A love story that didn’t happen, a bowl of boiling water that isn’t actually boiling, a setting that doesn’t exist – such are the fictions that make up ‘This is Unreal’, a group show of works by RAQS Media Collective (RMC), Yamini Nayar and Susanta Mandal held at Experimenter.
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The seven Indian and international artists in the show sourced from diverse aspects of film and the photographic image without even addressing cinema verite directly, but Merali was able to make the viewer recognise a number of strands that deep down linked with this heritage and in a manner admitted their debt to it.
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An artist known for painterly and graceful qualities, Nilima’s ciphers are undemanding and reflective; whereas her subject matter is more emotional. Her works attempt to thematize violence and terror, trauma, grief of common mass.
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In Neha Choksi’s new show death is sometimes cute, sometimes beautiful, and occasionally melancholy but never the stuff of Gothic horror. For Choksi, the burial ground is a starting point for her exploration of forms and reality, rather than an excuse to sink into nostalgia.
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Gopikrishna’s paintings are examples of intricate technique and carefully formed compositions. Specific characters with specific stories come together in his works to form complex narratives and allegories that articulate wisdom and humour.
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Mithu Sen’s recent mise en scène at Chemould Art Gallery, Mumbai, comprises of provocative, bizarre snippets of the audio, hyperactive texts fused with multifaceted images and sarcastic titles.
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“My real education began when the celebrated photographer S. Paul took me under his wings,” says Madhavi Swarup, who had, in fact bagged the best student award for photography at NIFT, Delhi.
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‘Resemble Reassemble’ presents facets of life peculiar to Pakistan. While the artworks are indicative of global influences in terms of the media and a visual language that is used world-wide, the artists do not engage with global issues, being more involved with those of immediate concern.
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‘Urban Testimonies’ was as fresh, puzzling and exhilarating as the metro milieu for which it purports to bear witness.
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The painted photographs in off white, greys and whites with minimal use of red are neither comforting nor alienating. In fact the problem is that they do not engage you for their own sake but in their apparent incompleteness compel you question.
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