Wednesday, December 21, 2011

Ravi Agarwal video exhibition installation Of Value and Labour at The Guild

video

Ravi Agarwal

Of Value and Labour

THE GUILD

16th December, 2011 – 2nd January, 2012

The Guild is delighted to present Of Value and Labour’ the first solo exhibition of Ravi Agarwal in the city of Mumbai.

The interrupted cycle of nature is inscribed by mass produced commodities which serve to fulfill wants and desires, and direct lives and materials. “A commodity is, in the first place, an object outside of us, a thing that by its properties satisfies human wants of some sort or another. The nature of such wants, whether, for instance, they spring from the stomach or from fancy, makes no difference. Neither are we here concerned to know how the object satisfies these wants, whether directly as means of subsistence, or indirectly as means of production.” wrote Marx.

Value is added throughout the chain with labour and technology, as both become equated in monetary terms. An ‘aura’ of desirability determines the price, till it becomes worthless, as waste, only to be recovered back into the commodity cycle by the labour of the waste picker. There is an ongoing theatre of aura and decay. Intertwined in this economy are narratives of many lives, often homogenized through contestations of power and powerlessness.

Some of the works being presented in the exhibition were documented in a monograph titled ‘Down and Out : Labouring under Global Capitalism,’ Jan Breman, Arvind Das and Ravi Agarwal, OUP, 2000, New Delhi. The body of the work was produced between 1996 and 2000 and was sited in South Gujarat, in and around the city of Surat, as a collaborative project with Jan Breman, the well known Dutch labour anthropologist who has been researching in India for over 45 years.

Ravi Agarwal is a photographer artist, writer, curator and environmental activist. He explores issues of urban space, ecology, capital in an interrelated ways working with photographs, video, performance, on-site installations and public art.

Agarwal has participated in several international shows including Documenta XI (Kassel 2002), ‘Horn Please,’ Kunstmuseum, Bern, 2007; ‘Indian Highway’ (2009 ongoing); ‘Generation in Transition,’ National Gallery of Art, Warsaw; ‘The Eye is a Lonely Hunter, Images of Humankind,’ at Fotofestival Mannheim_ludwigshafen_Heidelberg; ‘After the Crash’ at Museo Orto Botanico, Rome; his recent solo show being ‘Flux: dystopia, utopia, heterotopia,’ Gallery Espace, New Delhi. Agarwal recently co-curated a twin city public art project, Yamuna-Elbe.Public.Art.Outreach. He writes extensively on ecological issues, and is also founder of the leading Indian environmental NGO, Toxics Link. He is an engineer by training.


www.guildindia.com


Sunday, December 18, 2011

Ravi Agarwal - Of Value and Labour-Gallery View

Do visit The Guild for the solo exhibit of Ravi Agarwal- Of value and Labour.

http://www.youtube.com/watch?v=atISecr_1qI

Thursday, November 24, 2011

Art 4 Sunday - Scaffolding the Absent solo by G.R. Iranna at The Guild

Dear Friends,

We invite you to visit us on Art 4 Sunday, November 27, 2011 from noon to 5 pm.
Do catch the lat day of Scaffolding the Absent - solo by G.R. Iranna @ The Guild
On view till Sunday, November, 27, 2011

We look forward to welcoming you this Sunday with your family and friends.

Tuesday, November 22, 2011

Riyas Komu and K. P. Reji in Jogja Biennale 2011

Jogja Biennale 2011 - 2012
from 26 November 2011 - 8 January 2012

Shadow Lines
curated by Alia Swastika (Indonesia) and Suman Gopinath (India)

The Guild is pleased to announce the participation of Riyas Komu and K. P. Reji in Jogja Biennale 2011.
Komu presents two works- a very large scale carved installation in wood titled ‘The Undertakers’ and ‘Magic landscape’. K. P. Reji will be making a site-specific work.

Participating artists include:
Atul Dodiya, Archana Hande, Anita Dube, Amar Kanwar, N S Harsha,Prabhavati Meppayil, Sreshta Rit Premnath, Pushpamala N, Riyaz Komu, K.P Reji, Sheela Gowda, Shilpa Gupta, Sheba Chhachhi,Sakshi Gupta, Valsan Koorma Kolleri, Setu Legi, Krisna Murti,Jompet Kuswidananto, Arahmaiani, Wedhar Riyadi, Andy Dewantoro, Christine Ay Tjoe, Paul Kadarisman, Albert Yonathan,Akiq AW, Ariadhitya Pramuhendra, Iswanto Hartono, Wimo Ambala Bayang, Tromarama, Octora, Theresia Agustina, Titarubi, RE Hartanto, Nurdian Ichsan, Wiyoga Muhardanto, Erika Ernawan,Melati Suryodarmo, Arya Panjalu / Sara Nuytemans, Ruangrupa, Irwan Ahmett
Shadow Lines suggests imaginary lines that draw people together and pull them apart; it also refers to geo-political borders and the creation of modern states in South Asia. Curated by Alia Swastika (Indonesia) and Suman Gopinath (India), the Biennale, with its overarching theme of ‘religiosity, spirituality and belief’ will attempt to present ways in which artists from the two countries address and interpret their contemporary conditions, informed by their personal experiences, as also by the political structures of the countries they live in.

Wednesday, November 2, 2011

Scaffolding the Absent by G.R. Iranna at The Guild November 4 - 22, 2011



G.R. Iranna

Scaffolding the Absent

THE GUILD MUMBAI
November 4 - 22, 2011


Preview: Friday, November 4, 7 pm – 9 pm

Scaffolding the Absent: G.R. Iranna’s Phenomenological Interventions1

“Martin Heidegger pointed out that in every fear there is the recognition of our vulnerability, our mortality, and that anxiety, that feeling of finding ourselves cast adrift, nothing supporting us, nothing to hold on to, is a premonition of what dying will be: a being cast from existence into the void, into nothingness.”2
Philosopher Alphonso Lingis

The Guild Art Gallery is pleased to present Scaffolding the Absent solo exhibition of G.R. Iranna featuring his most recent body of paintings, with catalogue essay by critic/curator Maya Kóvskaya, PhD. previewing on Friday, November 4, 2011.

In this powerful collection of five new large-scale works, G.R. Iranna meditates on human mortality and the fragility of our existence. “I wanted to create the fragile and slippery ground upon which our life and our existence rest,” explains the artist. Using the figure of the Buddhist monk and Buddhist iconography as a metonym for larger questions, he employs his characteristic visual language in “scaffolding the absent” elements present in our search for an understanding of Being against the backdrop of its incompleteness in our mortal journey. Through his phenomenological visual interventions, Iranna shows how we have failed to articulate a language to explain our origins, our destination and our sense of purpose in the collective solitude of humankind. Even when we are together, we stand alone in tackling these questions that concern each of us and define the nature of our mortality.

While nominally depicting religious symbols, the works are not representations of Buddhism, per se, but rather visual vehicles for exploring deeper human questions alluded to in the quotation by Alphonso Lingis above. With characteristic abstract backgrounds, devoid of figurative, representational content, Iranna’s work embodies the “neither here nor there” space that Michel Foucault called “heterotopias”—interstitial spaces at “the intersection of the real and the virtual” that collapse the binary between the two—and what Homi K. Bhabha interprets as a “third space of enunciation”—heterogeneous, hybrid, transnational and post-national discursive spaces of cultural production. In this way, Iranna transcends the pervasive Orientalist essentialism that is frequently implicated in iconic representations of “Eastern” spiritualist symbology.

Multiple layers of absence are present in this body of work. Absence appears in Iranna’s paintings in the Buddhist sense as absence of desire, longing, struggle, manifesting as transcendence in the search for meaning. It appears in the phenomenological sense as the absence of explanations and definite answers to the questions of existence. Absence resides in the spatio-temporal dislocation of the figures of against the heterotopic background and foregrounded perforations in the surface appearance of the works, and heterotopia makes absence into a space of possibility. Visually there is also an absence of horizons; there are paths but no destinations. There is an absence of faces, or facial expressions, and the monks are sometime depicted on a journey with an unknown destination, traveling upon the most fragile and unsteady of supports—bridges cobbled together with metal sutures, held up by wobbly crutches, as if to question whether the structures of faith available to us can actually support the weight of the human condition.

From a diversity of perspectives, Iranna’s work performs the function of “scaffolding the absent”—deconstructing the very elements it formally offers, and bringing the latent instability of the invisible structures underlying them to the fore. Scaffolding is typically used as a noun, referring to ad hoc support structures, such as temporary architectural platforms used during the building and repair of an edifice (structural or social), but can also metaphorically refer to religious belief, systems of social regulation, dominant societal norms, and so on. Scaffolding can also be used as the gerund form of the verb ‘to scaffold,’ and as a reference to the activity or process of building a temporary platform that supports the erection of an edifice. Thus G.R. Iranna offers a scaffolding of the absent; a temporary structural outline of that which is invisible within the frame, but contextually present in its visible absence, and in doing so, he asks us to reflect upon our human predicament.
—Maya Kóvskaya, PhD

[1] Excerpted from the catalogue essay of art critic Maya Kóvskaya, PhD.
[2] Alphonso Lingis. 2006. Defenestration (Deleuze Conference Paper). http://gavinwit.googlepages.com/Lingis.pdf. Accessed 30.07.2007.

Iranna obtained M.F.A. from Delhi College of Art. His selected solo exhibitions being Ribbed Routes, The Guild, Mumbai 2010; ‘Birth of Blindness’, The Stainless Gallery, New Delhi and Aicon Gallery, London and New York. G.R Iranna was awarded the Juror’s choice award for the ABPF Signature Art Prize 08, Singapore Museum and the international scholarship from Charles Wallace Trust, British Council. Other selected group exhibitions include 'Roots in the Air, Branches Below: Modern & Contemporary Art from India', San Jose Museum of Art, San Jose; 'Time Unfolded', Kiran Nadar Museum of Art (KNMA), New Delhi; 'Finding India: Art for the New century', Museum of Contemporary Art, Taipei, Taiwan; Go See India, curated by Amit Mukhopadhyay and Oscar Aschan, Gothenburg, Sweden; Cultura Popular India y mas alla, la presidenta de la comunidad de Madrid Museum, curated by Shaheen Merali and Arad Biennale, Romania.

Tuesday, October 4, 2011

The Art of Drawing curated by Sudhir Patwardhan


The Art of Drawing

Curated by Sudhir Patwardhan

Artists: Dilip Ranade, Gieve Patel, Himmat Shah, Jyothi Basu, K.G. Subramanyan, Krishen Khanna, Parag Tandel, Sudhir Patwardhan, Tushar Joag and Vilas Shinde

The Guild, Mumbai

Preview: Friday, October 7, 2011 | 7- 9 pm

The Guild is pleased to present the preview of The Art of Drawing, curated by Sudhir Patwardhan. The exhibition is a preview of a two part exhibition at Sudarshan Art Gallery, Pune

The impulses behind drawing, the reasons why artists draw, are multiple and varied, and the drawings that result from such varied impulses look very different from each other. A studied rendering of a model in the studio is different from a quickly rendered sketch of a figure seen in the street. An idle doodle is different from a charged venting of emotion on paper. Drawings done to clarify a vague idea in the mind are different from drawings done to abstract the essential forms in nature; and the list can be as long as the number of artists who do drawings. However, till not too long ago, the activity of doing some form of drawing daily was considered essential for every artist. It was part of the discipline of being an artist and was considered the foundation on which an artist built. It was essential for keeping the connections between eye, brain and hand alive and alert.

In the last few decades drawing seems to have lost this generally accepted eminence in the creative process. Firstly, with the spread of photography from the beginning of the twentieth century, the reign of one kind of naturalistic or academic drawing came to an end. Nevertheless, drawing still flourished in the modern period. Artists found new uses for and purpose for drawing. And the forms that drawings took multiplied. In the past twenty years or so however, with the advent of the new media in art - video, photography, installation etc. and the spread of the computer in design and architecture, drawing seems to have receded somewhat from artists’ practice. Its position in the academic curriculum too is unstable and its need is not universally felt.

The purpose of this exhibition is to bring together some of the different kinds of drawing done by Indian artists today. Drawing may have lost its position as the foundation of all art, but it is still widely practiced, even passionately pursued. Works by the ten artists in this exhibition were chosen with a view to give the viewer some sense of the variety of ways in which drawing is still used as a tool of exploration, and as a mode of expression. We hope the viewer will experience the potency of the drawn line in its different avatars, and also experience the key position drawing can occupy in the creative process of different artists.”– Sudhir Patwardhan

Thursday, September 22, 2011

Prajakta Potnis in Indian Highway MAXXI National Museum of XXI Century Arts, Rome 22 September 2011 - 29 January 2012


Prajakta Potnis in Indian Highway

MAXXI National Museum of XXI Century Arts, Rome
22 September 2011 - 29 January 2012

curated by Julia Peyton-Jones, Hans-Ulrich Obrist and Gunnar B. Kvaran together with Giulia Ferracci, Assistant Curator MAXXI Arte, and organised in collaboration with the Serpentine Gallery, London and the Astrup Fearnley Museum of Modern Art, Oslo, Norway

The exhibition is an itinerant collective show that, through a vast selection of works, presents the multiform panorama of the Contemporary Indian artistic scene. Indian Highway offers an exciting opportunity to learn about Indian artistic research and constitutes the first investigation by an Italian museum of the art of this fascinating country.

With 30 artists, 60 works including 4 site-specific installations conceived for MAXXI Art and a series of works exhibited here for the first time in all their monumentality, the exhibition offers a vast representation of the creative panorama of one of Asia’s largest regions and reflects the economic, social and cultural developments of the past twenty years. Beginning with the definition of the highway as an element of connection between the migratory flows moving from the periphery towards the city, Indian Highway speaks about technological development, the economic boom and the growing global centrality of this subcontinent in the world of the arts since the 1990s.


Still Life

My work dwells between the intimate world of an individual and the world outside which is separated sometimes only by a wall. I would like to look at the wall as a veil and also as an organic separation between the inside and the outside through which imperceptible elements pass and affect the psyche of individuals, after reading about certain crops being genetically engineered, it made me wonder how it would affect, the individual consuming it. How resolutions passed, transgress and enter an individual’s private space. The inside of a refrigerator has always intrigued me, its controlled enclosed environment creates a stage like setting, I wanted to weave a narrative within this setting. Where the viewer becomes a voyeur, witnessing an event happening in the inside of this enclosed space. With the aid of those vegetables that would be genetically modified, I tried to recreate a moment of explosion, a sudden outburst in the inside of the refrigerator. – Prajakta Potnis


For more information visit http://www.fondazionemaxxi.it/en/schede/indian-highway-en

Art 4 Sunday


Dear Friends,

We invite you to visit us on Art 4 Sunday, September 25, 2011 from 11 am to 5 pm.
Do catch Looking is not Seeing - solo by Balaji Ponna The Guild

We look forward to welcoming you this Sunday with your family and friends.


Rakhi Peswani in Residence at The Hague at the invitation of Kosmopolis Hague

Rakhi Peswani in Residence

at The Hague at the invitation of Kosmopolis Hague

September 16 – December 14

During her stay in the Netherlands Rakhi will study Dutch Art from Indian perspective. Rakhi will be participating in the Hague India Month. She also has some teaching assignments with art academies, a collaboration project with a Dutch theatre Director and an exhibition of her works at Denneweg Today

Rakhi Peswani is a recipient of Foundation for Indian Contemporary Art’s Emerging Artist Award and obtained her Bachelor’s degree in painting and Master’s degree in sculpture from the Faculty of Fine Arts, M. S. U, Vadodara. Peswani’s solos include Matters Under the Skin with The Guild, Mumbai at Art HK - Asia One 2011; Intertwinings, Vadehra Art Gallery, New Delhi, 2009;Sonnet for Silent Machines, at Jehangir Nicholson Gallery & The Guild Art Gallery, Mumbai, 2007. Selected group shows include Generation in Transition New Art from India Exhibition Curated by Magda Kardasz,Warsaw, Bring Me A Lion: An Exhibition of Contemporary Indian Art, The Hunt Gallery, St.Louis, Missouri(2010).

For more information visit http://www.kosmopolisdenhaag.nl/

Prajakta Potnis at West Heavens Artist Dispatch - Residency in Shanghai

Prajakta Potnis
at West Heavens Artist Dispatch - Residency in Shanghai

Artist Dispatch
September 2011 Onwards, Delhi - Shanghai
Indian artists Dhrupadi Ghosh and Prajakta Potnis will be dispatched to Shanghai in September 2011, while Chinese artists Zheng Bo and Liu Wei, together with Taiwanese curator Amy Cheng will be dispatched to Delhi at the same period. Thoughts, discussions, and notes will gradually develop themselves into art works in the months to come.
West Heavens is a cross-disciplinary cultural exchange project, aiming to foster closer understanding of India through contemporary art and scholarship, and develop cross-cultural dialogue based on visual culture and notions of Asian modernity. Past and current programs cover a vast scope of social thoughts, contemporary arts, urban studies, film studies and music, and the form of events extend from lectures, discussions, exhibitions, screenings, workshops, performances and related translation and publications.

Prajakta Potnis (1980--) received her BFA and MFA from the Sir J.J. School of Arts in Mumbai, India (1995/2002). Her multidisciplinary work spans painting, installation, sculpture and photography and investigates the porousness and interpenetrability of boundaries and binaries such as inside/outside, public/private, natural/engineered, etc, and has been shown to critical acclaim in India and internationally in venues including Lyon Museum of Contemporary Art, Paris, France (2011); Heart Herning Museum Of Contemporary Art, Denmark (2010); Lakeern Gallery, Mumbai (2010); Astrup Fearnley Museum of Modern Art Oslo, Norway(2009); The Essl Museum of Contemporary Art, Austria (2010); Khoj International Artist Workshop, Delhi (2009); and others, as well as solo exhibitions, “Membranes and Margins”, Em Gallery, Seoul (2008); “Porous walls” The Guild Art Gallery, Mumbai (2008); “Walls- In- Between,” Kitab Mahal, The Guild Art Gallery, Mumbai (2006).

Her work has been featured in significant publications including ‘I’m Not There: New Art from Asia,’ Ed. Cecilia Alemani (The Gwangju Biennale Foundation, 2010); ‘Younger than Jesus: The Artist Directory’ (New Museum and Phaidon, 2009), as well as numerous catalogues and art magazines such as Art ETC, and others. Potnis is also the recipient of the major awards including the Sanskriti Award for ART (2010), the Inlaks Fine Arts award (2003-2004), and the Young Artist fellowship, from the Indian National Department of Culture (2001- 2003).

For more information visit http://westheavens.net/en

Saturday, September 17, 2011

T. V. Santhosh at Fourth Moscow Biennale of Contemporary Art 'Rewriting Worlds'

http://www.4th.moscowbiennale.ru/en


On September 22, the Moscow Biennale of Contemporary Art opens its fourth edition. Titled "Rewriting Worlds", it will run until October 30 and features 64 artists and 14 groups of artists from more than 33 countries. The Moscow Biennale is being curated by Peter Weibel, Director of the Center for Art and Media (ZKM) in Karlsruhe, Germany.


The Guild is proud to announce the participation of T. V. Santhosh, in the Fourth Moscow Biennale, who will exhibit 'Houndingdown' sculptural installation in the Biennale. The other Indian artist to be participating in this biennale is Shilpa Gupta.


The work titled, ‘Houndingdown’ is a key installation that broadly reflects Santhosh's conceptual and linguistic concerns of his ongoing engagements. It consists of thirty dogs and LED panels, is a combination of few historical references of ruthless and unforgivable deeds men committed in the past and relentless angst about the thoughts of future. One of the references is a testimony, a text that runs across on three LED panels placed on the floor, of a schoolgirl who witnessed the Hiroshima nuclear explosion. This re-edited first hand description of such a dreadful vision of terror and screams is almost like a hounding dream yet more real than real that sends a chill down through the spine. It is a story of burned and mutilated dead bodies, how a familiar neighborhood suddenly turns in to a ruined war zone and how the radiation turns a young girl into looking like old aged. The redness of the LED text plays the role of the image by reflecting it on to the images of dogs thus playing a crucial role in building up the totality of the installation.


If you are at the Biennale, we look forward to meeting you for the opening.


www.guildindia.com

Tuesday, September 6, 2011

Balaji Ponna 'Looking is not Seeing' at The Guild



Balaji Ponna

Looking is not Seeing

THE GUILD MUMBAI

September 8 – October 3, 2011

Preview: Thursday, September 8, 7 pm – 9:30 pm

The Guild Art Gallery is pleased to present Looking is not Seeing a solo exhibition of recent works of Balaji Ponna, previewing on Thursday, the September 8, 2011.

“Responding to the socio-political and cultural realities of the time is one of the modes in which artists engage thematically through work. Within this engagement there are several trajectories of expressions that had emerged corroborating the subjective experiences of the artist in relation to the objective existence in society….

Balaji’s works comprise a crucial relation between the painted text-phrases and the images. In fact this text, composed in two phrases, frames the meanings and the subtext of the visual images. Written in a simple typography, this text does not intervene in the picture format but stays on the surface, by virtue of its flat, two-dimensional nature. In one sense this text is equal to the status of parergon, as theorised by Derrida – Parergon is “neither work (ergon) nor outside the work, neither inside or outside, neither above nor below, it disconcerts any opposition but does not remain indeterminate and it gives rise to the work” (Truth in Painting, 1978). The textual phrase belongs to the work (painting) as well as stays unrelated pictorially to the painting. When a viewer approaches these paintings, the sight is drawn towards deftly manoeuvred images, but quickly, the verbal text catches the eye, as if intervening between the pictorial image and the sight of the onlooker. This moment of rupture is also the moment of introduction of specific meanings to the work. The phenomenological and aesthetic experience of the viewer, in this context, is guided by the text-phrase, written in English. And in this moment of quick shifts between the textual phrase and the image, signification gets complicated and acquires a double signification which correlates each other – the text and the image. At one level the text-phrase puts forward a literal or direct meaning of it. When the signified or the meaning interacts with the image, this signified becomes empty and acquires a second level signification, whose signified belongs to the social and political realms.” (Excerpt from an essay by Santosh Kumar Sakhinala)

Born in 1980, Balaji Ponna received his B.F.A in Graphics from Andhra University with Gold medal and M.F.A in Graphics from Visva - Bharati University, Santiniketan. He has been recipient of H.R.D. National Scholarship for young Artists (2004–05). His recent solo exhibitions include Monuments at India Art Summit 2011 with The Guild, Mumbai; The Things I Say, at Studio La Citta, Verona and Black Smoke, at Bose Pacia, Kolkata, in collaboration with The Guild. Ponna has participated in various group shows over the last couple of years including Art Celebrates 2010: Sports and the City, an Exhibition of Indian Contemporary Art curated by Rupika Chawla; Contemporary Exoticism curated by Marco Meneguzzo at Studio La Citta, Verona; Art Basel by Studio la Citta, 2009; A New Vanguard: Trends in Contemporary Indian Art, Saffronart, New York and The Guild, New York; The July Show at The Guild and Are We Like This Only? Curated by Vidya Shivadas at Vadehra Art Gallery , Delhi . His works were also exhibited at the France Print Biennial in 2009.

Saturday, August 27, 2011

Generation in Transition New Art from India

The Guild is pleased to announce participation of Prajakta Potnis, Prayas Abhinav, Rakhi Peswani, Ravi Agarwal and others in Generation in Transition New Art from India
Exhibition Curated by Magda Kardasz

At Zachęta National Gallery Of Art

September 3 – November 6, 2011

Following its presentation in Zachęta, the exhibition is be shown in the Contemporary Art Centre in Vilnius, Lithuania

Friday, August 12, 2011

New Indian Film and Animation at ICA, LASALLE, Singapore


The Guild is delighted that the video and animation festival - VAF@The Guild has been invited by Institute of Contemporary Arts, LASALLE College of Arts, Singapore to show at their institute. The New Indian Film and Animation opens on the 17th August and artists’ talk by Dr. Vidya Kamat and Gigi Scaria will take place on the 18th August at 4.00 pm at ICA, LASALLE, Singapore.

Saturday, July 30, 2011

Charwei Tsai in Yokohoma Triennale 2011

Charwei Tsai in Yokohoma Triennale 2011

Our Magic Hour How Much Of The World Can We Know?
August 6 - November 6, 2011
Yokohama Museum of Art, 3-4-1, Minatomirai Nishi-Ku, Yokohama 220-0012, Japan

www.yokohamatriennale.jp

ON THE SIDEREAL Curated by Prayas Abhinav

ON THE SIDEREAL
Curated by Prayas Abhinav

July 27 – August 28
Open Studio: Tuesday July 26- 5:00 – 9:00 pm

Amitabh Kumar Eelco Wagenaar Kiran Subbaiah

Umesh Kumar PN Prayas Abhinav Tahireh Lal

The Guild is pleased to present “ON THE SIDEREAL”, an exhibition curated by Bangalore based artist and curator, Prayas Abhinav, featuring a multidisciplinary range of works by the six artists – Amitabh Kumar, Eelco Wagenaar, Kiran Subbaiah, Umesh Kumar PN, Prayas Abhinav and Tahireh Lal. The exhibition draws on the Jungian concept of time to propose the notion of Sidereal Time, which in a way sidesteps our knowing of multiple realities and universalities, but still is a part of our experience.

What do we do after we de-shackle time from its commodity exchange value? Few can bear the weight of naked time. We seek ways to dullen, fragment and diffuse our awareness of it. Media creates a dream world for our waking selves. A dream world in which we are told that we have agency to reconfigure the worlds around us. A dream world that placates us when we cannot do so, offers us periodic piecemeal victory and hope to keep us engaged, keep us locked-in, prevent our “sidereality” to come alive.

This “sidereal” time and its voice can transform into anything it seeks. Desire, confusion and recklessness are tools which can be used towards this. With time made open to an alchemical manipulation and transformation, space invariably will be persuaded to take on other contours as well. And spaces will dream with all the things they contain. This brings us to the Wheel of Time – the packet within which all else floats. The Ouroboros. The reason why time can be cast in no permanent mould – except nostalgia maybe, for some time” – Prayas Abhinav

The exhibition is the culmination of a nine day residency program at The Guild. The residency saw art practitioners from diverse fields associated with the arts, architecture, culture studies and science talk and debate about the many concepts and notions of time, the arguments centering of course on the sidereal concept of time. Performance artistes also explored the semblance of what we call as normal or real time through the audio-visual medium. There were also individual presentations of previous works by the participating artists. For the first time in the history of art galleries in Mumbai, some of the talks and seminars were web-cast live. An interactive web discussion was also one of the highlights of this project which was initiated prior to the residency.. Artists, art-lovers, intellectuals and students participated in the talks and discussions on all the days.

Amitabh Kumar’s work is part of his ongoing Prophesaur series; the new secret cult that had joined the cycle of cults that would one day control the world. It is about that operator who watches time. Doesnt pass it, use it, fetishize it, run from it, run to it, shut it, kill it. He watches it. And by virtue of that reveals his location to the prophesaurs. It's always outside time.


But this piece is not about his location either. Neither is It about him and the tragedy that became his sole preoccupation.

It is about the prophesaurs and the operator and the friendly arm twisting between them.

Eelco Wagenaar’s work is called ‘Duality’s of Time; A Triptych’. His multimedia work consists of a fan placed above a wall, where the wall serves the purpose of dividing the space into time zones. A clock made out of digital alarm clocks forms the second part of the triptych. The alarm clocks are representing the numbers of the clock. There are no arms that move, but the hours are moving from one clock to the other, in a counter clockwise motion. The minutes appear to be synchronized, but they aren’t. To complete the triptych there is a poster with a recent published thesis Artist as System Engineer. The text deals with issues regarding dual practices and interactivity in times of rapid development of (digital) technology and how art could be functioning in the construct of science and society.

Prayas Abhinav’s work is all about the textual narrative. As he puts it lucidly “Another pattern is apparent (and all narrative is fiction)”. Experience of time is fractures and like a piece of broken glass reflecting in an infinite loop, hypertexts are created in each living moment. This is complimentary to a Hydra of Incandescence, which is a corollary to the experience, that if trajectories are followed and pursued for what they are, we have to witness the Hydra of Incandescence.

Kiran Subbaiah’s work is the Black Box. A black box recovered from the debris of a time-machine that crashed in the vicinity of the artist's space-time. It contains a vital SOS message from the future addressed specifically to the world of contemporary art.

Tahireh Lal explores ideas and works that have their own physicality, time and space. Tending to abstract and pure form and using elemental aspects of the visual experience, the work explores the immersive, self-reflective environments that are connotative rather than denotative. The explorations deal with the convergence of seemingly disparate ideas where each narrative lead is stripped to its bare minimum both in content and aesthetic.

Umesh Kumar PN constructs assemblages/sculptures using everyday objects and materials by subverting their basic design and function. The process is as important as the final visual and where the aesthetics of the ordinary is part of the artist’s visual vocabulary. He works with the economy of material and fabrications with importance to the nature of the material. The intention is to locate and subvert cultural, economic productions and situations as part of the construct of the specific philosophical landscape with its inherent contradictions and irony.