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Going Solo

Published: Volume 13, Issue 2, March-April, 2005

There were abstracts that exploded with colour, objects that teased, huge works that stunned because of their size as much as their imagery and rare minimal paintings not often seen before. Admire or abhor Bose Krishnamachari's work, it's difficult to ignore

Sculptures and installations dominated the art scenario, even as veteran artists drew in the crowds with their one-man shows. Deepali Nandwani reviews the exhibitions that caused a flutter.

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Jitish Kallat
Gallery Chemould
Artist, Jitish Kallat exhibited solo in Mumbai after five years with Humiliation Tax, showing a transformation discernible to faithful followers of his work. Since his last, almost autobiographical, display titled Ibid, juxtaposing the personal and public world, social and political commentary has marked Kallat’s art. He also experiments with sculptures and installations taking up entire room space.

The image of Mumbai’s underprivileged child labourer, the protagonist of the series who appears variously as street waif or juvenile victim, was in your face. “The starting point for the exhibition was an earlier reading of the Ramnami sect of Chattisgarh. Its people tattoo the entire body with the name of Rama. At the socio-political level, it is a shield against upper caste atrocities,” Kallat said. He explained how he transposed the idea to an urban situation in which the child labourer is most
vulnerable.

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Art has moved much beyond the canvas, with contemporary artists experimenting widely in different mediums and varied art forms. Sculptures and installations were the flavour of the season in Mumbai through the first two months of the year. Sculptor and installation artist, K.S. Radhakrishnan, brought his show, The Ramp, to Tao Art Gallery. A blend of two ideas, the Musui-Maiya and Human Box series, these large bronze installations had a life-sized central figure surrounded by 160 more in moving postures. ‘Musui’ and ‘Maiya’ are fictional characters modelled after a Santhal (a West Bengal tribe) youth Radhakrishnan knew as a student in Shantiniketan. ‘Maiya’ is his female counterpart. The two, though divided by gender, mirror each other. Human Box was a comment on how people tend to lose individuality in a crowd, an idea represented by hordes of human figures indistinguishable from each other, either rushing into or jostling for a foothold.

VERVE SPOTLIGHT
Eclectic exchanges
As part of the India Promotion in Paris, Galeries Lafayette, Paris, has forged its vibrant connection with Indian artist, Baba Anand who is represented by Montage Arts in India. He has been invited to display his artworks in the windows of the prestigious art centre, as well as create a visual concept for the vitrines famous for the world over for their scenographie. Presently straddling three world capitals, New Delhi, Paris and New York, Anand is well-known for his Bollywood-inspired paintings and richly textured work.

In Perfect Synergy
Avant-garde designer, Pinakin Patel, presented a show of traditional crafts with a modern twist and design sensibility at the Museum Gallery, in conjunction with Paramparik Karigar, an association of craftsmen. The idea was to use crafts from seven states of India, covering such diverse forms as weaving, embroidery, metal work, ceramics and printing to synergise design and tradition with perfect harmony.

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