"EDITION-ALLY
YOURS" SHOW AT BUSAN, SOUTH KOREA
Artchill showcased Creative & very selective
artworks of Four Indian Artists at the
“Edition Art Fair
2010” Busan (South Korea) from 6th to 10th Oct
2010.
65 major & prestigious galleries from across the
World were selected to show EDITION ART in this fair, which
happens every year at Seoul but this time venue is Busan and the theme is
“Edition Art”. Juneja Art Gallery
is showing the works of these brilliant four Artists
AKASH CHOYAL :
The
amazing Triographs ( 3 D art ) he has created – My Arena, Aurora & Levitation-
which has earned him the National Academy Award this year, created a
sensation in the fair .
My Arena- Search for ‘life’ and the world of my imagination
have a deep relationship. The physical existence of this world has given an
outlet to my feelings where smallest joyous moments melt with the intuitive
state of pleasures and reduce the differences between an individual and the
universe. I feel as if my body and the inner self are in process of a specific
union. For physical distance between cosmic stars and the soul, starts
unfolding the tiers and seems to merge with my own body’s cosmic aura. In this
process, the eggshell of my outer body is crackling and dissolving with the
world around.
I
have started believing as if I am in love with every molecule around.
Aurora- I
believe, nature has a tendency to disseminate. All species including mankind
have a tendency to attain the unknown horizons. We all strive for a space that
arouses our emotions and power of love. Without true understanding of the laws
of nature we sometimes, mistakably give wrong turn to our actions and thus,
ruin the ‘life energy’. We are also indiscriminate and get engrossed with our
energies in opposite directions of nature and prove to be the virus.
Multiple
hands in this work of mine aim to touch the existence of space that generates love
in all molecules around us. The man gives a defiant look while watching the
action. During the creative process of such works,
I keep on asking myself, Does space separates matter?, and does one thing ends
and another begins?
Levitation- I
feel, as if I am a space and exist in this space (total existence). I feel as
if I am most affected by the power of gravitation and this very mystic feeling emboldens me to fly high and levitate to the unknown horizons. I am
simultaneously on an eager route to discover the truth of existence. The gun
below symbolises my ‘question’ for the infinite. My flight to the infinite and
the unknown world provides to me an opportunity to ‘celebrate’. Here, I dare to
discard all taboos inculcated in my personality as part of nature energy,
existence etc giving way to only celebrate.
Style:
Employing innumerable intuitional drawings with surreal attenuations and
treatment, I have evolved my personal style
Dileep Sharma:
Showing his latest and Hand Colored Etchings.
A stranger who smiled at the alter-ego
There was a time when Dileep
Sharma was counted among the up-and-coming printmakers. Post-Y2K situations in
the glocalizing cultural scene at large and in the artist’s life in specific,
have made him known for his large drawings, hand-painted with watercolour. He
has, notwithstanding the shift in media, maintained the main concerns of his
oeuvre, viz. the objectification of characters till they turn into motifs and
the mapping of cross-cultural identity with fashion and fantasy as the tools. The artist hails from Rajasthan,
where his curiosity about mark-making first grew with wooden block-prints
(Thappa). Across his in-depth study (which later culminated in his
post-graduate dissertation) of the block-print process and its socio-economic
milieu, Dileep made practical attempts to infuse contemporaneity in the
block-print motifs. His focus was not the craft, and his efforts were directed
toward image-making. The visible trace of his continuous effort is found in the
small figures that populate the clothes or even the bodies in his drawings. The
size and placement of these motifs made some anxious curators to read them as ‘tattoos’.
Dileep took this (mis-)reading as an opportunity to re-invent his work. Till 2001, Dileep’s
autobiographical tone was audible in his variations of self-image. It underwent
a makeover, while the tattoo-clad stranger became a character, although with
Dileep’s voice-over: The casual character looked like posing specially for
Dileep, and doing only what Dileep wanted it to do. Dileep had often used the
mark of ‘Kunwarji’, a character beating Indian drum (the Dhole) and wearing a
horned crown, as his alter-ego since 1998. In his works since 2001, however,
Kunwarji could be spotted in the later works only as a tattoo. Characters in Dileep’s recent
work wear an ongoing saga of cultural appropriation. The bikini-clad or
mini-skirted women, the gazing men in their culture-specific garbs, the playboy
bunny or the green-and-red dragon, and so on… are objects that might have once
been a culture shock to some, but are now internalized in many cultures. As the
world comes closer, Dileep inspects the youthful fantasies: some homegrown,
some sold through magazines and media. Narrative and suggestive approaches often
mingle. The iconographer and the iconoclast go hand-in-hand while Dileep Sharma
works, as his monumental images are punctuated and punctured by smaller images
that belong or splendidly unbelong there. To add to this, he places another
character in the same work, as if with a design to overturn the dictum of
proportion. This second, tiny character is not ‘minor’. It needs as much
attention as the monumental image. Antithesis is the source of wit and humour
in most of his works.
Opposites might often call for
binaries. While Dileep’s work seems to agree with the Masculine/Feminine and
Western/Non-Western compartmentalization, there is a battery of motifs that
strongly advocates a case against binaries and paves the way for multiple
readings. Often, a character in one work is used as a motif in the other. The
dwarfing of the past then assures an amusement for the future. The characters,
in their looks and suggestion, amuse well. The story lies further. The water colors are rendered so
evenly flat that they could be mistaken for a neatly done serigraph. This
serigraphic look reminds one, formally, of the Pop-Art Mao or Merlyn images. Yet,
it is not ‘Pop Art’. The works do a doublespeak, to dissociate themselves from
what they look like. What looks casual might be meticulously crafted, the
monumental might just be inflatable, and parts of a human body might be
landscapes. Dileep’s recent works, a quartet
of models and fashion icons and the gaze that envelopes them, he continues to
play a maverick against monumentality. The poses his ‘models’ (may it be
Madonna, Shakira or Julia Roberts, Niccole kidman or Beyonce) do are all found
on any glamour and fashion magazine. The gaze of the teenage boy, or the
mirror-acts of teenage girl put these images in real life. The monumental
becomes memorable because it feeds the mundane acts that we have sometimes gone
through. The glamorous colors look at us
with ease. The paintings gaze us, as if exploring the possibility if we could
be ‘taken’ by them. And if we choose to give in to the coexistence of
subcultures that lives in these bold-bodied landscapes, they smile at us like a
friendly stranger at the subway station who, without a word, tells us ‘this is
life’! - Abhijeet Tamhane
Nikhil Bhandari :
Very
Stylized Photo Art which has already been acclaimed as RADICAL WORK
‘Form Beyond Eros’
The main character in the figurative work of Nikhil Bhandari in the woman, in her purest form, most expressive, real. Images always show a cognition and idea of life. They’re knots and points of reference, base of an existential project where the protagonist, from actor to viewer, shows up himself daily. Nikhil Bhandari writes: we don’t doubt reality, when we do, if we do, it’s doubting perception or the reality of the viewer. My close observation created this form. Our perception is composed from many layers overlapping other layers of memory. Some views are neat, other are flexible, some other are remote. The objective use of photography, catching reality seen through my eyes and then re-catching it more and more times until the viewer in me owns a single image that tells the various states of existence. Bhandari solidifies configurations that, through gestures, movements, lights, atmospheres create a projection freed from reality, initially adopted the “representation” inside a live experience, directly accessible through him, like his family (father, mother, son/daughter) aiming the lens at the condition of women in India, mixing various modern events. The dazzling and incredible images, the scorn for the beautiful shape, are the media to get at the importance of Nikhil Bhandari’s opera, read in a really dream way, the imagine-imaginary scape which from time to time unveils messages. The worked on picture, linked to painting got the immediacy of the daily life, where it is possible to build a new reality-identity able to mask the lies and myths of the one determined by a specific culture, “Art”.
Moreover, the role
exchanges word-image, object-symbol, reality-dream, are the immediate and
direct reflection of an action and a thought that configures as real and the
formal neglect with whom the artist creates its work-women is the only way of access to the authenticity of
that action, that thought. Bhandari pictures the woman
in the middle ground between a fantastic-dreamy world and a earthly one, hiding
like an animal in search of his habitat, like she’s fearing agoraphobia, always
looking for a shell, the osmosis with the observed feeling like part of the
specific time, all in one with the surrounding land to capture the true
identity, its own identity. Through this picture collection, he explores the
form beyond Eros, the feminine form in all its complex expressions: loneliness,
anger, sufferance, alienation. Overhauling feelings that creep from soul beyond
the body. The images and stories are thrown on stage like they’re running on a screen
that reveals an existential opening.
“Form Beyond Eros” is a set
of works that represent all the artist understanding, but mine too, of the real
situation of women in India He tells me: 75% of father
in India thinks that when a female is born that’s a weight to eliminate and fix
as soon as possible. In India, the flesh market is really widespread, more than
anywhere else in the world. Every third female is aborted and 69& of
abandoned children are female. Bhandari exposes and
represents, get into the circulation of his images, like he recognizes the
insufficiency of the commitment to exhaust his vision of self-consciousness
from structures, family, house, city, society, that comprehend him, but do not exhaust
him.
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The utopia of an evasion
from reality irresolution can’t happen if you don’t completely understand
yourself from inside. To be one with the whole,
this is the life of the Gods; this is the sky of the woman! To be one with all
who live, finding a blessed oblivion of self in the whole of the nature-woman,
this is the pinnacle of thoughts and happiness. Bhandari chooses to not meet
the figure of the woman, in a mirror image that dispels every other dimension. A deadly circle, in which the photographer’s
tale does nothing else than return to the feminine figure. The absolute absence of
consideration brings Bhandari to the deep exploration toward the figure that
disposes unlimited expressive singularities, moreover bearing pillar in the
history of humanity, today more than ever, seen the great job toward sex
equality happened lately in the western world. In Nikhil Bhandari the reference
to Robert Mapplethorpe, one of the most extreme and refined photographer ever
see on the art scene, revolutionary master of the lens in 70s and 80s, who
tried to immortalize the glamorous and polished life of that years like a
paparazzi on the road, bringing on set his own sexuality e playing with the
ancient Art, with the iconography of Art history to narrate it. And so here it
is all Michelangelo’s fleshliness, Caravaggio’s travail; Bronzino’s
sophisticated elegance, Canova’s balance. .Elements, apparently light years away from the delirium of sex, drug, society,
culture, but that in Robert Mapplethorpe and lately in Nikhil Bhandari become
chromosomes of a creative DNA.
- Curated by Graziano
Menolascina
Mukesh Sharma :
Showing his Intaglio , Etchings.
Mukesh Sharma explores the diachronic issue of displacement with human geographies in one or many cultures, within gender, within the self. From Jaipur Mexico, across the great borders of cross cultural landscapes, Mukesh Sharma’s paintings continue a dialogue with in a social – political context that addresses liminal spaces. His paintings foreground the notion that the traveller is in a state of ‘ in betweens’ , an idea which finds its voice also in the virtual world.
The paintings signify a process that begins with the ‘’exodus’’ from one place to another condition either willingly or unwillingly, physically or spiritually.
Displacement, the cultural construction of personhood in social stratification, comfort, conformation and confinement are some of the subject matters that Mukesh wishes to bring about in his work.
He places his practice at the heart of the main issue of contemporary culture through a critical trajectory. He uses his knowledge of arts against all odds – as an instrument of cultural survival.
The vibrancy of colors are symptomatic of the land he lives in and the paintings are a doppelganger of his cultural background. In the art works is the duality of the received tradition and the encountered tradition. He uses the language of the popular to inform the viewer of the social consciousness of the terrain he walks upon.
Mukesh’s compositions are crowded with people, yet there seems to be no one in them. The works are figurative and focus on the negotiation between representation and abstraction. Both culturally and geographically, he blends the vocabularies of art from his journeys in India, Australia and Mexico.
All of his works are made in direst relationship to the spatial qualities of the ground they are painted on. Each art work has resulted from the ongoing investigations into how personal and cultural meanings are formed and expressed. He has a strong interest in counter cultures and the way they are visually represented. From the political to the recreational the painting becomes the signifier of self determination and a development of aesthetics in tune with aspirational. The landscape painting with varied styles, with humans, tourists, memorabilia, symbols of material and artificial culture wrestle with each other, infusing a rare vitality into the large acrylic canvasses.
He does not consider painting in terms of representing the object world or of social values. However his attempt through his art is also to be part of nature, not imitating it, but stimulating it. He believes that paintings should be pure, since it has its own life, autonomous and not an illustration. Across the geographical boundaries, Mukesh strongly believes in sensing a similarity in the difference, seeing the way things may fit together, work and harmony or contribute towards building a dialogue.
Dr. Alka Pande
All 4 artists originally belong to Rajasthan , but have
migrated to different cities of India and made a mark in this field by their
talent and originality. They have exhibited extensively in India and
abroad ,and won several merits & awards on their creations.
Artchill is determined to take brilliant Indian painters
on the road to International recognition & earn them prestige in
accordance.
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