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Gujral Foundation

Colomboscope

By international
Venue:

Rio Complex, Colombo

Colomboscope

The Gujral Foundation was pleased to support the sixth edition of interdisciplinary arts festival COLOMBOSCOPE, curated by Natasha Ginwala, which was held at different historical venues and cultural spaces in Colombo from 24th until 31st January 2019. Over thirty intergenerational local and international visual artists, filmmakers, musicians and scientific experts participated in SEA CHANGE; evoking stories of maritime history, delving into oceanic ecology and shipping infrastructure.

In the absence of writing | Astha Butail

By Explore
Venue:

24 Jor Bagh, New Delhi

In the Absence of Writing

India Art Fair 2019 – Collateral Event | 24 Jor Bagh

24, Jor Bagh, New Delhi | 2 – 28 February 2019 11 am – 7 pm (closed on Monday)
Solo Project by Astha Butail

Astha Butail’s solo show ‘In the Absence of Writing’ was a culmination of the artist’s year long journey in researching memory and living traditions that are passed on through teachings and oral poetry, with a focus on Zoroastrian Avesta, the Jewish Oral Torah and Indian Vedic philosophy. As a multidisciplinary artist, Butail is trained in textile design and has studied Sanskrit. She uses geometry, cultural systems and oral traditions as metaphors to respond to her research. Drawing parallels between traditions, she presented her journey through abstracted hymns from the Rig Veda and varied mediums; video, sound, sculpture and experiential installations invited the viewer to an interactive exploration of cultural values, lived spaces and notions of time. Butail received BMW’s Art Journey award for her research in 2017-2018. The show was curated by Reha Sodhi and included new works, as interventions in the space at 24, Jor Bagh, commissioned by The Gujral Foundation.

Astha Butail

Born in 1977 in Amritsar, India, Butail’s recent solo exhibitions include Locus of Being (2017) and Manifested Ratios (2014) at GallerySKE, Bangalore, India. Group exhibitions include Unearth: Matter,Time, Process (2017) at Exhibit320, New Delhi, India; Raster: Emerging from the Grid (2016) at Experimenter, Kolkata, India; Codes of Culture (2015) at GallerySKE, New Delhi, India; Make/Do (2014) at GallerySKE, New Delhi, India; Fracture: Indian Textiles, New Conversations (2015) and Sarai 09: The Exhibition (2013) at Devi Art Foundation, Gurgaon, India. The artist lives and works in Gurgaon, India.

Kochi Biennale

By international
Venue:

Fort Kochi, India

Kochi Biennale

The Gujral Foundation has supported the pioneering Kochi-Muziris Biennale from its inception as a venue patron for the historic Aspinwall House houses the main exhibition, and Cabral Yard. The fourth edition of the Biennale ran from 12 December, 2018 until 29 March, 2019. Feroze Gujral is a co-founder and Trustee of the Kochi-Muziris Biennale.

Art Induct

By Explore
Venue:

Bikaner House, New Delhi

Art Induct

The Gujral Foundation presented an interactive introduction programme for YFLO. The carefully curated day-long session brought together premier art historians and practitioners to give the audience a comprehensive understanding of art and the art market. Participants of the programme took away practical information on appreciating, collecting and supporting the arts. Our panel of speakers included gallerist Peter Nagy, historian Gayatri Sinha, collector Nitin Bhayana, art patron Feroze Gujral , the artist duo Thukral and Tagra and others. The specially curated programme for members of YFLO included an live auction led by Mallika Advani from the auction Pundole’s. Art Induct was a gateway into the arts directly from the experts.

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By Uncategorized

My East Is Your West

My East is Your West, a Collateral Event of the 56th International Art Exhibition – la Biennale di Venezia, opens today, Tuesday 5th May 2015. Commissioned by The Gujral Foundation, this landmark exhibition unites for the first time at the Biennale the historically conflicting nations of India and Pakistan in a shared exhibition by artists from both countries. Shilpa Gupta (Mumbai) and Rashid Rana (Lahore) each present a new series of works at the Palazzo Benzon, situated in the centre of Venice on the Grand Canal. As neither India nor Pakistan has a permanent national pavilion in Venice, this presentation provides a unique platform for artists from South Asia to enter into a dialogue through the arts, representing the Indian subcontinent as one region.Titled after a light installation by Shilpa Gupta, My East is Your West was born out of the desire to reposition the complex climate of historical relations between South Asia’s nation-states and presents the region as a shared cultural cartography. Shilpa Gupta’s new series of works brings together over four years of ongoing research in the India-Bangladesh borderlands and the world’s longest security barrier between two nation-states currently in construction. She exhibits works ranging from installation, video, photography, drawings, text-based pieces and performance, which will take place throughout the opening week and at intervals throughout the Biennale. Rashid Rana presents an immersive setting across five rooms surveying the conception of presence, temporality and location as collective experience, across digital printmaking, video and installation. In a livestream video work, produced in collaboration with the Lahore Biennale Foundation, viewers will be transported from Venice to Lahore and viceversa.Reflecting each distinctive practice, both artists explore and examine the integral essence of a people divided, a history which spans antiquity, colonial modernity and a cosmopolitan present entangled inconflict. With works that bring to the foreground entangled realities of the Indian subcontinent, Shilpa Gupta and Rashid Rana develop a material aesthetic that surveys the potential of a common region, separate from the state and its model.Shilpa Gupta and Rashid Rana and Naeem Mohaiemen, also exhibiting at the Venice Biennale, will participate in an artist talk, Imagined Cartographies, focusing on their practice and contemporary art in South Asia. The talk will take place at the Palazzo Benzon on Thursday 7th May from 11:00am – 12:30pm and will be moderated by Curatorial Advisors for the project, Natasha Ginwala and Martina Mazzotta.

Artist:

Shilpa Gupta, Rashid Rana

Venue

Venice, Italy

State of Indigo

By international
Venue:

Somerset House, London

State of Indigo

STATE OF INDIGO ILLUMINATED THE DARK HISTORY OF INDIGO FARMING, A PROCESS THAT WAS EMOTIONALLY ENTWINED WITH BOTH THE COUNTRY’S PRESENT AND THE TYRANNY OF ITS COLONIAL PAST.

The Indian pavilion explored the emotional charge of indigo, a natural colour created from the indigofera plant, which has become synonymous with India’s identity. “This rare and refulgent pigment was used to dye fabric, repel insects, treat ailments, disinfect, ward off spirits and even to decorate an entire city,” said curator Priya Khanchandani. But it also became inextricably linked with colonial trade and slavery. “It was once said that no indigo box dispatched to England was without a smear of blood,” she added. The use of indigo has hence become a symbol of India’s emotional plight, representing “a process of catharsis for a nation whose invisible histories are being unravelled”.

The installation took visitors to the labour intensive setting of the indigo farms where workers are forced to make natural indigo dye. A set of projected images virtually placed visitors in the trough where indigo leaves were crushed during the process of creating dye. Contemporary objects imbued with indigo’s sensuality extended its visual presence. Sounds amplified the questions of labour and mechanisation, and the diffused smell of indigo – earthy and pungent – enhanced the visceral earthiness of the space. “Witnessing the farmers’ rhythmic, mechanical movements, immersed in a cacophony of indigo, will make visitors complicit in their plight,” said Feroz Gujral, Artistic Director of the Gujral Foundation.

Although it took its cue from the past, the Indian pavilion reached out to the present. Indigo has been democratised in the everyday, from its use in denim to the glow of television blue. “Indigo is the powerful and poignant pigment,” said Gujral “that has woven its way into the conscious relevance of India’s emotions, design, craft, consumption and national identity.”

Hello World

By international
Venue:

Museum für Gegenwart, Berlin

Hello World

Hello World. Revising a Collection

28.04.2018 to 26.08.2018
Hamburger Bahnhof – Museum für Gegenwart – Berlin

‘Hello World. Revising a Collection’ was a critical inquiry into the collection of the Nationalgalerie and its predominantly Western focus: What could the collection look like today, had an understanding characterised its concept of art, and consequently also its genesis, that was more open to the world? How might the canon and the art historical narratives themselves have changed through a widening and multiplication of perspectives? With these questions as starting points, the exhibition unfolded in 13 thematic chapters as a many-voiced collaboration of internal and external curators, encompassed the whole exhibition space of the Hamburger Bahnhof – Museum für Gegenwart, Berlin.

Arrival, Incision Indian Modernism as Peripatetic Itinerary

Curated by Natasha Ginwala

This exhibition chapter retraced the emergence of Indian modernity in the early and mid-twentieth century, through placing works from the collection of the National – galerie and the Museum für Asiatische Kunst centre stage. As India obtained its independence from British Rule in 1947 and in the wake of partition, many artists shuttled between the newly independent subcontinent, Europe and North America. As did the painter, poet and intellectual Rabindranath Tagore. The works Tagore contributed to the collection of the Nationalgalerie were removed by the Nazis as part of their “degenerate art” policy, but an attempt is made here to reconstruct this episode to some extent on the basis of the influence Tagore exerted on the Berlin art scene in the 1920s and early 1930s. Arrival, Incision offered exercises in decanonising the Western art-historical tradition and dealed with reciprocity, both real and imagined, by juxtaposing the political caricatures of George Grosz with those of Gaganendranath Tagore and through charting a nonlinear itinerary of works by artists from the 1950s to the present day, including Avinash Chandra, Satish Gujral, Somnath Hore and Anish Kapoor. The recurrence of specific narratives are revealed as key characteristics of Indian art, including the spiritual and cosmic lexicon of tantra, use of vernacular techniques and modes of collective production. Alongside artistic works and rare documentation, cinema operated as a window into artistic biographies and India’s asynchronous industrial modernity.

Studio 24

By Explore
Artist:

Raj Jariwala

Venue:

24 Jor Bagh, New Delhi

STUDIO 24

STUDIO 24, an experimental micro-residency at 24 Jor Bagh, kicked off the first iteration with emerging artist Raj Jariwala, in association with Shrine Empire Gallery. The open studio was on 19-20 July, 3 – 7pm. The visitors stepped into Raj’s practice exploring processes of producing and consuming information. The artist looked closely at the accuracy, relevance, and abstraction of structures such as cartography and numerical systems through drawing and vide.

Imagined Biennales

By international
Venue:

Venue: Open Forum at Tate Exchange, London

Imagined Biennales

Imagined Biennales – Open Forum at Tate Exchange

13 May 2018
Tate Modern

The proliferation of biennales and other perennial art events around the world reveal huge energy, creativity and social engagement within the sphere of contemporary art. Whether operating at hyper-local, local, national or international levels, these events are always more than the art they represent. They are about people, places, histories, social enterprise and the political aesthetic. But equally, they can be homogenizing forces and complacent about the ‘value’ of art. What do we want from our biennales and how do we get it?

Imagined Communities invited as wide a range of voices as possible to share in current practice and to pitch new ideas. What does a biennale look like and what do want it to look like? Echoing the format of TED talks, noted for short, but well-informed talks, we welcomed presentations in person, short films or online streamed presentations as part of an afternoon at Tate Exchange. The best ideas and presentations were invited for inclusion in a publication How to Biennale: A manual for staging perennial art events.