ACFA

Subodh Gupta
| Everything is Inside, National Gallery of Modern Art, New Delhi

17 January – 16 March, 2014

Spanning across two buildings of the NGMA, the majestic Jaipur House dating back to 1936 and the modern wing of the museum, the biggest ever solo show by Bihar-born artist Subodh Gupta spills onto the lawns of the museum garden. Carefully curated by renowned Cermano Celant, this seminal mid-career retrospective showcases the artist’s oeuvre through decades from his earliest works of the late 1980’s to the most recent ones. Exploring a variety of themes through different materials, such as marble, thalis and dabbas in stainless steel, recycled aluminium, earthenware, bronze and cow dung, Gupta addresses the social transformation and baffling complexities of a nation in the throes of rapid change, subverting cultural stereotypes and iconographies.

Image: Ray, 2012

Mrinalini Mukherjee and Lionel Wendt
| Burning Down the House, 10th Gwangju Biennale

5 September – 9 November, 2014

Curated by Jessica Morgan, Daskolopoulos Curator, International Art at Tate Modern, London, Burning Down the House explores the process of burning and transformation, a cycle of obliteration and renewal witnessed throughout history. Evident in aesthetics, historical events, and an increasingly rapid course of redundancy and renewal in commercial culture, the Biennale reflects on this process of events of destruction or self-destruction by the promise of the new and the hope for change.

https://universes.art/gwangju-biennale/2014/

Nalini Malani
| Winner of the St. Moritz Art Masters Lifetime Award 2014, created by Cartier

The award was set up in 2008 to celebrate new developments in contemporary art. It is awarded each year to an artist for his / her outstanding lifetime achievement. Former prize-winners include Ai Weiwei (2013, China), Oscar Niemeyer (2012, Brazil), William Klein (2011, USA), Ilya & Emilia Kabakov (2010, Russia), Richard Long (2009, England), Robert Indiana (2008, USA).

© St. Moritz Art Masters 2014 / fotoswiss Giancarlo Cattaneo

Atul Dodiya
| 7000 Museums: A Project for The Republic of India, Dr. Bhau Daji Lad Museum, Mumbai

11 December, 2014 – 10 February, 2015

The exhibition, curated by Tasneem Zakaria Mehta, is a continuation of the museum’s curatorial series ‘Engaging Traditions’, which encourages contemporary artists to engage with the museum’s history, collection and archive. Atul Dodiya’s major artistic statement is comprised of a comprehensive body of works, ranging from oil paintings and watercolours to sculptural assemblages. They evoke a layered dialogue with the various conceptual frameworks from the museum’s collection, referencing defining moments in history of politics and art as well as the semantics of museums and museum displays.

Subodh Gupta
| Rijksmuseum, Amsterdam

1 October, 2014 - 1 October, 2015

Subodh Gupta's iconic sculpture This Side is the Other Side is currently on view at the Rijksmuseum Amsterdam at the recently constructed Pavilion for Asian Art. The Pavilion displays ancient Hindu and Buddhist statues from South and Southeast Asia along with contemporary art from the region.

Image: This Side is the Other Side, 2001

Bhuvanesh Gowda
| Pollock-Krasner Foundation Grant 2015

Bhuvanesh Gowda was awarded the Pollock-Krasner Foundation Grant based on artistic merit in the field of sculpture. The grant honours an outstanding artist whose work embodies high creative standards and exemplifies the impact of art on individuals and society.

https://pkf.org/press-releases/

Anita Dube
| After Midnight: Indian Modernism to Contemporary Indian 1947/1997

8 March – 13 September 2015

Curated by Arshiya Lokhandwala, the exhibition explores the era following India’s 1947 independence, marked by the emergence of Indian modern art led by the Progressive Artists’ Group and their contemporaries. A half-century later, the year 1997 signaled the beginning of a new phase with Indian artists gaining sudden visibility in a newly globalized contemporary art world, while India experienced a surge of paradigm shifts including economic liberalization, political instability, and the growth of a religious right-wing. The exhibition presents the juxtaposition of these two historical periods in Indian art for the first time, ranging from Indian modern art from 1947 to the 1970s, and contemporary art from 1997 to the present.

Participating artists: CAMP, Nikhil Chopra, Desire Machine Collective, Atul Dodiya, Anita Dube, V.S. Gaitonde, Sheela Gowda, Shilpa Gupta, Subodh Gupta, M.F. Husain, Tushar Joag, Jitish Kallat, Krishen Khanna, Ram Kumar, Tyeb Mehta, Akbar Padamsee, Prajakta Potnis, Sreshta Rit Premnath, Raqs Media Collective, S.H. Raza, Sharmila Samant, Mithu Sen, Dayanita Singh, F.N. Souza, Tallur L.N., Asim Waqif

https://queensmuseum.org/2013/11/after-midnight

Mrinalini Mukherjee
| Transfigurations, National Gallery of Modern Art, New Delhi

27 January – 29 March, 2015

The retrospective, curated by Peter Nagy, brings together over ninety works created by Mrinalini Mukherjee (1949-2015) over the past four decades. The exhibition comes on the heels of the artist’s untimely demise, shortly after its opening. Described as ‘India’s pre-eminent sculptor, known for her fearless investigation of material’, she takes the natural world as starting point for her sculptures in hemp, ceramics and bronze. The works draw from the organic in terms of color, form and titles, stretching the frontiers of plastic arts in the most original and inventive ways. They evoke a sensuous quality with strong erotic undertones.

My East is Your West
| Collateral Event of the 56th Venice Biennale, Palazzo Benzon

9 May – 22 November, 2015

Conceived by The Gujral Foundation the exhibition My East is Your West presents for the first time within the context of the Venice Biennale the conflicting South Asian nation-states of India and Pakistan as a singular region. The collaborative exhibition by internationally recognized artists Shilpa Gupta and Rashid Rana provides a unique platform to enter into a dialogue through the arts, proposing a shared cultural cartography.

Image: from the series ‘Untitled’, 2014-15, drawing and performance © Mark Blower

Riyas Komu
| The Great Game, Iranian Pavilion, 56th Venice Biennale

9 May – 22 November, 2015

The Great Game, curated by Marco Meneguzzo and Mazdak Faiznia, underpins the common historical, geographical and artistic ties between Iranian artists and those from guest countries. Ever aware of the unfavourable media presentation of this part of the world into the 21st century, the curators have tried to create a dialogue between viewers and works, enabling Biennale visitors to experience these regions through the eyes of the artists assembled instead. Riyas Komu’s Fragrance of a Funeral’ an intricately carved sculpture resembling a stretcher, represents a classic poet and scholar from ancient Persia. By reversing the relief-like figure, one is confronted with the image of a contemporary political dissident from Iran in the process of being executed. The high civilization of an Empire known for its cultural riches and scholarship is contrasted by the political violence of an authoritative regime, exerting oppressive power to thwart dissent.

https://www.theguardian.com/world/iran-blog/2015/may/18/venice-biennale-iran-2015

Shakuntala Kulkarni
| Of Bodies, Armour and Cages | Julus, 3rd Dhaka Art Summit

5 February – 8 February, 2016

Shakuntala Kulkarni’s solo project consists of an immersive sculptural installation of five figures sculpted using traditional cane weaving practices prevalent in the Eastern part of South Asia. The sculptures are complemented by her newest video work Julus, a four channel video, where a procession of the multiple selves of the artist storms the space, addressing the timeless issue of how to exist as an individual in a world that encroaches on individual, and more specifically, Women’s rights. By placing her sculptural armours over her body, the artist dictates the viewer’s gaze, reclaiming power away from the viewer. She explores the tension of being protected and the notion of being trapped as a metaphor for female identity struggles.

© Jenni Carter

Asim Waqif
| 8th Asian Pacific Triennale, Brisbane

21 November 2015 – 10 April 2016

For APT8, Asim Waqif has created the site-specific work All we leave behind are the memories, expanding through gallery spaces. In the lead-up to the exhibition, he visited Brisbane to explore the history of building and demolition in the city. His installation is constructed from the worn and aged timbers typical of vernacular south-east Queensland architecture. Embedded with lights and sound sensors to be triggered by the viewer, this precarious seeming structure is designed to be entered and explored. Concepts of waste, sustainability, heritage, and the contrast between the industrial and the handcrafted are important to his work.

https://www.qagoma.qld.gov.au/whats-on/exhibitions/apt8/artists

Yardena Kurulkar
| Winner of the 64th Blake Art Prize 2016

Exploring the ephemeral nature of humanity, Yardena Kurulkar won the top award of the 64th Black Art Prize for her work Kenosis. She used 3D printing as a technology to acquire a life-size terracotta model of her own heart. Submerging the heart in water, an image was captured at regular intervals of disintegration. This led to a documented journey of the heart into nothingness in a series of fifteen selected images of framed time. The Blake Art Prize was founded in the 1950s and is still one of the most respected prizes in Australia. The Prize champions art that inspires debate about spirituality and religion, and the role of faith in history, personal life and community.

Image: Kenosis, 2015

Bharti Kher
| Matter, Vancouver Art Gallery

9 July – 10 October, 2016

Known as one of the most influential contemporary artists from India, BHARTI KHER Matter is the artist’s first major North American survey. It features the diversity of Bharti Kher’s practice, incorporating elements of painting, photography and sculpture that have been the hallmarks of her international career over the past two decades.

Image: Warrior with Cloak and Shield, 2008

http://www.vanartgallery.bc.ca/the_exhibitions/exhibit_kher.html text: Vancouver Art Gallery Press Release popup:true)

Forming in the Pupil of an Eye
| 3rd Kochi-Muziris Biennale

12 December, 2016 – 29 March, 2017

The Kochi-Muziris Biennale, curated by Sudarshan Shetty, celebrates both contemporary art as well as the cultural legacy and history of Kochi. A total of 97 artists from 31 countries showcase their work across 12 venues spread over the city, including former warehouses, wharfs and factory buildings. Writers, dancers, poets, musicians and theatre professionals share the Biennale space alongside a host of visual artists.

© Kochi-Muziris Biennale / A J Joji

http://kochimuzirisbiennale.org/kmb_2016_curatornote/

Reena Saini Kallat
| Insecurities: tracing Displacement and Shelter, The Museum of Modern Art, New York

1 October, 2016 – 22 January, 2017

The exhibition focuses on flows and movements of travelers, migrants, and labor across the world, producing major social and economic implications as well as new forms of cultural exchange. With technology and commerce blurring geographic boundaries, cultural identities are freed from a physical place. Reena Saini Kallat conceived ‘Woven Chronicles’ with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact and are entwined in
a symbolic web.

Image: Woven Chronicle, 2015

https://medium.com/insecurities/woven-chronicle-e494ea66e782/ text: Reena Saini Kallat

Vibha Galhotra
| Asian Culture Council Award 2016-2017

Vibha Galhotra is the recipient of the prestigious Asian Culture Council Award 2016-2017. The ACC works to advance international respect and understanding between people and cultures through transformative cultural exchange. The award is presented to an individual from Asia or the US who has made a significant contribution to the international practice or study of the visual or performing arts of Asia.

Image: Between Known and Unknown, 2011

Jitish Kallat
| Here After Here, National Gallery of Modern Art, New Delhi

14 January – 14 March, 2017

The exhibition, curated by renowned Catherine David, brings together over 100 works, encompassing a time frame of almost 25 years. Ranging across various disciplines – from painting, photography and drawing to video and sculptural installations – the most comprehensive exhibition of Kallat’s works to date spans two buildings of the NGMA without following a linear chronological trail. Exploring the many processes, themes and ideas that reappear throughout Kallat’s artistic practice, the works are juxtaposed in previously unseen ways to enable new readings and reveal hidden relationships.

Lionel Wendt
| documenta 14, EMST National Museum of Contemporary Art, Athens

8 April – 16 July, 2017

The Sri Lankan artist and polymath Lionel Wendt (1900-1944) is considered as one of Asia’s earliest and important modernist photographers. Almost completely forgotten for several decades, he was the pivotal figure of the ’43 Group, one of the most distinctive art movements in Asia. In matching international standards in photography, his works document and celebrate the sensitivity and tradition of Ceylon. His preoccupation with the male and female body resonates with local subjects, while adopting the vocabulary and legacy of modernism.

Image: Untitled (Suramba Druming), c. 1935

EMST Press release

Rashid Rana
| Asia Arts Award 2017

Pakistani artist Rashid Rana has been awarded the Asia Arts Award together with Japanese photographer Hiroshi Sugimoto, Hong Kong artist Hon Chi Fun and Kimsooja from South Korea. Announced in Hong Kong in March 2017 by the Asia Society, the Asia Arts Award is a signature event celebrating artists for their significant contributions to contemporary Asian art and their role as distinctive voices on the global scene. Past honorees from India include Bharti Kher and Nalini Malani.

Shilpa Gupta
documenta 14, Karlskirche Kassel

19 May – 17 September 17, 2017

On show are four works by Shilpa Gupta which examine the spoken word as being of great importance in sustaining faith. Her sound installation I Keep Falling at You investigates the power of language in the digital age. Resembling a vast, pod-shaped swarm of bees, thousands of microphones are suspended from the ceiling, from which a cacophony of whispering and singing sounds emanate.

Image: I Keep Falling at You, 2010

Press Release documenta 14, Karlskirche Kassel

Manish Nai
| Fondation Fernet-Branca, Saint-Louis

14 June – 8 October, 2017

Manish Nai’s first institutional exhibition in Europe is dedicated to the artist’s abiding interest in the abstract dimensions of form and volume through exploring the plastic potential of ‘poor’ materials. Investigating the textural and spatial possibilities of newspapers, old clothes, cardboard, mesh and jute, he is interested in how the process of making is intricately related to the end result, taking into account the vagaries of chance. While his practice is deeply inspired by his journeys through his hometown Bombay, its urban architecture and topography, his work resonates with the pictorial and sculptural legacies of modernist art.

Gauri Gill
| Clouds⇄Forests, 7th Moscow International Biennale of Contemporary Art, Moscow

19 September, 2017 – 18 January, 2018

The Biennale Clouds⇆Forests, curated by Yuko Hasegawa, director of the Museum of Contemporary Art, Tokyo, includes works of 52 artists from 25 countries. The exhibition focuses on a new eco-system formed through a circulation of ‘Cloud Tribes’, born on the Internet cloud space, and ‘Forest Tribes’, born on cultural origins. The ongoing series Fields of Sight by one of India’s most celebrated photographers, Gauri Gill, stands out for its unique collaboration with the painter Rajesh Vangad of the Adivasi community, a minority in rural India. The landscape photographs by Gauri Gill, inscribed by drawings by Rajesh Vangad, create new visual narratives that symbiotically merge the language of an urban photographer and an artist from the tribal area, telling stories that demand to be heard as equally contemporary and relevant.

Image: Gods of the Home and Village from the series Fields of Sight, 2014/2015 © the artist

Siji Krishnan
| Clouds⇄Forests, 7th Moscow International Biennale of Contemporary Art

19 September, 2017 – 21 January, 2018

The Biennale Clouds⇆Forests, curated by Yuko Hasegawa, Artistic Director of the Museum of Contemporary Art, Tokyo, includes works of 52 artists from 24 countries. The exhibition focuses on a new eco-system formed through a circulation of ‘Cloud Tribes’, born on the Internet cloud space, and ‘Forest Tribes’, born on cultural origins. Siji Krishnan’s ‘Unknown Family Portrait’ draws on the tradition of family trees as a genealogical source as well as the Tree of Life. Painted on leafy rice paper, the tree – an explicit symbol of growth, seasonal death and revival – is an inherent part of folklore and local story telling. Rich in religious and mystic representations, it is a recurrent motif in Indian miniature painting where it evokes the idea of paradisal gardens in order to complement the painting’s narrative and cosmic composition.

https://moscowbiennale.art/article/729805983329313382/the-7th-moscow-biennale

Bharti Kher
| Sketchbooks and Diaries, Isabella Stewart Gardner Museum, Boston

20 September, 2017 – 10 September, 2018

Bharti Kher, 2013 Artist-in-Residence at the Isabella Stewart Gardner Museum, was enriched and recharged by spending time thinking and living amongst the Museum’s extraordinary building and art treasures. The focus of this exhibition is a series of drawings and notebooks Bharti Kher made during that time. Charged with humor and a capriciousness that is smart and mischievous at the same time, the drawings investigate the enigmatic paradoxes of what it means to be human.

Image: Untitled, 2013

https://www.gardnermuseum.org/calendar/exhibitions/sketchbooks-diaries

Simryn Gill
| The Opening Up of the World, Lunds Konsthall, Lund

30 September – 3 December, 2017

The Opening Up of the World is the first institutional solo presentation by Simryn Gill, a Malaysian national of Indian ancestry, in a northern European country. The title of the exhibition is taken from a textbook in political economy from 1936 by J. F. Horrabin, a Marxist geographer, well known in his time. The works on display articulate the experience of mapping and the mapping of experience. United by the concern of record-taking in its varied forms, they can be understood both figuratively, as the imprint that the world makes on the artist and that she conveys to us through her work, and literally, as when she makes prints directly from sprouting coconuts or run-over snakes.

https://lundskonsthall.se/en/exhibitions/2017/simryn-gill/

Raghubir Singh
| Modernism on the Ganges: Raghubir Singh Photographs, The Metropolitan Museum of Art, The Met Breuer, New York

11 October, 2017 – 2 January, 2018

Raghubir Singh (1942–1999) was a pioneer of color street photography who worked and published prolifically from the late 1960s until his death in 1999. Using a handheld camera and color slide film, he recorded India's dense milieu in complex frieze-like compositions teeming with incident, fractured by reflections, and pulsating with opulent color. This retrospective exhibition situates Singh's photographic work at the intersection of Western modernism and traditional South Asian modes of picturing the world. It features 85 photographs by Singh in counterpoint with works by his contemporaries—friends, collaborators, fellow travelers—as well as examples of the Indian court painting styles that inspired him.

Image: Pilgrim and Ambassador Car, Kumbh Mela, Allahabad, Uttar Pradesh, 1977 © Succession Raghubir Singh

https://www.metmuseum.org/exhibitions/listings/2017/raghubir-singh-photographs

Nalini Malani
| The Rebellion of the Dead. Retrospective 1969-2018, Centre Pompidou, Paris

18 October, 2017 – 8 January, 2018

In a unique collaboration the Centre Pompidou and Castello di Rivoli are staging Indian artist Nalini Malani’s first retrospective in France and Italy. Presented in Paris in 2017-2018, then in Rivoli in 2018, this retrospective in two parts selectively covers fifty years of creativity. In the Centre Pompidou exhibition ‘The Rebellion of the Dead. Retrospective 1969-2018’, the artist presents works that tackle various concepts underlying her oeuvre, such as utopia, dystopia, her vision of India (in particular the result of Partition in 1947), female subjectivity and the profound condemnation of violence related to nationalism. Placing inherited iconographies and cherished cultural stereotypes under pressure, Nalini Malani’s artistic practice is unwaveringly urban and internationalist.

Image: All We Imagine as Light, 2016

The Sculpture Park
| Madhavendra Palace, Nahargarh Fort Jaipur

10 December, 2017 – 01 November, 2018

Embracing the spectacular Madhavendra Palace as a site of contemporary art, curator Peter Nagy has chosen a roster of established and emerging national and international artists to create India’s first sculpture park. Helmed by the Saat Saath Art Foundation, this exceptional exhibition occupies the historic apartments of the palace, including the courtyard. Sculptures by Arman, Huma Bhabha, Anita Dube, Subodh Gupta, Hans Josephsohn, Bharti Kher, Benitha Perciyal, Ravinder Reddy, LN Tallur, Thukral & Tagra, and others create a veritable treasure hunt for the visitor, encountering sculpture in all its contemporary diversity in a wide variety of displays and arrangements.

© Saat Saath Art Foundation

Facing India
| Kunstmuseum, Wolfsburg

29 April – 07 October, 2018

For the first time the Kunstmuseum Wolfsburg presents a group exhibition, curated by Uta Ruhkamp, with works by six women artists from India: Vibha Galhotra, Bharti Kher, Prajakta Potnis, Reena Saini Kallat, Mithu Sen, and Tejal Shah. Facing India critically explores the history of the nation-state, its present and future from a female point of view. In their multimedia works, the six artists emphazise on historical and contemporary conflicts, such as border control, migration, colonialism, social inequality, identity, and gender.

https://www.kunstmuseum-wolfsburg.de/exhibitions/facing-india/

Sosa Joseph
| SUPERPOSITION: Equilibrium & Engagement, 21st Biennale of Sydney

16 March – 11 June, 2018

Curated by Mami Kataoka SUPERPOSITION: Equilibrium & Engagement examines the world today by borrowing the word ‘superposition’, the quantum mechanical term that refers to an overlapping situation. The state of superposition lies across all conceptual levels: from different climates and cultures to views of nature and the cosmic orders, conceptions of Mother Earth and interpretations of land ownership, readings of human history and conditions, the history of modern and contemporary art and the meaning of abstractions. The 21st Biennale of Sydney offers a panoramic view of how they all come together in a state of 'equilibrium', while delving into the workings of individual phenomena, considering the equivalence of these opposing notions through the lens of 'engagement'.

https://www.biennaleofsydney.art/artists/sosa-joseph/

Tanya Goel
| SUPERPOSITION: Equilibrium & Engagement, 21st Biennale of Sydney, Australia

16 March – 11 June, 2018

Curated by Mami Kataoka SUPERPOSITION: Equilibrium & Engagement examines the world today by borrowing the word ‘superposition’, the quantum mechanical term that refers to an overlapping situation. The state of superposition lies across all conceptual levels: from different climates and cultures to views of nature and the cosmic orders, conceptions of Mother Earth and interpretations of land ownership, readings of human history and conditions, the history of modern and contemporary art and the meaning of abstractions. The 21st Biennale of Sydney offers a panoramic view of how they all come together in a state of 'equilibrium', while delving into the workings of individual phenomena, considering the equivalence of these opposing notions through the lens of 'engagement'.

Image: Index: pages (builders drawing), 2018 (detail)

https://www.biennaleofsydney.art/artists/tanya-goel/

Subodh Gupta
| Adda / Rendez-vous at Monnaie de Paris, Paris

13 April – 26 August, 2018

The first exhibition in France takes place in the historic salons of the Monnaie along the banks of the Seine, extending up the main stairway and continuing in the inner courtyard with monumental sculptures conceived especially for this retrospective. On display are iconic early sculptures alongside recent works, reflecting on how intimate and seemingly insignificant objects can offer a glimpse into personal and communal rituals as well as the cosmos at large. Selected pieces will be in conversation with the Monnaie’s permanent collection of metal artefacts to encourage reflection on the medium of metal, both in terms of its symbolic value as well as the technical and artistic skills required to hone it.

Image: Jal Mein Kumbh, Kumbh Mein Jal [The Water is in the Pot, The Pot is in the Water], 2012 © Martin Argyroglo

https://www.monnaiedeparis.fr/en/temporary-exhibitions/subodh-gupta

Vivan Sundaram
| Disjunctures, Haus der Kunst, Munich

29 June - 7 October, 2018

The exhibition at Haus der Kunst, curated by Deepak Ananth, is the most comprehensive and wide-ranging survey of Vivan Sundaram’s work at a European institution. The display is conceived as a sequence of juxtapositions with a view to suggesting how formal and thematic concerns ricochet from one work to another. History, Memory, Archive: the three keywords that the artist has designated as the overarching concerns of his practice are the signposts for articulating the overall structure of the exhibition, an open-ended framework for exploring the connections or disjunctures between these terms and themes.

Image: © Gireesh G.V.

https://hausderkunst.de/en/exhibitions/vivan-sundaram-disjunctures

P R Satheesh
| Possibilities for a Non-Alienated Life, 4th Kochi-Muziris Biennale

12 December, 2018 – 29 March, 2019

Curated by Anita Dube, the 4th edition of the Kochi-Muziris Biennale focuses on the desire for liberation and comradeship (away from the master and slave model) where the possibilities for a non-alienated life could spill into a ‘politics of friendship’. Those artists and communities pushed to the margins of dominant narratives will speak: not as victims, but as futurism’s cunning and sentient sentinels.

http://kochimuzirisbiennale.org/process/

Ali Kazim
| 9th Asia Pacific Triennale, Brisbane

24 November, 2018 – 28 April, 2019

Ali Kazim is interested in the history of Pakistan’s landscapes and the ancient civilizations that once inhabited the region, particularly imagining the stories hidden in unexcavated remains. He regularly visits these areas, studying the clouds and mounds which form the contours of the landscapes, searching for pottery shards and remnants of buried cities. Working in a range of techniques, styles and scales, his delicate and textural paintings capture skyscapes and landscapes in their dormant and lifeless condition.

https://www.qagoma.qld.gov.au/whats-on/exhibitions/the-9th-asia-pacific-triennial-of-contemporary-art-apt9/artists/ali-kazim

Vinu V V
| Possibilities for a Non-Alienated Life | 4th Kochi-Muziris Biennale

12 December, 2018 – 29 March, 2019

Curated by Anita Dube, the 4th edition of the Kochi-Muziris Biennale focuses on the desire for liberation and comradeship (away from the master and slave model), where the possibilities for a non-alienated life could spill into a ‘politics of friendship’. Those artists and communities pushed to the margins of dominant narratives will speak: not as victims, but as futurism’s cunning and sentient sentinels.

http://kochimuzirisbiennale.org/process/

K R Sunil
| Manchukkar – The Seafarers of Malabar, Uru Art Harbour, Kochi

13 December, 2018 – 31 March, 2019

Centuries of seafaring trade and ship-building (primarely the wind-dependent Dhows) have given the region of Malabar its distinct culture. There are only a handful of surviving seafarers and ship-builders today. K R Sunil had the fortune to meet almost all of them. They had endured the love as well as the wrath of the sea throughout their lives, with their faces having the stories etched on them. From ship-wrecks, uncertain voyages to life-changing courses, their tales are no short of wonder. Written down by K R Sunil and exhibited along his compelling series of 34 black-and-white photographs, they offer a fascinating journey into the history of the region.

http://uruartharbour.com/

G R Iranna
| Our Time for a Future Caring, 58th Venice Biennale

11 May - 24 November, 2019

Curated by Roobina Karode, Chief Curator at the Kiran Nadar Museum, New Delhi, the group presentation features works by Nandalal Bose, Atul Dodiya, Rummana Hussain, G R Iranna, Jitish Kallat, Shakuntala Kulkarni and Ashim Purkayastha. Celebrating 150 Years of Mahatma Gandhi, the artists critically engage with the many facets of Mahatma Gandhi, considering his philosophical ideas and their place in today’s complex world, in which violence and intolerance are prevalent. G R Iranna’s installation Naavu (We Together) uses padhukas, Indian slippers made of wood, associated since antiquity with spirituality and reverence. Gandhi’s padukhas, indicative of his adherence to non-violence in the rejection of leather, allude to his idea of passive political resistance, Satyagraha, attained through collective mass action of walking/marching.

https://www.labiennale.org/en/art/2019/national-participations/india

Jitish Kallat
| Our Time for a Future Caring, India Pavilion, 58th Venice Biennale

11 May – 24 November, 2019

Curated by Roobina Karode, Chief Curator at the Kiran Nadar Museum, New Delhi, the group presentation features works by Nandalal Bose, Atul Dodiya, Rummana Hussain, G R Iranna, Jitish Kallat, Shakuntala Kulkarni and Ashim Purkayastha. Celebrating 150 Years of Mahatma Gandi, the artists critically engage with the many facets of Mahatma Gandhi, considering his philosophical ideas and their place in today’s complex world, in which violence and intolerance are still prevalent. Jitish Kallat’s ‘Covering Letter’ is a piece of historical correspondence beamed onto a curtain of traversable dry-fog; a brief letter written by Gandhi to Hitler in 1939 urging him to reconsider his violent means.

https://www.labiennale.org/en/art/2019/national-participations/india

The Sculpture Park
| Madhavendra Palace, Nahargarh Fort, Jaipur

9 December, 2018 – 1 November, 2019

This is the 2nd edition of the The Sculpture Park, a not-for-profit initiative, located in the breathtaking Madhavendra Palace from 1892 which served as a royal pleasure retreat. Inaugurated in December 2017, The Sculpture Park is the first example of collaboration between state government and private cultural philanthropy in contemporary art. Curated by Peter Nagy and helmed by the Saat Saath Art Foundation, the exhibition attempts to foster greater engagement with contemporary art and Indian heritage, showcasing sculptures by Hemali Bhuta, Lynn Chadwick, Tanya Goel, Reena Saini Kallat, Bijoy Jain, Richard Long, Prashant Pandey, Manisha Parekh, Mark Prime, Ayesha Singh, Asim Waqif, and others.

Mrinalini Mukherjee
| Phenomenal Nature, The Met Breuer, New York

4 June – 29 September, 2019

Mrinalini Mukherjee (1949-2015) was a committed sculptor who worked intensively with fiber before making significant forays into ceramic and bronze. The works presented in this retrospective, curated by Shanay Jhaveri, demonstrate how Mrinalini Mukherjee staged a series of radical interventions in her adaptation of craft and her approach to modernism. Imbued with a powerful, contemporary ethos, her sculptures bask in undoing the distinction between the traditional and the modern, transgressing art-historical categories.

https://www.metmuseum.org/exhibitions/listings/2019/mrinalini-mukherjee-phenomenal-nature

L N Tallur
|Interference Fringe, Grounds for Sculpture, New Jersey, Hamilton

5 May, 2019 – 5 January, 2020

Interference Fringe by L N Tallur is a major survey exhibition exploring the conceptual practice of the artist. Curated by Gary Garrido Schneider, it features 26 artworks in a range of media including found objects, appropriated industrial machines, carved stone and wood, cast bronze, sculptures embedded in concrete, and a new work in film. Tallur often makes reference to cultural symbols and mythology including those from his native India. By pairing the sacred with the secular, handmade with machine-made, or decorative with functional, he purposefully obscures, transforms, and subverts the traditional reading of these varied references.

https://www.artsy.net/show/grounds-for-sculpture-interference-fringe-tallur-ln

Gauri Gill
| The Life of Things, Momenta 2019, Biennale de l’image, Montréal

5 September – 13 October, 2019

With her photographic series Acts of Appearance, Gauri Gill presents members of the Indian Adivasi community in Jawhar (Maharashtra) wearing masks as they 'perform' their daily activities. The community’s members are known for the papier-mâché objects that they create, including traditional masks that suggest spiritual beings. For Acts of Appearance, Gill commissioned craftsmen to produce a new set of masks, inspired instead by the community’s contemporary reality. In Gill’s framing, the masquerade upturns the conventions of the ethnographic gaze: although the villagers’ faces are hidden, their existence is reaffirmed through the object of disguise.

https://www.momentabiennale.com/en/

Bharti Kher
| In the Company of Artists | Isabella Stewart Gardner Museum, Boston

17 October, 2019 – 20 January, 2020

This fall, the Isabella Stewart Gardner Museum is celebrating the living legacy of artists with the exhibition ‘In the Company of Artists. 25 Years of Artists-in-Residence’, featuring works by Indian artists Bharti Kher, Dayanita Singh, and others.

https://www.gardnermuseum.org/calendar/exhibition/company-artists

Shakuntala Kulkarni
| Unhomed, Uppsala Art Museum, Uppsala

1 February – 10 May, 2020

This exhibition, curated by Rebecka Wigh Abrahamsson, brings together a group of international artists, whose creative practices are in constant dialogue with the complex narratives of cultural heritage, history writing, and freedom of speech. Their art examines borders between public and domestic spaces in rapidly changing cities, underlining colonial structures and national aspirations, while at the same time mapping the geography in terms of gender, class, ethnicity and religion. “To be 'unhomed´,”' says Indian scholar and cultural theorist Homi K. Bhabha, “is not to be homeless, but rather to escape easy assimilation or accommodation”.

http://uppsalakonstmuseum.se/en/exhibitions/unhomed/

Reena Saini Kallat
| Potential Worlds 1: Planetary Memories, Migros Museum für Gegenwartskunst, Zurich

7 March – 11 October, 2020

This group exhibition is the first in a series of two, exploring the relationship between humans and nature. The works on view in the first chapter draw attention to the ways in which the environment has been appropriated in the pursuit of power and resources, shedding light on the repercussions for both nature and the social fabric.

The exhibition will be on view at YARAT Contemporary Art Space, Baku from 13 November, 2020 - 21 February, 2021.

https://migrosmuseum.ch/en/exhibitions/potential-worlds-1-planetary-memories

Balkrishna Doshi
| Architecture for the People, Architekturzentrum Wien, Vienna

29 May – 29 June, 2020

B V Doshi (born 1927) became the first Indian architect to be awarded the prestigious Pritzker Prize in 2018. His visionary work in the low-cost housing and urban planning sectors and his strong commitment to education are central to his humanist approach. Having worked with Le Corbusier and Louis Kahn in the 1950s, he has developed a vocabulary of his own, combining modern principles with traditional Indian techniques. Influenced by Mahatma Gandhi’s teachings, Doshi developed new approaches to experimental housing based on the participation of prospective residents, enabling adaptation to changing needs and circumstances. His ideas of sustainability and the social, ecological and economic dimensions of architecture are highly topical.
Curated by Khushnu Panthaki Hoof

https://www.azw.at/en/event/balkrishna-doshi/
Image: ©Iwan Baan, 2018

Nalini Malani
| You Don’t Hear Me, Fundació Juan Miró in collaboration with ‘la Caixa’ Foundation, Barcelona

20 June – 29 November, 2020

As the winner of the 7th edition of the Joan Miró Prize in 2019, Nalini Malani has conceived and curated, in collaboration with Martina Millà, an immersive exhibition. Inviting visitors to explore some of the main topics at the core of her work, such as ancient mythologies and contemporary injustice, the show focuses on the untiring defence of the silenced and dispossessed, particularly women. You Don’t Hear Me brings together some of the most important works from the past five decades and offers a unique dialogue between Nalini Malani’s early films from the late 1960s, paintings series and installations from the past fifteen years, and her most recent digital animations.

https://vimeo.com/430379444