Monday, December 27, 2010
Wednesday, December 22, 2010
Friday, December 17, 2010
SPLIT BEDS AND WINDOWS SHALALAE JAMIL
SPLIT BEDS AND WINDOWS
SHALALAE JAMIL
Who slept, naked in the stark aftermath, In the forgotten depths, In the poisoned waters of dead imagination.
(Excerpt of Poem by Sophia Pandeya.)
The Guild Art Gallery is pleased to present the debut solo show in New York of artist Shalalae Jamil. Born and raised in Pakistan, educated at Bennington College and The School of the Art Institute of Chicago, she has exhibited and curated work in Pakistan, the United States and the U.K. Her work is in several private collections including the Arts Council in Pakistan and the Devi Art Foundation in India.
Shalalae Jamil’s work accesses the intensely personal and the unavoidably political with an ease and an awkwardness that brings it as painfully close to real life as perhaps only the medium of video is capable of doing. Continually investigating how perception and meaning are altered by the shifting parameters of private and public space, Split Beds and Windows follows the same broader trajectory that her oeuvre has had a distinct tendency to trace. It addresses the often highly sensitive issues embedded within the complexities of the forming of identity that unfold through inherently personal narratives of self and family, familiarity and belonging, love and loss.
For more information please contact us at 1 212 229 2110 or _at_ info@theguildny.com.
Tuesday, December 14, 2010
Navjot Altaf IV - Video Installation
N a v j o t A l t a f
Touch IV
Preview: Wednesday, December 15, 2010 | 7- 9 pm
On view till January 1, 2011
Bhimawa Golar, Rajendra Naik and Pandurang from Sangram,Sangli will be in conversation with Nancy Adajania, Gita Chadha and Navjot Altaf on December 16, 2010 | 6:30 pm
at The Guild, Mumbai
The Guild is proud to present 22 monitor video installation Touch IV by Navjot Altaf at The Guild, Mumbai.
“The video installation 'Touch IV', whose central protagonists are sex workers and members of the third gender community, is a culmination of Navjot's three-decade-long preoccupation with representing the voice of the subaltern in art. I would contend that at the core of Navjot's practice lies her unceasing awareness of being a linguistic subjectivity, an image-maker who nonetheless forms her social and political associations through language. Navjot has a deep commitment to language in all its various manifestations, its ability to unmask power asymmetry and the occlusion of truth, with its wager on multi-pronged articulation. But her commitment to language is held in counterpoint by her apprehension of being stalled by word-induced aporia, of being interpellated or otherwise reduced by language, of being trapped by language.
…In 'Touch IV', unlike earlier video installations like 'Mumbai Meri Jaan' or 'Pavan Kumar', Navjot's subaltern protagonists discussed and even at times dictated the terms of how they wished to be represented. In the Spivakian sense, Navjot has traversed the journey from the difficulties of inter-subjective communication, as immortalised in the question 'Can the subaltern speak?', to clearing the ground to make such speech-acts possible. This should not mislead the viewer into thinking that if the subaltern speaks, s/he will be automatically heard. As in Navjot's earlier works, the viewer has to make an effort to understand what is being enunciated, with 22 voices available on the headphones of television monitors.
These voices belong to people who are part of a movement of resistance against societal norms that consider their sex-work as a social aberration and their sexuality as deviant behaviour. Their solidarity has been manifested in a large 5000-member organisation, Sangram, which has been working with women's collectives on prostitution for the last 15 years…” (Excerpt from an essay by Nancy Adajania)
|
|
Navjot Altaf’s work has been shown in Lacuna in Testimony, Patricia and Phillip Frost Art Museum, Florida, 2009;Curated by Julia Herzberg Public Places Private Spaces, Newark Museum, New York and Minneapolis Institute of Arts, Minneapolis 2008; Curated by Gayatri Sinha and Paul Stern Berger, Tiger by the Tail: Women Artists Transforming Culture, Brandies University / Museum Boston and New Brunswick Rutgers University, Douglass Library, Newark, 2008; Curated by Wendy Tarlow Kaplan, Elinor W.Gadon and Roobina Karode, Continuity and Transformation, Provinciadi Milano,Italy, 2007;Curated by Daniela Palazzoli, Zones of Contact, 15th Biennale of Sydney Australia, 2006; Curated by Charles Merewether, Australia. Groundworks, Carnegie Mellon University, (RMG) Pittsburgh, 2005;Grant Kester Another Passage To India, Theatre Saint Gervais and Musee d’ Ethnographie, Geneva, Switzerland, 2004; Curated by Pooja Sood, Zoom – Art in Contemporary India, Edificia Sede de Caixo Garal de Depositos, Lisbon, 2004; Curated by Luis Sepra and Nancy Adajania, Century City - Bombay/Mumbai: City Politics and Visual Culture in the 90’s, Tate Modern, London, 2001; Curated by Geeta Kapoor and Ashish Rajadhyaksha, subTerrain:artworks in the cityfold, ,Haus der Kulteren der Welt, Berlin. Curated by Geeta Kapur. 8th Havana Biennale: Art together with life, Cuba, 2003;Curated by Hilda Maria Rodriguez; LimiNAl zoNes, Curated by Pooja Sood, Apeejay Media Gallerry New Delhi,2003; Solo exhibitions include: Touch IV, Video Installation, Talwar Gallery, New Delhi, 2010; A Place in New York an interactive photo based project, The Guild, Mumbai, 2010; Touch- Remembering Altaf, Video and motor based sculpture Installation, Sakshi Gallery, Mumbai, 2008; Bombay Shots, an interactive photo based project, The Guild, Mumbai, 2008; Water Weaving, Video Installation, Talwar Gallery, New York, 2005; Junctions 1 2 3, The Guild, Mumbai, 2006 and Jagar Multimedia Installation, Sakshi Gallery Mumbai,2006 among others.
Friday, December 3, 2010
The Guild is pleased to announce that Pooja Iranna's video
'Another New Beginning', has been selected for The Celeste Prize 2010.
It has made it to the final 50 artworks from a total of 74,380 votes in different categories (Painting,sculpture,video,photography and live media) from all over the world.
There will be a catalogue published of the 50 final works selected and Pooja's video will be a part of the final show.
Final Awards in each category will be decided during the exhibition amongst the 50 finalists.
The exhibition will be held from 11th till 13th of dec 2010
at
The Invisible Dog
51 Bergen Street
Brooklyn
N.Y.
Another New Beginning
ANIMATION 7.50 Minutes, 2010
The artist believes that no stone has been left unturned by the human race ever since we started creating .We have successfully managed to use our cultural as well as technical knowledge along with positive energies ,to construct the unthinkable . Through this video she further goes on to explore the possibilities to which human mind can extend their creative energies in order to build not only the living structures on the face of it, but beliefs and inspirations as well .She finds a way to express that though we seem to have reached our zenith in many ways,human mind is such that we can express our ingenuity, when the time asks for it.
Monday, November 29, 2010
Enormous Eyes at The Guild, Mumbai
The Guild is please to present Enormous Eyes Forbidden Fruit in Mumbai, curated by Ligyung
Preview, conversation and meeting the artists and curators
Friday December 3, 2010 | Conversation: 6:30pm
Artists: Hyung Min Moon, Jeon Joonho, Kira Kim, Ligyung, Sea Hyun Lee, Yongbaek Lee
Curators: Jin Myung Lee, Issac Kim, Nancy Adajania
Saturday, November 13, 2010
Shadi Ghadirian Solo at The Guild, Mumbai
See the link below by Priyadarshani Kohli on Shadi Ghadirian - Solo at The Guild, Mumbai
November 13 - 30, 2001
10:00 am - 6:30 pm
Another link live mint planner
\\janhavi\d\Artist\Artist\shadi ghadirian\press clippings\The TimeOut-Mint Planner - Business of Life - livemint.com.htm
Tuesday, November 9, 2010
Wednesday, November 3, 2010
The Guild is delighted to announce that the Sanskriti Pratishthan has awarded the much coveted Sanskriti Award for arts for 2010 to PRAJAKTA POTNIS.
The Awards are presented to young talents in the age group of 25-35 years in the fields of Literature, Journalism, Art, Performing Arts and Social Achievement. Over the years the Sanskriti Awards have become one of the most coveted awards in the country.
Prajakta Potnis for Art (2010)
Born: 1980: Prajakta’s work dwells between the intimate world of an individual and the world outside sometimes separated only by a wall. “walls” intrigue her as they are a witness to history and have traces of inhabitance embedded in them . As much as a wall might be sealed, there tends to be porosity that allows things from the outside to come home or vice versa. In between these public and private spaces various elements transgress and remain as residues of this phenomena.
Prajakta’s practice tries to trace these imperceptible elements that affect the psyche of individuals; her practice has involved painting, site-specific sculptural installations and photography. In 2010, her work was exhibited in a traveling museum show, “Indian Highway “at the Herning Museum of Contemporary Art, Denmark and the Astrup Fearnley Museum, Norway. Her work is also part of “India Awakens - Under the Banyan tree "at The Essl Museum of Contemporary Art, Austria.
Prajakta has also been featured in significant publications like ‘I’m Not There: New Art from Asia,’ (2010) Edited by Cecilia Alemani published by The Gwangju Biennale Foundation. In 2009 she was also featured in Younger than Jesus: The artist directory co-published by the New Museum and Phaidon.
Tuesday, September 28, 2010
Wednesday, September 8, 2010
I think therefore graffiti...
“I think therefore graffiti…”
THE GUILD MUMBAI August 4 – September 23, 2010
The Guild Art Gallery is delighted to present a unique initiative involving artists and public titled “I think therefore graffiti…”
The artists participating in this initiative include Apnavi Thacker, Atul Dodiya, Baiju Parthan, Balaji Ponna, Bose Krishnamachari, Gigi Scaria, G. R. Iranna, Justin Ponmany, Kiran Subbaiah, K. P. Reji, Mithu Sen, Prajakta Potnis, Rakhi Peswani, Sathyanand Mohan, Sumedh Rajendran, T. V. Santhosh, Vishal Dar, Ved Gupta and Vivek Vilasini.
About twenty artists were invited by The Guild from across the country to participate in this project mostly working in the nights...
During the tenure of the exhibition public participation will be invited for an ongoing graffiti on the wall of the gallery and same will be uploaded on our site every few days thus disseminating this participation worldwide.
“Who designs, beautifies, creates our cities, our roads, gullies, pavements, parks, markets, and other public spaces? And who is entitled to use these spaces, maintain them, live in them? Who is responsible towards the safety of these spaces? Who controls them? ...In the larger matrix of these and many other unanswered questions, remains the public sphere, the street culture, the physical space of day to day living and commuting in large metropolitan cities. These spaces, unofficially, also house enumerable migrants who compromisingly arrive to the cities everyday...holding those dreams that they are unable to realize within the contexts they leave behind.
In the chaos of everyday existence, where the city meets the individual, the physical meets the mental, the public and private merge. This everyday is a difficult terrain to frame, to understand, or to draw lines from. This everyday is the field where the political is practiced, but it is almost hidden by the everyday encounters of the mundane, day to day. A chaotic realm of uncountable visual experiences, this ‘everyday’ is a transient mass; of layers...cinema hoardings being pasted on top of each other, funeral processions of local guru or MLA, street vendors going hoarse, drugged beggars sprawled along the pavements, motor accidents, fisty fights between rowdies, urinating men, warning signs for trespassers, glass windows with no entry, private property demarcations, uncontrollable traffic...and various visual instances that can become ‘incidents’ for the common imagination. Various artists, through their praxis, have tried to immortalise, and perhaps, have essentialised an agency that sometimes helps us in framing these nonchalant instances.
But, there is another concern here, another trope, an area, that almost seems hidden between this urban chaos. Perhaps it is these ‘voices’ of the street vendors, auto rickshaw drivers, car mechanics , the drugged beggars, the marginalised hijras, pan wallahs, the factory workers, the prostitutes, and many other voices that seem the most inaudible. We all do speak a similar tongue, but our language seems incomprehensible to each other; perhaps for the differences of class, caste, upbringing and various other experiential dissimilarities. Even while we attempt to understand each others’ language, the differences of appearances keep our distances intact.
Graffitti as an art form evolved in the west, from the grassroots; voicing these differences. The voices were from those that felt excluded, or from those who felt a need for something that the mainstream was unable to address.
Graffiti (art) became synonymous with the voices that quietly, sometimes anonymously, vehemently roared against private property, homogeneity, and many other forms of exclusions that individuals experienced in the marginalised neighbourhoods of developed nations. These voices, as visual testimony, were a war, of words and visuals, mostly against the mainstream of production-consumption capitalist cycle. Reactionary, individualistic, radical, anti-aesthetic, vandalistic, are some of the theoretical adjectives coined later, to understand the form. Ironically, once it started getting institutionalised, like many other forms of art, the art of graffiti also, came to be ‘recognised’ by the system of capitalist art market, and thus got usurped into another paradigm of style, that could be borrowed to replicate radical, reactionary behaviour. So, in its formal behaviour, if graffiti is a form of painting on the wall, one can immediately hold a strong denial, since there are many more possibilities of wall painting that cannot be termed as graffiti... in its spirit, and formal tones, the art form demands total unification to be termed thus.
The project, titled: “I think therefore graffiti…” initiated by the Guild Art Gallery, invited artists from across the country to perhaps, locate those thoughts that visit the spirit of Graffiti. The domains of exclusion, of a constructed ‘mainstream’, the domain of anti aesthetic, the domain of fast, transient, street culture, of politics of private property, of art and its objectification, of homelessness, art and site specificity, the spoken and the visual, the spontaneous expression, the strengths of the vulnerable, reactionary visual activism on the urban streets, mobility of the ‘common man’, deprivation, isolation, commercialisation are some of the tropes that seemed to be opened through this project.
Perhaps, as a project that is sprouting from the mainstream, the aim is to break the glass as well as hold a mirror...for it is through these domains of the public that a private life is shaped, which in turn produces the public sphere ahead...” Rakhi Peswani, July 2010
The exhibition continues until September 8, 2010
Wednesday, June 30, 2010
Thursday, June 3, 2010
Sunday, May 9, 2010
Friday, April 30, 2010
C A T E G O R I C A L I M P E R A T I V E S
Curated by Khaled Ramadan and Anni Venalainen
April 12 – May 31, 2010
Mumbai - The
Raed Yassin was born in
About his own work Ayman Ramadan (b.1980
Dalia Al Kury is a 27 year old palestinian/jordanian director living between
Mounira Al Solh was born in
Khaled Hafez ´s (Born in Cairo, Egypt in 1963) experimental video work Third Vision: Around
Mireille Astore´s work Not From Here is an artwork that attempts to negotiate displacement, exile, migration and identity formation using a historical narrative. Astore says that as an artist she is driven by a need to create an entity between the conscious and the unconscious, the intentional and the unintentional, the political and the apolitical. Mireille Astore (
Khaled D. Ramadan is a video documentary maker, curator and art writer. His fields of specialties are the culture and history of broadcast aesthetics, with interests in the fields of aesthetic journalism and documentary film research. He is the founder of the MidEast Cut, Not On Satellite and the Coding-Decoding festivals and the Chamber of Public Secrets. Ramadan has published several documentary films, theoretical texts and books on broadcast aesthetics, journalism and documentary filmmaking. He has serious experience in planning and curating exhibitions, film festivals. Ramadan’s works are shown around the world at major festivals, TV stations and museums. In 2009, Al-Jazeera TV produced a documentary about the Chamber of Public Secrets and Ramadan’s activities and achievement. In 2009, Ramadan was given the Achievement Award of the 11th Cairo Biennial. Ramadan is member of the International Association of Curators of Contemporary Art, IKT. Currently Ramadan is the co-curator of the International Manifesta 8 project,
Thursday, April 8, 2010
Categorical Imperatives, Video Works, curated exhibition by middle eastern artists, April
C A T E G O R I C A L I M P E R A T I V E S
Curated by Khaled Ramadan and Anni Venalainen
PREVIEW – Monday, April 12, 7:00 pm to 9:00 pm
Raed Yassin was born in
About his own work Ayman Ramadan (b.1980
Dalia Al Kury is a 27 year old palestinian/jordanian director living between
Mounira Al Solh was born in
Lena Merhej is a visual artist living in Beirut. Lena studied Graphic Design at the American University of Beirut (BGD) and majored in Design and Technology at the Parsons School of Design (MFA). At the moment she is teaching at the Lebanese American University, and give workshops in animation, illustration, and comic books. She is a Samandal founding member, the only comic book organization in the Middle East. Lena Merhej says that in the comics and the animation that she does, her stories are about her memories and her experiences in Beirut: family, war and frustration are recurrent themes.
Mireille Astore´s work Not From Here is an artwork that attempts to negotiate displacement, exile, migration and identity formation using a historical narrative. Astore says that as an artist she is driven by a need to create an entity between the conscious and the unconscious, the intentional and the unintentional, the political and the apolitical. Mireille Astore (
Khaled D. Ramadan is a video documentary maker, curator and art writer. His fields of specialties are the culture and history of broadcast aesthetics, with interests in the fields of aesthetic journalism and documentary film research. He is the founder of the MidEast Cut, Not On Satellite and the Coding-Decoding festivals and the Chamber of Public Secrets. Ramadan has published several documentary films, theoretical texts and books on broadcast aesthetics, journalism and documentary filmmaking.
He has serious experience in planning and curating exhibitions, film festivals. Ramadan’s works are shown around the world at major festivals, TV stations and museums. In 2009, Al-Jazeera TV produced a documentary about the Chamber of Public Secrets and Ramadan’s activities and achievement.
In 2009, Ramadan was given the Achievement Award of the 11th Cairo Biennial.
Ramadan is member of the International Association of Curators of Contemporary Art, IKT. Currently Ramadan is the co-curator of the International Manifesta 8 project,
Subscribe to:
Posts (Atom)