‘Hangar for the Passerby’ is an ambitious curatorial venture by Akansha Rastogi, compiling artistic and non-artistic material from over 45 institutions, groups, and individuals, spanning over eight decades from 1930 to the present.
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One does not need a dictionary to understand that a spectre is something which haunts. Karl Marx has made popular the function of a spectre, through his famous opening sentence, “A spectre is haunting Europe – the spectre of Communism.”
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‘74 million million million tons’ is an exhibition about the types of evidence that artworks can produce opens Ruba Katrib and Lawrence Abu Hamdan’s curatorial text for their new show at Sculpture Center. It is worth situating this ambitious premise within the ongoing global rise of evidence and a concomitant shift in its meaning.
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‘A beast, a god, and a line’ walk into a room. The trifecta proposes for a universal history, a call in which a response is required. To wit, are we complicit witnesses to perpetual violence or accomplices in effecting a global decolonisation project that has yet to realise its mission?
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At the Talwar Gallery, ‘The Emperor’s New Clothes’ curated by Atteqa Ali, focused on clothes as the primary outward sign of culture, class and gender. In the case of this show, clothes are at once a mark of identity, a source of protection, and a harness of control.
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The 3 young men draw me in. They cannot be older than twenty-five. Looking straight into the camera, having told the photographer that they want a copy. I imagine the picture pasted onto the bedroom wall of one of them.
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‘While I Sleep’ (13/02 – 29/06, 2009) had brought together the artist Shilpa Gupta and the neuropsychologist MahzarinBanaji for a first exhibition at the Laboratory, a private venue for contemporary art that specializes in the relationship between art and science.
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A retrospective perhaps does not always mean looking back at an artist’s entire opus after his death, or a much later phase of his life. It also helps redefining the present stand of the contemporary practices, allowing access for a re-evaluation.
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The first time I encountered at one of JayasriBurman’s paintings, I thought I knew her. Not the artist herself, but the woman in the work.
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Rakhi Peswani’s show at Vadehra Art Gallery does not seduce with lushness of fabric or embroidery, on the contrary, she presents an unusual perspective of sewing.
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