Wednesday, 1 February 2023

The Mystery Cult


These new paintings by Sachin Sagare, like his previous body of work, arrives in a headlong rush of invention festooned upon a canny theme, in this case the female body in nature. He places groups of rural women worshippers; he names them as nymphs, dryads and goddesses into clearings in deep, dark background, thus activating irresistible tropes of an Indian painting tradition meant for royals. A more occult art comes to mind in these unkempt, unruly wildernesses, one which begins with the temple women.


Artist: Sachin Sagare


The large acrylic paintings in the exhibition swirl chorus of graphically insistent folk women, white blossoms and filigreed stalks that recalls the backyard raptures of rural India. Sagare’s glades are uninhabited; their everyday ecstatic includes luminous beings, spirits of the feminine whose spare, archaic profiles float among the flowers. Faces, flowers, oil lamps and puja-thalis  are painted with a kind of folk-art zeal while the cerulean temple walls behind, solidly modeled then dematerialized by dancing layers of sprayed pigment, is appealingly contrary in color, scale and attack.

Sagare’s experimental approach to mark-making thick or thin, macro or micro, tight or loose, brushed, sprayed or sponged goes for both background and figures. In one his paintings a lone woman in a classical pose is incised in green against the mottled background like a fading figure on a krater. Also cut from traditional lines, in this case black, are five hollow women in mystery cult, who seem to be lost, while by contrast, in the other work the three women protagonists are entangled in a single libidinous squiggle of green and yellow paint that, like flesh to verges on the repulsive. Changing tactics again, Sagare gives the golden apparitions to the three women with an earthy substance. They gesture with a narrative refinement that suggests, along with their warm, coppery tarnish, the microcosmos of an old temple pillar. Sagare, however, putting the brakes on such skillful seduction according to his restless temperament, encloses this exquisite scene in a dark, seething carving on temple panels and walls as brut as the figures are delicate.




Gender critique aside, the painting’s are busy, stop-motion scenography seems like an attempt to do the uncannily naturalistic, his figures form a certain logic to the way followed. The paintings in the show, for that matter, are distinctly re-engineered for function the small paintings marvelously contain their own charm. A large work rages a preposterously scumbled orange-green, barely contained by the jutting blue and purple forms of super-cooled, super-flat conifers. As in all the paintings, however experimental, internal typology is firmly organized motifs, motifs, figures and oil lamps. In this second large, ravishing version of the theme, clamorous day has turned to mysterious night. The precisionist symbolism echoes in Sagare’s crisp and fluorescent canvases, scintillating against a nocturne of blue-violet and black. Yet rogue textures icky drips and thorny bumps interrupting the most beautiful passages remind us of art concoction.

The paintings of Sachin Sagare display an overwhelming elasticity to them. Visceral grit, orchestrated by a network of collaged material, weaves its way into more traditional painting language. Elegance is replaced with subtlety of intrusion and the tenderness of seamless collision. His figures are painted with skins that seem vividly translucent, allowing us to gaze through the stratified layers of paint. Their luminescence seems both coy and purposeful, often serving as the only rational light source.

Sagare manages to excise gender performances from his paintings almost entirely In this intentional defamiliarization of space, he begins to deflate the omnipresence of normative social structures that forcefully define how and where conventionally feminine bodies are supposed to function. In this way, he prevents us from hijacking the agency of these figures forcing us to read their bodies as texts. Denying conventional legibility and insist upon the opacity of their own historical narratives.

What I find most intriguing about this work is the way Sagare leans into this obscurity instead of privileging clarity. This playful and at times spectacular irresolution plays a significant role in his work.  Bodies are refigured as complex ensembles, brilliantly synthesizing the facility of his line, his deft paint handling, and a color sensibility.  A collection of hieroglyphic hands, heads, with an elastic relationship to one another and to the spaces they occupy, these robust and curvaceous figures at times aggressively push the limits of the picture plane and at other times are jettisoned into the constellation of body parts strewn about the canvas.

With a firm and confrontational pose, torso twisted around and eyes focused back onto us and with a full view of his bare behind, the figure entices viewers toward this conceptual edge of the painting, reminding us that our polite curiosity is not to be trusted.

We do not miss the clarity of representational narratives in these paintings. Instead Sagare presents us with a curious proposition. What if we affirm the unconventional complexity in the bodies of the women folk? What happens to gender if we decenter masculinity and femininity and consider other modes of selfexpression, displacing history to freely probe and repurpose the sources of our identity construction?  There is no rush to answer these questions here. He instead forces us to sit, wholly attentive and present with every painting. This is encouraging.

- Abhijeet Gondkar





 Press Release

31st January to 6th February 2023

“The Mystery Cult”

An Exhibition of Paintings by contemporary artist Sachin Sagare

 

VENUE:

Jehangir Art Gallery

161-B, M.G. Road,

Kala Ghoda , Mumbai  - 400 001

Timing: 11am to 7pm

Contact: +91 9011251869

www.sachinsagare.com

 

"The Wandering Shadow" An Exhibition of Paintings by contemporary artist Milind Limbekar

This exhibition was inaugurated by Mr. Sudhir Mungantiwar( Minister of Cultural Affairs, Forest, Fisheries, Government of Maharashtra in the presence of many art dignitaries.


Artist Milind Limbekar



 

The Wandering Shadow

 

The wandering of mind and soul needs some place to open up. My recent series of paintings has got such space to explore. The present moment, has always a dual feeling of present and absent. The missing moment always travel with us and our wandering mind gets attracted to those whom you feel shall be yours. These missing moments are what I call shadow, they are almost everywhere. The animals in the painting are representation of curbed desires, the anthropomorphic forms that appears comes from anxiousness and split personality which is subtle and dramatic. No wonder the dramatization id shown always in night scenes because they are always hidden like mystery. You have to search and understand them the most vulnerable part in my work is the expression and gestures. I still feel it as incomplete process because the concept of my painting is abstract and can be better represented in abstract manner.

 






 Press Release

31st January to 6th February 2023

 

"The Wandering Shadow"

 

An Exhibition of Paintings by contemporary artist Milind Limbekar

 

VENUE:

Jehangir Art Gallery

161-B, M.G. Road,

Kala Ghoda , Mumbai  - 400 001

Timing: 11am to 7pm  

Contact: +91 9423680511, 8999722709

Sincerely from 2005 + 1000 drawing books Solo show Drawing Books by Tathi Premchand

 



Sincerely from 2005 + 1000 drawing books
Solo show
Drawing Books by Tathi Premchand @tathi_premchand_studio

......

Artist: Tathi Pemchand
Title: Untitel
Size : 9 x 11 Inches
Medium: Pen, Pencil and Mix medi on paper
Year: 2005 - 2021
Categories: Spontaneity abstract , Figurative, uncategorized.
Object: Drawing Book

Price : Rs 1000000/- ( Each book 100 pages )
10 Book set, Rs 10000000 /- $ 122211.30 ¥ 15933770.00 (Rs. 1cr )

Note: Stainless Steel rack is free home deviery. @amazon @flipcart
------

RSVP: 31st Jan to 28th Feb 2023
RSVP: 
"Please respond", to require confirmation of an invitation.

NIPPON

Visitors by appointment

Thursday, 26 January 2023

The spontaneous actions that are a result of subconscious reactions reproduce dreams of space, infinite secrets and potential outcomes of another new world - Smita Kinkale

Smita Kinkale, a celebrated and fable artist especially known for her textured artworks made out of recycled and treated Polymer is being showcased at Tao Art Gallery’s “Unstructured Pursuit Of Perspectives” as a part of the Mumbai Gallery Weekend 2023.

Artist: Smita Kinkale

Her works are a combination of layers of material, thoughts and experimentation. Conveyed forward by a creative mind and the investigation of the notions from her childhood, these artworks are a juxtaposition between abstraction and figurative demonstrations.

This exhibition pictures the artist’s perspectives of visualising the world around and analogy of matters in nature with humans. It creates an ‘unstructured’ experience through art and creativity and makes the viewers consciously sensitive. The combination of lines, dots and primitive shapes created through the layers of polyethene delineate her growing up in rural communities and tribal roots.

The spontaneous actions that are a result of subconscious reactions reproduce dreams of space, infinite secrets and potential outcomes of another new world.

Completed her art education from Sir JJ School of Fine- 1999, Art and the artist lives and works in Mumbai.Smita Kinkale participated in many national and international solo and group exhibitions with Private collection of her painting around the world -

 - Text by Sanchita Sharma

New Delhi - Artblogazine


Tao Art Gallery presents works by  Smita Kinkale  & Rajesh Wankhade under exhibition

"Unstructured Pursuit Of Perspectives” as a part of the Mumbai Gallery Weekend 2023

•A two-man show by artists Rajesh Wankhade & Smita Kinkale, curated by Sanjana Shah •'Unstructured Pursuit of Perspectives' is an amalgamation of different perspectives, where both artists make an 'un-structuring' happen through their art to create parallels of perspective in the mind of the viewer•The end goal is to show the unified state of all, stripping away the existing rigid narratives around the uses of matter and roles of humanity•The works by both artists are layered by not just materiality but also in thought, challenging notions of time and space, presence and absence. •The show opens as a part of the four day preview at the 11th edition of MGW ( January 12- 15) and will continue until January 31, 2023 •As a part of the opening weekend, the gallery will also be hosting  the Staatskapelle Berlin to perform a set of string quartet. It will be an evening wherein Art meets Music!

Tao Art Gallery : Sanjana Shah

Mumbai, December 27, 2022: TAO Art Gallery in collaboration with HIMS Academy, Germany will host a unique show called "Unstructured Pursuit of Perspectives" for the 11th edition of MGW. Curated by Sanjana Shah, the exhibition will showcase artworks by upcoming contemporary artists Rajesh Wankhade & Smita Kinkale. The show opens as a part of the four-day preview at MGW 2023 - scheduled from January 12- 15, 2023 and will be on display till January 31, 2023. 

A prominent part of Mumbai's contemporary art scene and MGW roster - Tao's latest show highlights the fundamental human pursuit of revelation. Both artis make an 'un-structuring' happen through their art to create perspective parallels in the viewer's mind. 

In the spirit of celebrating diverse forms of art, the gallery will be hosting Tilia-Quartet of Staatskapelle Berlin on Saturday, January 14, 2023 (6 - 7:30 pm). Four young musicians of the Staatskapelle Berlin will perform iconic pieces by Franz Schubert, Wolfgang Amadeus Mozart, & Felix Mendelssohn-Bartholdy. Taking its name from the Staatsoper Unter den Linden - Berlin, Tilia being the Latin for Linden Tree, the Tilia Quartet has performed in numerous highly acclaimed concerts in Germany and several international festivals. 



"Disillusionment causes the breaking and re-making of who we imagined ourselves to be. However, the human capacity to look beyond, despite the chaos within, is beautiful and necessary for growth and new perspective. Artists Smita Kinkale and Rajesh Wankhade, in their extremely different and distinctive mediums, explore just this fundamentality of existence. The works are layered by not just materiality but also in thought, challenging notions of time and space, presence and absence" says Sanjana Shah, Creative Director of Tao Art Gallery.        

Taking a cue from the use of plastic from her childhood village, Smita uses layers of plastic and converts them into aesthetic models of experiential art. Her series called "Neo Nature" attempts to make the viewers conscious about her new world and introduce them to sensitive consciousness. Drawing inspiration from spiritual happiness, Rajesh uses a more figurative approach in his artwork. His artwork is more figurative - where human forms are moving between various stages of disintegration - displaying movement between different planes beyond the physical.

Kinkale says, "I have always captured my imagination in lines, dots and primitive shapes through many layers with a combination of polyethene. It reflects my growing up in a rural backdrop and my tribal roots. The material I select for my works has a tactile appeal. I create and make references to the images of my work which is a subconscious reaction which I lived but also transformed to other new spaces." 

Replete with the juxtaposition between the abstraction and the figurative, the show interestingly explores the thought of what is material, what is spiritual and their interchangeability. The end goal is to show the unified state of all, stripping away the existing rigid narratives around the uses of matter and the roles of humanity. 

Artist: Rajesh Wankhade,  (Oil colour & mixed media on canvas)

Speaking about his artwork and inspiration, Wankhade says, "I live in this stream of thought every day. A lot of questions arise, and they try to solve them. And then, instead of studying the world, it is expected to study oneself. Then the focus is on itself. And while exploring oneself internally, a thesis was formed. The vision of seeing oneself with a scientific body matured. So human figures in search of knowledge started appearing in my paintings. The human form in my paintings is always in search of knowledge. Such knowledge that beyond that knowledge, there is no turning back. He strives to find the ultimate end of giving. So in my painting, space and time got a place. The clock came as a symbolic form of time."

Tao Art Gallery

Address: 165, The View, Dr Annie Besant Rd, Worli, Mumbai, Maharashtra 400018

T: 022 2491 8585  |  E: info@taoartgallery.com

Sunday, 22 January 2023

My paintings too are most spontaneous expressions rather than well planned process so you will always find variety in the work.


My drawing books are not showpieces. You cannot decorate your drawing room to make it look beautiful, but you can decorate your mind with it to make your body beautiful.

Artist: Tathi Premchand

Most of my time is spent in traveling by local trains in Mumbai. I prefer it to any other mode of traveling. It is the institute for me. Thousands of minds brush with each other every single moment. People have their own news, views, opinions, reactions, sometimes resulting in mass appeal. I can view the emotional and practical reaction of the fellow citizens by interacting with them and I think they are all creative minds and provide lot of essence to my creation. I see a person trading in vegetables or scraps has more perfect knowledge of economics and politics of the world. He doesn't need a degree or big fat books to update his knowledge; the everyday struggle is guide for him. That's something different which you find only in local trains. It also represents mini India with its clashes and unity projected from time to time. People converse and argue as if discussing the issue in the world conference.


Variation is but natural in my paintings. Just as Heraclitus had rightly said, ‘It is not possible to step twice in the same river.’ My paintings too are most spontaneous expressions rather than well planned process so you will always find variety in the work. Every work has different appeal and presentation method, setting different moods with use of topic relevant colors, forms and style. Painting is not just passion for me; it is a part of my life. I paint when I get stimulated to do so. There are times when for days together I do not paint at all.

I gradually was introduced to Galileo, Heraclitus, Osho, Mirza Galib, Kabir, and Lao Tuz and their lives. Their philosophies have greater impact on my work and my self being. Pablo Picasso is great artist; Though his work has good impact on my life, but it does not influence my work. I cannot even follow foot step of my own work. 


Pankakja JK -2005

Publish first at www.artblogazine.com

----------------------------

@nippongallery @tathipremchandstudio

Sincerely from 2005 + Drawing Books by Tathi Premchand

Preview Night: 31st Jan 2023, Time: 6 to 10pm 






31st Jan  to 28 th Feb 2023   

RSVP: Visitors by appointment only

"Please respond", to require confirmation of an invitation.

NIPPON

30/32, 2nd Floor, Deval Chambers,

Nanabhai Lane, Flora Fountain, Fort,

Mumbai – 400 001, India.

Saturday, 21 January 2023

The Cosmos Flux

 


Sandesh Khule


The strength of Sandesh Khule’s paintings resides first and foremost in their self-containment. That insularity is in part a function of their proportions. They invoke the feeling of being bastion islands in the flux of fashion, knowing full well that their own consummate stylishness is one of the reasons they so successfully resist external pressures. Khule knows that the dynamic sturdiness of an image is wholly a product of the rigor of its internal armatures in tension with its outer boundaries. The spare pictorial structures strictly observe that rule, whether they consist of visibly locked in matrices or of frameworks whose joinery is incompletely articulated but palpably considered throughout. That is, grids in which sections may suddenly drop without viewers ever losing their bearings or the overall framework of the composition imploding into disjunctive fragments. Moreover, consistent with his otherwise divergent purpose he is just as muscular. And the capacity to absorb counter forces imbues every dexterous line he traces.  

He locates the sublime not in vast baroque volumes and polychrome plateaus but in zones that are close to hand, intimate zones where predominantly close valued hues are lit up by flashes of color as lightning bolts illuminate the desert at dusk or neon signage sparks in the rain along vacant thoroughfares at the urban margins of landscape. The woks thus serve as sensations one has had in the real world that are evoked Khule’s experience of made up, abstract world. For in the final analysis such correspondences and associations draw us to otherwise unfamiliar images and they continually discharge their poetic stimulus long after we have absorbed all that is fresh and distinctive about them.  




Khule does all this within the physical confines of his chosen formats, grasping that those voluntary physical constraints release rather than bottle up his gift for invention. His early works hewed towards severe minimalist strains of abstraction; however Khule is not an ism-obsessed artist at any level. Then came a phase of subdued but recognizably dazzle in which the oblique was pitted against the square off, and cool acid greens and blues were flickering juxtaposed to off key oranges and bright reds, pinks or to earth or flesh tones masquerading as tints of a more aggressive decorative or cosmetic order. In both bodies of work, pigment went down matte and flat. Lately there have been disturbances in that once uniformly inflected painterly field while gray, slate blue, moss green, deep pumpkin, maroon have become more common. In broad expanses brush marks have started to show, agitating everything in their vicinity or reinforcing our sense of the relative fixity of those elements in which brush strokes have been entirely subordinated like tides washing up on breakwaters, in a sense of aquatic metaphors. With these developments Khule reminds us that he issues from a long tradition of gesturalism and the die cut bars of pigment should be read in terms of how they thrust into and configure the comparative emptiness surrounding them, although some have monochrome backgrounds felt so solid or looked so much like criss-crossed foregrounds.

It is with respect to this ability to give subtle moves dramatic accents and to make little pictures register with the impact of large ones that Khule’s work bears an affinity of deceptive modesty. Such a conviction derives from something intrinsic in his work. That something, contrary to first impressions, is an immodest ambition specifically the drive to create uniquely memorable images, one that nevertheless recognizes the dangers of over statement and values the virtues of what may seem to be an understatement until viewers have had a chance to re-gauge absurdly dilated sensibilities and bring them back into the sharp focus required by thoroughly considered, completely realized painting of every scale. Right now doing the right thing favors compression and decisiveness over grandiosity and approximation, over the supersized and the generic but excessively finished. Khule has come down on the side of making things that could be no other size and no other way. Nor need they be to satisfy those who care to pay attention. The beauty, common to all of the paintings, is that the shifts, when located, are as much felt as they are measured. There is a precision here that does not exclude either intellect or sensual pleasure. Neither of these attributes is reduced because of the presence of the other; on the contrary, they combine to enhance each other. His paintings are promises made with full understanding of the stakes and are promises kept, one by one by one. 


- Abhijeet Gondkar 2023 


Tuesday, 17 January 2023

My visual compositions ‘Second Self’ speak about our shadows that are a constant reminders of who we are. No matter what we do, where we go, our shadow always remains true to us.

  

Artist: Trupti Joshi


“Second Self” Paintings Exhibition by Contemporary artist Trupti Joshi in Jehangir,Life’s experiences and impressions left by all that happens around us continues to inspire my artistic journey.

My visual compositions ‘Second Self’ speak about our shadows that are a constant reminders of who we are. No matter what we do, where we go, our shadow always remains true to us. 

On an otherwise blank canvas, they add a dimension unknown to the subject. At times, what we are is reflected by the shadow that often creates an intriguing dimension, representing us in the unpredictable form (s) /strengths in response to a certain situation or stimuli.

This particular series appreciates a  deep connection with self whilst depicting forms highlighted with textures and strokes. In this series, pots symbolise humans  and shadows are their inner self and strengths.

In my paintings, shadows are in fact a “positive space” and not “negative space” so to say.As an artist I intend to simplify things, and try to see the innocent version of people and objects around me.

Series of artworks:



"THE GRACEFUL GODDESS"


Spirit of ecstasy, is truly an ever evolving symbol of success. An eclectic series of the timeless classic, vintage Rolls Royce cars. This series emerged as a consequence of my desire to paint an object of exquisite craftsmanship that glorified & revolutionised Engineering excellence in motorised vehicles. 

As an artist I admire the simple yet bold lines and design of these masterpieces.

"Chappal " 

(Basic footwear) Slippers represent simplicity of life.This series reflects various aspects, connected to our lives; they (slippers) transparently convey the story of existence, struggles and achievements of an individual.

"Tribal" 

Based on Tribal figures and motifs related to tribal lifestyles. I have always found myself attracted towards everything that inspires a feeling of unquestionable regard for nature and how the tribals are not only closest to nature or how their life revolves around nurturing and protecting the nature’s creations (all forms of life). 

Their lullabies and poems, songs and stories, their joy and pain, everything acknowledges the superior Nature, a higher deity that they respect and humbly bow to this omnipresent loving source of life.

Trupti Joshi, born & brought up in Indore, Madhya Pradesh, graduated in Fine Arts (Painting) year 2004 from the prestigious GIFA.Currently, she is based in Vadodara, Gujarat.



VENUE: Jehangir Art Gallery, 161-B, M.G. Road,

Kala Ghoda, Mumbai 400 001, Timing: 11am to 7pm, Contact: +91 9769488503


DCP Expeditions to exhibit its Grand Annual Photography Exhibition at Bombay Art Society, Bandra


DCP Expeditions to exhibit its Grand Annual Photography Exhibition at Bombay Art Society, Bandra

DCP Expeditions, India's one of the fastest growing Photography Training Academy will be exhibiting its 8thGrand Annual Photography Exhibition 2023, on 20th, 21st and 22nd January 2023 from 11:00 am to 7:00 pm at Bombay Art Society situated at K. C. Marg, Bandra Reclamation, Bandra West, Mumbai, Maharashtra 400050.

The exhibition carries with it a legacy of 8 years exhibiting astonishing creative photography by hundreds of photographers from across the country and also, from beyond the country borders. The platform aims at providing the talented photographers an exposure to a wider audience. The imagery involves several genres of photography starting from wildlife, birds, macro, landscapes, astro to travel and food photography.


A total of 200 breath taking images by 80 plus professional as well as amateur wildlife, nature, traveland food photographers from across India and abroad, will be displayed in two galleries.Photographs printed on Epson enhanced Matt papers and beautifully mounted in frames will glorify the galleries of Bombay Art Society for three days. The previous exhibitions conducted in the bygone years had immense success with nearing 5000 footfalls over 3 days. This year, the exhibition is optimistically looking forward towards over 7500 footfalls.

This year the exhibition is supported by industry leaderslike Olympus India, Canon India, Nikon India, Creative Newtech Ltd, PhotoStop by Honeycomb Creative Support Ltd. and Lotus Enterprises.


For more information, kindly check the website https://dcpexpeditions.com/

For detailed information, kindly contact:



Dr Caesar Sengupta / caesar@dcpexpeditions.com +91 9819839820

From: 20th , 21st  & 22nd January 2023, DCP Expeditions presents DCP Annual Photography Exhibition 2023


VENUE: The Bombay Art Society K.C. Marg, Bandra Reclamation Opp. Rang Sharda Hotel / Bandra(West), Mumbai 400 050 /Timing: 11am to 7pm / Contact: +91 9819839820 / Email: caesar@dcpexpeditions.com

The National Gallery of Modern Art, Mumbai, Ministry of Culture, Government of India

 

The National Gallery of Modern Art, Mumbai, Ministry of Culture, Government of India cordially invites you to the inauguration of  "The Mind's Cupboard: A Retrospective of Lalitha Lajmi", on Thursday, 12th January, 2023, 5:00 pm at NGMA Mumbai, Auditorium. 

Friday, 6 January 2023

APPLY OPEN CALL


 WOMANISM Now in Mumbai - Group Show -0.4 show


OPEN CALL ONLY for WOMEN

Drawing / Painting / Photograph / Short film / Mix Media / Video Art / Performing art

Curated by Moumita Sarkar

Deadline:10 Jan 2023, Only female artists can apply

Contact: Moumita Sarkar: 7439 119 228

Mention only Female artist can apply

RSVP: +91 9820510599 / Nippon Gallery:on info@nippongallery.com

NIPPON: 30/32, 2nd Floor, Deval Chambers, Nanabhai Lane, Flora Fountain, Fort,Mumbai – 400 001, India.

PIN POSTER: SINGAPORE

SAKSHI GALLERY

 

TARQ: Phallocratic Heterotopia.Memory, botany and ecology play key roles in Makanji’s artistic idiom.

Apnavi Makanji

About the Artist

Apnavi Makanji's body of work spans the mediums of drawing, installation and video. Their preoccupations center around displacement, ecology with an emphasis on botany, explorations of memory and the idea of home. The interaction of this synthesis with the construct of urban spaces and the socio-economic structure of our times, lies at the core of their work.


Their last solo show was Soil as Witness | Memory as Wound, TARQ, Mumbai, 2019.Their other solo shows include Travails of the Wandering Memory Seed, Galerie Félix Frachon, Brussels, 2016, Domus Vulgus, Art Asia Miami (with support from The Guild NY) Miami 2010; Domus Vulgus, The Guild NY, New York 2010.

Makanji recently participated in the Dhaka Art Summit (February 2020). They have taken part in several group shows including CLAUSTROPHOBIA ALPINA II – Subliminal Illuminations & the Shadows of Flight, curated by Varun Kumar, Forde Geneva, 2022; NATURE YOU ARE, Theatre Benno Besson, Yverdon Les Bain, 2022; HEAT, Espace Labo, Geneva, 2022; (ME)(MORY) curated by Dipti Anand, Vadehra Art Gallery, New Delhi, 2021; I LOVE #ArtistesDici a public intervention facilitated by the Fonds Municipal d’Art Contemporain, Geneva, 2020; Narrow Road to the Interior, Vadehra Art Gallery, New Delhi, 2019; Remembering the Present, Vadehra Art Gallery, New Delhi, 2018; Carnets, Halle Nord, Geneva, 2017; Raving Disco Dolly on a Rock ‘n’ Roll Trolley, Envoy Enterprises, New York, 2014; Considering Collage, Jhaveri Contemporary, Bombay, 2013.

Makanji lives and works in Geneva.

Artist Photo Credit: Stephanie Hügli



About the Exhibition

Apnavi Makanji’s second solo exhibition at TARQ, PSYCHOPOMP, comes at a pivotal time in the artist’s life and practice. Featuring their drawings, collages, mixed media sculptures and a video, the works in the show are about post-colonial extractivist histories, queering the future, human connection and navigating the current 

Phallocratic Heterotopia.Memory, botany and ecology play key roles in Makanji’s artistic idiom. In this show, Makanji’s artworks merge visuals of biological species with images of extractivism, 

highlighting how removed our idea of nature is from the truth of our actions towards it. An example of this is Styx, an installation of found objects and blueprints of crude oil extraction sites in West Africa belonging to the French Elf petroleum company, which portray the artist’s concerns on subjects of neo-colonialism, slave labour, and extractivism. 

Juxtaposed with this bleak reality of the world, a portion of this body of work explores what is termed by the artist as, “the possibilities of a post anthropocentric world through a queer lens”. Here, Makanji views being queer as the ability to adapt, as well as the ability to be kind, compassionate and soft. As described by the artist, “PSYCHOPOMP guides us toward but also embodies this proposition of a Queertopia that stems from a collective, intersectional awareness that is not exclusive to our species but extends itself to every other species including the botanical and mineral worlds.” 

F35/36, Dhanraj Mahal, C.S.M. Marg, Apollo Bunder, Colaba, Mumbai 400 001

+91 22 6615 0424 | info@tarq.in | www.tarq.in


Thursday, 5 January 2023

OPEN CALL APPLY Absolute Abstraction Group Show -0.1

 

OPEN CALL
APPLY

Absolute
Abstraction
Group Show -0.1

Curated by
Heena Sk @heena_sk_artist

Deadline: 15 Jan 2023
Contact: Heena: +91 98810 10953

ONLY for 6 Artists, Limited display

Send six image of works and CV last 5year with Subject open with details: info@nippongallery.com

RSVP: +91 9820510599 / Nippon Gallery: on info@nippongallery.com

RSVP: Nippon Gallery:

on info@nippongallery.com

NIPPON
30/32, 2nd Floor, Deval Chambers,
Nanabhai Lane, Flora Fountain, Fort,
Mumbai – 400 001, India.

@nippongallery @tathipremchandstudio
#KOLKATAGALLERY #KOLKATAART #OPENCALL #APPLY #sndtartcollege #Abstraction #Abstractpainting
#santiniketan #jjschoolofart #delhiartcolleage #indianwomenartist @tathipremchandlife @nippongallery