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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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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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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Harshit Agarwal’s artificial-intelligence show ‘EXO-stential: AI Musings on the Posthuman’ is India’s first solo AI art show. Harshit’s art begins by destabilizing the binaristic perception of humans vs technology and instead urges us to think of the human-machine as a continuum.
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