A printmaker-sculptor with unusual techniques and themes

Himmat Shah’s work is a fine blend of inspirations shaped by both Indian tradition and western influences. His stay at Atelier 17 in Paris allowed him to discover the captivating canon of western art.

He is known more for his abstracted terracotta and bronze heads, considered his signature work. Among his most recognizable works is the series of sculpted heads in bronze and terracotta. As emblems of masculinity, they appear totemic and phallic wherein he uses printmaking techniques to score the surfaces.

In fact, his reputation as a master sculptor has become so overwhelming that his ability as a printmaker has almost gone unnoticed. His color etchings are equally attention-grabbing. For example, at first glance, one of them may bring to your mind an updated Monet haystack often protected from the gusty wind with a ubiquitous covering of sticks, cloth and other assorted debris.

But are we actually seeing objects laid right on top of this piled up chara, or checking objects that are embedded deep within? His haystack displays a sculptor's sensitivity and meticulousness of form building and a draftsman's astute attention to the fine subtleties of line. Even the coloration of his much-used terracotta quietly seeps into his deceptively simple etching works.

Among his select participations are ‘Manifestations IV and V', Delhi Art Gallery (2011, 10); ‘Time Unfolded', KNMA, Delhi (2011); 'The Intuitive: Logic Revisited', Davos, Switzerland (2011); 'Yellow Deity', Museum of Contemporary Art, Budapest (1997); 'Rediscovering the Roots', Meseo de la Nacion, Lima, Peru (1997); Festival of India exhibit, London (1982); Biennale de Paris (1970, 1967), and National Exhibition at LKA, Delhi (1960).

A recipient of Kalidasa Samman of the Madhya Pradesh Government (2003) and AIFACS Award, Delhi (1996), he also received Emeritus Fellowship from Government of India (1994-96), the Sahitya Kala Parishad Award, Delhi (1988); the Fellowship to Outstanding Artists (1983-85) from the Bombay Art Society Award (1962) and the LKA award for painting, Delhi (1962, 1959).

The art journey of a multi-faceted sculptor

Born in 1933 in Lothal, Gujarat, he first learnt the intricacies of art under N.S Bendre. After studying art at Faculty of Fine Arts, Maharaja Sayajirao University of Baroda (1956-61), he joined Atelier 17, Paris (1966-67) on a scholarship from the French government.

In the subsequent years, he designed several monumental murals primarily in brick, cement and concrete at Ahmedabad’s St. Xavier's School. During this period, he also dabbled in relief & sculpture works in plaster, ceramics and terracotta.

This renowned sculptor and draughtsman was a member of Group 1890. This artists’ collective initiated by J. Swaminathan looked to promote a unique form of art closer to Indian ethos distinct from the western traditions and schools, but it was short-lived. Jawaharlal Nehru, the then prime minister of India, opened its first and only show in the early sixties. Soon after, the group was disbanded and all its members continued with their respective art practices and their own agendas. Himmat Shah was no exception, as he evolved his own style and thematic idiom.

A series of solo exhibitions of his drawings and sculptures have been held at Jehangir Nicholson Art Gallery, NCPA, Mumbai (2007); Berkley Square Gallery, UK (2007); Anant Art Gallery, Delhi (2005); Art Heritage, Delhi (2002, 2000, 1983); Shridharani Gallery, Delhi (2000); Sakshi Gallery, Mumbai (1994); LKA, Delhi (1982); Dhoomimal Art Gallery, Delhi (1979); Gallery Chemould, Delhi and Mumbai (1966); Kunika Chemould Art Centre, Delhi (1965,64), thus stretching his illustrious art career to nearly five decades.

His work has been a part of many groups shows like 'Vahana', Bombay Art Gallery (2010); 'Essential, Eclectic, Ephemeral', The Harrington Mansions, Kolkata (2010); India Fine Art, Mumbai (2007); ‘Tangibles', Priyasri Art Gallery, Mumbai (2006); ‘Manifestations I, II and III’, Nehru Centre, Mumbai; Delhi Art Gallery and LKA, Delhi (2004-05); 'Face to Face', LKA, Delhi (1998); the inaugural show of Roopankar Museum, Bharat Bhavan, Bhopal (1982). He also featured in 'Group 1890' show in Delhi (1963), the Progressive Painters Group exhibit, Ahmedabad (1962) and the Baroda Group Show, Mumbai (1957-58).

‘Babel’, by Anita Dube at Galerie Dominique Fiat, Paris

Galerie Dominique Fiat in Paris presents a solo show of new works, entitled ‘Babel’, by Anita Dube, known for extending the visible thin line wherein words tend to act as corporeal manifestos to comment on the world around, as seen and perceived by her.

Deftly engaging the political through an astute aesthetic investigation of text as well as theory, the artist demonstrates apparent interest in the primacy of touch right alongside the visual. The series ‘embodies’ words, literally, as it makes them flesh in gripping performance and photographic works wherein she cuts meat into ‘Keywords’, reflecting on dystopia’s and utopia’s that affect us.

An introductory note states: “In ‘Kash (for Kashmir)’, the artist uses baroque ceiling rosettes, covering them with white velvet and then embedding them with photographs of people, landscape and flowers, after her recent visit to the state. Only Kash (meaning ‘hopefully’ in Hindi), is retained in the word, marred by a black dripping line of blood-filled political conflicts. This line of thinking continues in most works that investigate a human concern with both personal and societal loss and regeneration.”

Anita Dube, born in Lucknow in 1958, received a degree in History at the University of Delhi. She then studied art criticism at the Faculty of Fine Arts, Maharaja Sayajirao University, Baroda. Also trained as an art historian, her work ranges from sculpture to photography.

She deftly combines imagery and references to Indian culture with specific contemporary concerns, to negotiate the slippery terrains of identity – both societal and individual. She also has employed the enamel eyes often found on idols of Hindu deities for her sculptures and installations.

Elaborating on their context, she has stated in an interview: "I’ve realized that when a cluster of these eyes carry the charge and energy of crowds. The sense of being in crowded places, an attraction to the violent energy present in these situations - either revolutionary or fascist - is the reason I continue to explore this material."

Let India’s culture czars recognize the glory of Venice

Ranjit Hoskote has termed the official Indian art exhibition at the Venice Biennale ‘Everyone Agrees: It’s About to Explode’. No doubt, it’s quite a curious title that suggests the very different and unusual kinds of energies unleashed in the country today.

His final choice of artists to join the pavilion is equally unusual: the Desire Machine Collective based in the Northeast; New York-based artist Zarina Hashmi, Kerala/Delhi’s Gigi Scaria and Kolkatta/Amsterdam’s Praneet Soi.

Somewhat contrary to its title, the show, as an expert put it, tends to come across as ‘understated, elegant, and beautiful’. The Outlook writer Maseeh Rahman mentions in the Venice Diary: “In a straw poll that I conducted, almost 90 percent of the people responded to the exhibition quite positively, with the Italian viewers identifying most with minimalist creations by Zarina Hashmi. After struggling almost all though her life, this 74-year-old art practitioner has finally got her due and the kind of recognition she well deserves.

Pointing to an 'oddly timed permanency', Rahman notes that the Indian pavilion at the prestigious Venice Biennale is rather a temporary one; it’s only for this year’s event. “I had heard that the Republic of China had lobbied quite hard for a permanent space in 2007. Why not India could do the same? It might seem too much to hope for, perhaps. But then miracles, it seems, do come in pairs.

…after the impressive inauguration, organizers of the Biennale decided to offer us a permanent pavilion, and it was accepted. It will cost Rs 15 crore for two decades for both the art & architecture Biennales hosted every alternate year.

The writer concludes in his diary with remarks: “I murmured a silent prayer to Santa Maria – ‘Let not the PMO - the most blinkered on culture we have ever had - overrule it. And let the spirit of our ancestors, who did recognize the glory of Venice, prevail...” That says it all!

iBiennale: the Venice Biennale’s official iPad & iPhone application

In the first two and a half weeks since the 54th International Art Exhibition of la Biennale di Venezia opened to the public, over 50,000 visitors visited the event, with a daily average of 3.037, out of which over 25% visitors are under 26.

As part of the art showcase, Meetings on Art opened on July 3rd. The initiative consists of a cycle of meeting and seminars with artists, curators, philosophers and scholars organized by la Biennale di Venezia chaired by Paolo Baratta, within the 54th International Art Exhibition ILLUMInazioni – ILLUMInations, curated by Bice Curiger.

Meanwhile, iBiennale, the official iPad and iPhone application of the Venice Biennale, created by LOG607 and Marsilio Editori, has been updated with new graphics and new functions to enhance its value and expand its navigation possibilities.

After having met with success during last year’s International Architecture Exhibition (15 000 download), the new 2011 version of the application, containing an enhanced catalog of the 54th International Art Exhibition directed by Bice Curiger, entitled ILLUMInations, can be downloaded from the iTunes Store.

With this application, users can read articles, view photos, videos and virtual rotations of the artwork, as well as access geo-referencing and conceptual maps of the exhibition. Users can interact with the content, the forms, the places and the experiences in an original and engaging way. iBiennale has become a real expressive and sensory notebook that not only displays the material, but also makes the material more dynamic and facilitates social exchange.

This application allows visitors to personalize their visit and their reading of the material and even lets users share their experience with the catalog through social networks. By incorporating the full catalog of the International Art Exhibition, iBiennale has become the digital hub for all of the Venice Biennale’s official content.

The 54th Exhibition will be open to the public in the Giardini and the Arsenale until Sunday November 27th, 2011.

Galerie Daniel Templon features Sudarshan Shetty’s works

Sudarshan Shetty is exhibiting his intriguing body of recent work at Paris based Galerie Daniel Templon until July 23, 2011. This is the second time that the renowned contemporary artist from India has created an installation at the gallery, following on from majestic and monumental ‘Taj Mahal’, done in 2009.

One of the most innovative creators of the present generation of Indian artists, who are fast making a name and carving a niche for themselves on the international art scene, Sudarshan Shetty has established his reputation in a short span of time.

Along with names such as Subodh Gupta, Jitish Kallat and Bharti Kher, he has enhanced his credentials with his unconventional practice. The conceptual artist is particularly renowned for his enigmatic and awe-inspiring sculptural installations. They are often animated.

His hybrid constructions often question the merging of both Indian and Western traditions. His artwork also invariably addresses domestic preoccupations as well as the concept of movement.

Sudarshan Shetty is showing as part of his show at Galerie Daniel Templon a disturbingly distorted wooden automobile, finely sculpted in the mode of rich Indian handicraft tradition. The car, slowly rotating appears as an archaeological find. It raises many pointed queries about the accident, and the civilization, which forged it.

The animated object made from living material tends to generate a curious sensation of absence and loss. The artist employs uses a decorative façade for examining the basic truths of the human condition in order to offer a reinterpretation of the traditional still life.

His work also forms part of two significant exhibitions this spring: ‘Paris, Delhi, Bombay’ at the Musée national d’art modern – Centre Georges Pompidou, Paris (until September 19), and ‘Indian Highway IV’ at the Musée d’art contemporain, Lyon (until July 31). One of Sudarshan Shetty’s monumental installation works also featured during Art Unlimited at the recent Basel fair.

Chittaprosad: A Retrospective (1915-1978)

Known to one of India’s most humane, compassionate and principled painters, Chittaprosad’s oeuvre is documented in detail in a new show at Delhi Art Gallery.

It is comprised of his wide range of work such as political drawings, paintings etc. He has also done propaganda posters, art for children. The versatile artist has experimented with mediums that include puppetry as well.

Mounted on a scale that will do full justice to his curiosity, experimentation and intellect, this sure is among the most important retrospective exhibitions ever to be mounted on this legendary Indian artist. For viewers, it may well change their understanding and perception of Chittaprosad Bhattacharya as an artist and as a human being.

The New Delhi-based gallery has reproduced a milestone book based on the lone copy linked to the events, preserved for posterity, as part of a set of five publications that accompanies this major retrospective (Jul 11, 2011 to Aug 20, 2011).

Born in 1915 in the state of West Bengal, this self-taught artist was a member of the Communist Party. Chittaprosad was inspirited by the creations of artisans, sculptors and puppet-players from his village. His firsthand experience of the Bengal Famine prompted him to depict human suffering in brutally honest drawings and stark sketches done in pen and ink in 1943-44.
Chittaprosad’s exhibition in Prague’s National Gallery propelled him to international fame. He was hailed a master by the art world.

Apart from his works that represent human suffering, the proletariat and marginalized people, he did several landscapes and cityscapes, female figures, nudes etc. These portraits exude great sense artistic control and also reveal a wider range of interests than are apparent as his identity as political propaganda artist seems to suggest.

An expert storyteller and a poet, he produced several paintings and illustration work related to children’s literature. He collaborated with Czech writer Norbert Fryd to illustrate ‘Indian Fables & Fairy Tales’, ‘With Puppets to Calcutta’ etc. The socially sensitive artist passed away in 1978.