In keeping with her usage of rubber stamp as a recurrent motif, Reena Saini Kallat’s recent show consisted of sculptures, works on paper constructed from the names of people who have been denied visas on the basis of class, nationality or religion; a set of ten large-scale photographs tracing the fluctuating Line Of Control between India and Pakistan from October 1947 to December 1948 and two video works. Her ‘Labyrinth of Absences’ was shown at Nature Morte in New Delhi, in March 2011.
Ashish Avikunthak is preoccupied with Indian religious, philosophical and pictorial traditions, and treats these in a unique fashion which is neither reverential nor satirical. his “Vakratunda Swaha” was shown at Chatterjee & Lal in Mumbai, in May and June 2010.
In the library and in the Maharastra State Archives of of the Mumbai based Dr Bhau Daji Lad Museum, Jitish Kallat has been trying to trace a violent episode in the life of the museum at the moment of the Great Indian Mutiny that threatened its near extinction, before it was moved from the Town Barracks to its current location in Byculla. Jitish Kallat’s ‘Fieldnotes: tomorrow was here yesterday’ is being shown at Dr Bhau Daji Lad Museum in Mumbai and will continue to be on show till October 10th, 2011.
From the late 1980s, Kolkata based National Instruments Ltd., India’s first and only still camera factory dissolved its workforce, was declared a sick industry. At the time the company was shut down, the factory had been developing the National Reflex 2000, which would have become India’s first SLR camera.
Today, the place where the camera was born is a silent, eerie and dusty repository of broken camera shells, spare parts and debris. Rather than invoking a nostalgia for that which is disappearing, the project by Madhuban Mitra and Manas Bhattacharya attempts to excavate a certain history of labor and of technology and their slow but inevitable passage. ‘Through a Lens, Darkly’ was shown at Photoink in New Delhi, from December 2010 to February 2011.
(Information courtesy: The Škoda Art)
In keeping with her usage of rubber stamp as a recurrent motif, Reena Saini Kallat’s recent show consisted of sculptures, works on paper constructed from the names of people who have been denied visas on the basis of class, nationality or religion; a set of ten large-scale photographs tracing the fluctuating Line Of Control between India and Pakistan from October 1947 to December 1948 and two video works. Her ‘Labyrinth of Absences’ was shown at Nature Morte in New Delhi, in March 2011.
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