LN Tallur has been awarded the Skoda Prize 2012, comprising prize money of Rs 1 million and a special Skoda trophy. He beat other three contenders, namely Shilpa Gupta, Srinivasa Prasad and artist group CAMP. Incidentally, he was shortlisted last year as well. However, Navin Thomas had then won it. Art historian Geeta Kapur, artist Sheela Gowda, Swiss curator Mirjam Viradinis and gallerist Anupam Poddar, had announced from top 20 names the final shortlist for the 3rd edition of this prestigious prize that recognizes groundbreaking solo shows of mid-career artists from India below age of 45, and backed by galleries.
Tallur’s award-winning show ‘Quintessential’ narrates the artist's theory of '5th dimension'. Known for his kinetic works that comment on society and politics, he combines a sharp wit and prodigious usage of materials. Tallur’s work may appear ‘Indian’ at the first sight, but it participates in an advanced dialogue that surrounds sculpture today and reveals itself to be cosmopolitan as well as historically astute. They contain subtle references to traditional Indian symbols. A hallmark of his practice has been to translate this symbolic order into a contemporary language, to denote the diversity of traditional Indian life.
Born in 1971 in Karnataka, he received his BFA degree (painting) from the Chamarajendra Academy of Visual Arts, Mysore, followed by an MFA degree (museology) from the MS University, Baroda, in 1998, and an MA (Fine Art) from the Metropolitan University in Leeds, UK. His select solos have been held at Arario, Beijing (2010); Chemould Prescott, Mumbai (2009); Arario, New York (2008); Arario, Seoul (2007); Bose Pacia, NY (2000); and Chemould, Mumbai (1999). His large-scale installation ‘Souvenir Maker’ was recently shown at the Devi Foundation, Gurgaon and the Museum of Contemporary Art, Singapore. His work also formed part of the recent Asia Pacific Triennale at Brisbane’s Queensland Art Gallery.
He invariably draws on a vivacious vocabulary of traditional signifiers, which have decayed, to reinvent and integrate them all into a language of the new realm of development and illusory pursuits. His unorthodox methodology to different modes of visual representation often leads to a fabulous fantasy of the absurd, at times unsettling the viewer even whilst provoking an engagement with certain ideas, which mirror distortions and obsessions of our society. The artist tends to set up a string of hypotheses so as to substantiate his pointed observations, using a scientific approach.
Tallur’s award-winning show ‘Quintessential’ narrates the artist's theory of '5th dimension'. Known for his kinetic works that comment on society and politics, he combines a sharp wit and prodigious usage of materials. Tallur’s work may appear ‘Indian’ at the first sight, but it participates in an advanced dialogue that surrounds sculpture today and reveals itself to be cosmopolitan as well as historically astute. They contain subtle references to traditional Indian symbols. A hallmark of his practice has been to translate this symbolic order into a contemporary language, to denote the diversity of traditional Indian life.
Born in 1971 in Karnataka, he received his BFA degree (painting) from the Chamarajendra Academy of Visual Arts, Mysore, followed by an MFA degree (museology) from the MS University, Baroda, in 1998, and an MA (Fine Art) from the Metropolitan University in Leeds, UK. His select solos have been held at Arario, Beijing (2010); Chemould Prescott, Mumbai (2009); Arario, New York (2008); Arario, Seoul (2007); Bose Pacia, NY (2000); and Chemould, Mumbai (1999). His large-scale installation ‘Souvenir Maker’ was recently shown at the Devi Foundation, Gurgaon and the Museum of Contemporary Art, Singapore. His work also formed part of the recent Asia Pacific Triennale at Brisbane’s Queensland Art Gallery.
He invariably draws on a vivacious vocabulary of traditional signifiers, which have decayed, to reinvent and integrate them all into a language of the new realm of development and illusory pursuits. His unorthodox methodology to different modes of visual representation often leads to a fabulous fantasy of the absurd, at times unsettling the viewer even whilst provoking an engagement with certain ideas, which mirror distortions and obsessions of our society. The artist tends to set up a string of hypotheses so as to substantiate his pointed observations, using a scientific approach.
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