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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Spending time with Rekha Rodwittiya is always fulfilling; you feel her passion, her involvement, and her determination to get her point across. This depth of emotion is reflected in her show at the Jehangir Nicholson Gallery at the Chhtarapati Shivaji Maharaj Vastu Sangrahalaya in Mumbai.
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Mithu Sen’s practice often looks for the softest parts of vulnerable industries—language, the gender binary, or sexuality under the capitalist lens—and pulls the rug out from under them.
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It is futile to look for absolute accuracy since history can be interpreted through multiple perspectives, each as veracious as the next. Each individual and each story weave together lingering moments of tangible and intangible aspects of culture, thereby creating indistinguishable fabrics of history and memory.
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An amateur’s desire of pursuing documentary photography has brought in display a rich archive of what lay beyond the reels in the pioneering filmmaker Satyajit Ray’s films.
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With the prominence given to ideas, thoughts and examinations, the human body, has always been understood on the basis of its anatomy. There has been a limited effort made to understand and reflect upon the body, based on a socio-cultural history.
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Vivan Sundaram’s retrospective at the Kiran Nadar Museum of Art was a testament to the unique variety of his oeuvre. Curated by Roobina Karode the exhibition contained a dozen stylistic departures and arrivals.
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