terms of curating for the internet and a system of fair payment to the artists, ‘VAICA 2’ provides an exemplary template for art institutions to consider while embarking on curatorial ventures in digital spaces.
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On view at 1Shanthiroad Studio/Gallery in Bangalore, ‘at the kitchen table’ is an exhibition of documents that stand in for the absent artworks.
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