(1502,1,'2010-07-09 16:03:45','2010-07-09 16:03:45','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td width=\"21%\" align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left:5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali \r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road \r\nISBN: 978-81-908879-1-5 </span>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/rainbow-of-refuse\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/black-flute\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/battlefield-of-mind\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Skin, </span>2000<span>\r\nInterview with Jitish Kallat\r\nPublisher: Gallery Chemould and Vis-à-vis Art Inc. Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/skin\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote \r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/orchard-pub\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\">&nbsp;</td>\r\n</tr>\r\n<tr>\r\n<td>&nbsp;</td>\r\n<td><!-- Start of Other Publications --><span class=\"pubstrong\">Never Run Away, </span>2010<span>\r\nText: Shaheen Merali\r\nPublisher: Stux Gallery</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery      \r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></td>\r\n\r\n<span class=\"pubstrong\">Viewpoints & viewings points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai \r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki, \r\nMiho Tagomori \r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum \r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman   \r\nGopinath, Jayaram, Deepak Ananth    \r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur, \r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>)2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller, \r\nBregje van Eekelen      \r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center  \r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern & Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart & The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation & Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n<br/>\r\n<span class=\"pubstrong\" style=\"color:#000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\">In a State of Perennial Siege</span><span>\r\nNancy Adajania, The Hindu, Hyderabad, 29th October 2006</span>\r\n\r\n<span class=\"pubstrong\">Her Crowning Achievement</span><span>\r\nClara Chow, The Straits Times, 18th November 2006</span>\r\n\r\n<span class=\"pubstrong\">Political Chaos</span><span>\r\nDeepali Nandwani, Beautiful people, pg 143, November-December 2006</span>\r\n\r\n<span class=\"pubstrong\">Weapons of Mass Construction</span><span>\r\nRituparna Som, DNA after Hrs, Mumbai, 9th October, 2006</span>\r\n\r\n<span class=\"pubstrong\">Guns and Roses</span><span>\r\nRachna Nakra, The Indian Express, Mumbai Newsline, 18th September 2006</span>\r\n\r\n<span class=\"pubstrong\">Under Attack</span><span>\r\nGitanjali Dang, HT Mumbai, 22nd September 2006</span>\r\n\r\n<span class=\"pubstrong\">Time Traveller</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 27th June 2006</span>\r\n\r\n<span class=\"pubstrong\">The Flower and the Sword</span><span>\r\nGirish Shahane, The Art News magazine of India, pg 93, volume X issue I, 2004</span>\r\n\r\n<span class=\"pubstrong\">India’s top 100 achievers</span><span>\r\nSociety Magazine, pg 137, December 2004</span>\r\n\r\n<span class=\"pubstrong\">Caught Between Demons</span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002</span>\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\">Of Faith and Hunger</span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: roti, makaan & abstract art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect & Builder, pgs 102-104, October 1998</span>\r\n\r\n</td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-143','','','2010-07-09 16:03:45','2010-07-09 16:03:45','',87,'http://www.biggventures.com/demo/artists/1502/uncat/87-revision-143',0,'revision','',0),(1503,1,'2010-07-09 16:06:19','2010-07-09 16:06:19','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td width=\"21%\" align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left:5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali \r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road \r\nISBN: 978-81-908879-1-5 </span>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/rainbow-of-refuse\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/black-flute\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/battlefield-of-mind\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Skin, </span>2000<span>\r\nInterview with Jitish Kallat\r\nPublisher: Gallery Chemould and Vis-à-vis Art Inc. Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/skin\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote \r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/orchard-pub\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\">&nbsp;</td>\r\n</tr>\r\n<tr>\r\n<td>&nbsp;</td>\r\n<td><!-- Start of Other Publications --><span class=\"pubstrong\">Never Run Away, </span>2010<span>\r\nText: Shaheen Merali\r\nPublisher: Stux Gallery</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery      \r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Viewpoints & viewings points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai \r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki, \r\nMiho Tagomori \r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum \r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman   \r\nGopinath, Jayaram, Deepak Ananth    \r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur, \r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>)2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller, \r\nBregje van Eekelen      \r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center  \r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern & Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart & The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation & Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n<br/>\r\n<span class=\"pubstrong\" style=\"color:#000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\">In a State of Perennial Siege</span><span>\r\nNancy Adajania, The Hindu, Hyderabad, 29th October 2006</span>\r\n\r\n<span class=\"pubstrong\">Her Crowning Achievement</span><span>\r\nClara Chow, The Straits Times, 18th November 2006</span>\r\n\r\n<span class=\"pubstrong\">Political Chaos</span><span>\r\nDeepali Nandwani, Beautiful people, pg 143, November-December 2006</span>\r\n\r\n<span class=\"pubstrong\">Weapons of Mass Construction</span><span>\r\nRituparna Som, DNA after Hrs, Mumbai, 9th October, 2006</span>\r\n\r\n<span class=\"pubstrong\">Guns and Roses</span><span>\r\nRachna Nakra, The Indian Express, Mumbai Newsline, 18th September 2006</span>\r\n\r\n<span class=\"pubstrong\">Under Attack</span><span>\r\nGitanjali Dang, HT Mumbai, 22nd September 2006</span>\r\n\r\n<span class=\"pubstrong\">Time Traveller</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 27th June 2006</span>\r\n\r\n<span class=\"pubstrong\">The Flower and the Sword</span><span>\r\nGirish Shahane, The Art News magazine of India, pg 93, volume X issue I, 2004</span>\r\n\r\n<span class=\"pubstrong\">India’s top 100 achievers</span><span>\r\nSociety Magazine, pg 137, December 2004</span>\r\n\r\n<span class=\"pubstrong\">Caught Between Demons</span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002</span>\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\">Of Faith and Hunger</span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: roti, makaan & abstract art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect & Builder, pgs 102-104, October 1998</span>\r\n\r\n</td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-144','','','2010-07-09 16:06:19','2010-07-09 16:06:19','',87,'http://www.biggventures.com/demo/artists/1503/uncat/87-revision-144',0,'revision','',0),(1504,1,'2010-07-09 16:09:05','2010-07-09 16:09:05','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td width=\"21%\" align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left:5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali \r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road \r\nISBN: 978-81-908879-1-5 </span>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/rainbow-of-refuse\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/black-flute\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/battlefield-of-mind\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Skin, </span>2000<span>\r\nInterview with Jitish Kallat\r\nPublisher: Gallery Chemould and Vis-à-vis Art Inc. Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/skin\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote \r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/orchard-pub\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\">&nbsp;</td>\r\n</tr>\r\n<tr>\r\n<td>&nbsp;</td>\r\n<td><!-- Start of Other Publications --><span class=\"pubstrong\">Never Run Away, </span>2010<span>\r\nText: Shaheen Merali\r\nPublisher: Stux Gallery</span>\r\n<span colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery      \r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Viewpoints & viewings points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai \r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki, \r\nMiho Tagomori \r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum \r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman   \r\nGopinath, Jayaram, Deepak Ananth    \r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur, \r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>)2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller, \r\nBregje van Eekelen      \r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center  \r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern & Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart & The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation & Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n<br/>\r\n<span class=\"pubstrong\" style=\"color:#000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\">In a State of Perennial Siege</span><span>\r\nNancy Adajania, The Hindu, Hyderabad, 29th October 2006</span>\r\n\r\n<span class=\"pubstrong\">Her Crowning Achievement</span><span>\r\nClara Chow, The Straits Times, 18th November 2006</span>\r\n\r\n<span class=\"pubstrong\">Political Chaos</span><span>\r\nDeepali Nandwani, Beautiful people, pg 143, November-December 2006</span>\r\n\r\n<span class=\"pubstrong\">Weapons of Mass Construction</span><span>\r\nRituparna Som, DNA after Hrs, Mumbai, 9th October, 2006</span>\r\n\r\n<span class=\"pubstrong\">Guns and Roses</span><span>\r\nRachna Nakra, The Indian Express, Mumbai Newsline, 18th September 2006</span>\r\n\r\n<span class=\"pubstrong\">Under Attack</span><span>\r\nGitanjali Dang, HT Mumbai, 22nd September 2006</span>\r\n\r\n<span class=\"pubstrong\">Time Traveller</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 27th June 2006</span>\r\n\r\n<span class=\"pubstrong\">The Flower and the Sword</span><span>\r\nGirish Shahane, The Art News magazine of India, pg 93, volume X issue I, 2004</span>\r\n\r\n<span class=\"pubstrong\">India’s top 100 achievers</span><span>\r\nSociety Magazine, pg 137, December 2004</span>\r\n\r\n<span class=\"pubstrong\">Caught Between Demons</span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002</span>\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\">Of Faith and Hunger</span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: roti, makaan & abstract art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect & Builder, pgs 102-104, October 1998</span>\r\n\r\n</td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-145','','','2010-07-09 16:09:05','2010-07-09 16:09:05','',87,'http://www.biggventures.com/demo/artists/1504/uncat/87-revision-145',0,'revision','',0),(1505,1,'2010-07-09 16:09:14','2010-07-09 16:09:14','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td width=\"21%\" align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left:5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali \r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road \r\nISBN: 978-81-908879-1-5 </span>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/rainbow-of-refuse\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/black-flute\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/battlefield-of-mind\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Skin, </span>2000<span>\r\nInterview with Jitish Kallat\r\nPublisher: Gallery Chemould and Vis-à-vis Art Inc. Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/skin\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote \r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/orchard-pub\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\">&nbsp;</td>\r\n</tr>\r\n<tr>\r\n<td>&nbsp;</td>\r\n<td><!-- Start of Other Publications --><span class=\"pubstrong\">Never Run Away, </span>2010<span>\r\nText: Shaheen Merali\r\nPublisher: Stux Gallery</span>\r\n<span colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery      \r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Viewpoints & viewings points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai \r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki, \r\nMiho Tagomori \r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum \r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman   \r\nGopinath, Jayaram, Deepak Ananth    \r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur, \r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>)2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller, \r\nBregje van Eekelen      \r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center  \r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern & Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart & The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation & Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n<br/>\r\n<span class=\"pubstrong\" style=\"color:#000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\">In a State of Perennial Siege</span><span>\r\nNancy Adajania, The Hindu, Hyderabad, 29th October 2006</span>\r\n\r\n<span class=\"pubstrong\">Her Crowning Achievement</span><span>\r\nClara Chow, The Straits Times, 18th November 2006</span>\r\n\r\n<span class=\"pubstrong\">Political Chaos</span><span>\r\nDeepali Nandwani, Beautiful people, pg 143, November-December 2006</span>\r\n\r\n<span class=\"pubstrong\">Weapons of Mass Construction</span><span>\r\nRituparna Som, DNA after Hrs, Mumbai, 9th October, 2006</span>\r\n\r\n<span class=\"pubstrong\">Guns and Roses</span><span>\r\nRachna Nakra, The Indian Express, Mumbai Newsline, 18th September 2006</span>\r\n\r\n<span class=\"pubstrong\">Under Attack</span><span>\r\nGitanjali Dang, HT Mumbai, 22nd September 2006</span>\r\n\r\n<span class=\"pubstrong\">Time Traveller</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 27th June 2006</span>\r\n\r\n<span class=\"pubstrong\">The Flower and the Sword</span><span>\r\nGirish Shahane, The Art News magazine of India, pg 93, volume X issue I, 2004</span>\r\n\r\n<span class=\"pubstrong\">India’s top 100 achievers</span><span>\r\nSociety Magazine, pg 137, December 2004</span>\r\n\r\n<span class=\"pubstrong\">Caught Between Demons</span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002</span>\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\">Of Faith and Hunger</span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: roti, makaan & abstract art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect & Builder, pgs 102-104, October 1998</span>\r\n\r\n</td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-146','','','2010-07-09 16:09:14','2010-07-09 16:09:14','',87,'http://www.biggventures.com/demo/artists/1505/uncat/87-revision-146',0,'revision','',0),(1506,1,'2010-07-09 16:15:54','2010-07-09 16:15:54','<strong style=\"color: #999999;\">THE KHOJ BOOK</strong>\r\n<strong>Interview with Shilpa Gupta</strong>\r\n\r\n<strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In <em>Penumbra Passage (Canine Cases)</em>, from 2007,<em> </em>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in <em>Pulse 30</em>,<em> </em>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach? </strong>\r\n\r\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\r\n\r\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\r\n\r\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.\r\n\r\nBesides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.\r\n\r\n<em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.\r\n\r\n<strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong>\r\n\r\nAt any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.\r\n\r\n<strong>Has there been a clear evolution from one media/form to another or have you jumped about?</strong>\r\n\r\nI have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea.\r\n\r\n<strong>Where does your interest in storytelling come from? Do you have a favourite story?</strong>\r\n\r\nWe’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture.\r\n\r\nAmong the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.\r\n\r\n<strong>As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</strong>\r\n\r\nArt has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.\r\n\r\nJust as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts.\r\n\r\n<strong>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify? </strong>\r\n\r\nThey have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around<strong> </strong>the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.\r\n\r\nIn a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.\r\n\r\nIn <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky.\r\n\r\n<strong>Why do you use POK (Pakistan Occupied Kashmir) as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</strong>\r\n\r\nMy father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history.\r\n\r\nPakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed territory in a cold, unsettling stainless steel cradle. It’s in limbo, as are its people, rocked back and forth by political agendas and myopic policies.\r\n\r\n<strong>As well as participating in the Khoj workshop in Mysore you helped organise Khoj Mumbai in 2005. What were those experiences like?</strong>\r\n\r\nI think Khoj played a vital role in the late 1990s and early 2000s when there weren’t many opportunities for artists to travel and work alongside others from different parts of the world. And although there are many more openings now, I continue to value that experience of sharing an experimental studio/laboratory with others. It encourages the extension of art practice into the public sphere. Khoj’s decision to constantly bring in new hands and fresh energy is particularly important: it helps revise and renew the model year after year.','','','publish','closed','closed','','khoj-book','','','2010-12-03 06:27:45','2010-12-03 06:27:45','',0,'http://www.biggventures.com/demo/artists/?page_id=1506',0,'page','',0),(1507,1,'2010-07-09 16:14:27','2010-07-09 16:14:27','<h4><span style=\"color: #999999;\">THE KHOJ BOOK</span></h4>\n<h4>Interview with Shilpa Gupta</h4>\n<strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In <em>Penumbra Passage (Canine Cases)</em>, from 2007,<em> </em>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in <em>Pulse 30</em>,<em> </em>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach? </strong>\n\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\n\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\n\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.\n\nBesides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.\n\n<em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.\n\n<strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong>\n\nAt any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.\n\n<strong>Has there been a clear evolution from one media/form to another or have you jumped about?</strong>\n\nI have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea.\n\n<strong>Where does your interest in storytelling come from? Do you have a favourite story?</strong>\n\nWe’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture.\n\nAmong the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.\n\n<strong>As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</strong>\n\nArt has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.\n\nJust as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts.\n\n<strong>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify? </strong>\n\nThey have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around<strong> </strong>the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.\n\nIn a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.\n\nIn <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky.\n\n<strong>Why do you use POK (Pakistan Occupied Kashmir) as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</strong>\n\nMy father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history.\n\nPakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed territory in a cold, unsettling stainless steel cradle. It’s in limbo, as are its people, rocked back and forth by political agendas and myopic policies.\n\n<strong>As well as participating in the Khoj workshop in Mysore you helped organise Khoj Mumbai in 2005. What were those experiences like?</strong>\n\nI think Khoj played a vital role in the late 1990s and early 2000s when there weren’t many opportunities for artists to travel and work alongside others from different parts of the world. And although there are many more openings now, I continue to value that experience of sharing an experimental studio/laboratory with others. It encourages the extension of art practice into the public sphere. Khoj’s decision to constantly bring in new hands and fresh energy is particularly important: it helps revise and renew the model year after year.','','','inherit','open','open','','1506-revision','','','2010-07-09 16:14:27','2010-07-09 16:14:27','',1506,'http://www.biggventures.com/demo/artists/1507/uncat/1506-revision',0,'revision','',0),(1508,1,'2010-07-09 16:15:27','2010-07-09 16:15:27','<h4><span style=\"color: #808080;\">THE KHOJ BOOK</span></h4>\n<h4>Interview with Shilpa Gupta</h4>\n<strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In <em>Penumbra Passage (Canine Cases)</em>, from 2007,<em> </em>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in <em>Pulse 30</em>,<em> </em>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach? </strong>\n\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\n\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\n\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.\n\nBesides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.\n\n<em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.\n\n<strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong>\n\nAt any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.\n\n<strong>Has there been a clear evolution from one media/form to another or have you jumped about?</strong>\n\nI have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea.\n\n<strong>Where does your interest in storytelling come from? Do you have a favourite story?</strong>\n\nWe’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture.\n\nAmong the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.\n\n<strong>As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</strong>\n\nArt has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.\n\nJust as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts.\n\n<strong>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify? </strong>\n\nThey have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around<strong> </strong>the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.\n\nIn a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.\n\nIn <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky.\n\n<strong>Why do you use POK (Pakistan Occupied Kashmir) as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</strong>\n\nMy father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history.\n\nPakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed territory in a cold, unsettling stainless steel cradle. It’s in limbo, as are its people, rocked back and forth by political agendas and myopic policies.\n\n<strong>As well as participating in the Khoj workshop in Mysore you helped organise Khoj Mumbai in 2005. What were those experiences like?</strong>\n\nI think Khoj played a vital role in the late 1990s and early 2000s when there weren’t many opportunities for artists to travel and work alongside others from different parts of the world. And although there are many more openings now, I continue to value that experience of sharing an experimental studio/laboratory with others. It encourages the extension of art practice into the public sphere. Khoj’s decision to constantly bring in new hands and fresh energy is particularly important: it helps revise and renew the model year after year.','','','inherit','open','open','','1506-revision-2','','','2010-07-09 16:15:27','2010-07-09 16:15:27','',1506,'http://www.biggventures.com/demo/artists/1508/uncat/1506-revision-2',0,'revision','',0),(1509,1,'2010-07-09 16:15:54','2010-07-09 16:15:54','<h4><span style=\"color: #808080;\">THE KHOJ BOOK</span></h4>\r\n<h4>Interview with Shilpa Gupta</h4>\r\n<strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In <em>Penumbra Passage (Canine Cases)</em>, from 2007,<em> </em>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in <em>Pulse 30</em>,<em> </em>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach? </strong>\r\n\r\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\r\n\r\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\r\n\r\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.\r\n\r\nBesides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.\r\n\r\n<em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.\r\n\r\n<strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong>\r\n\r\nAt any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.\r\n\r\n<strong>Has there been a clear evolution from one media/form to another or have you jumped about?</strong>\r\n\r\nI have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea.\r\n\r\n<strong>Where does your interest in storytelling come from? Do you have a favourite story?</strong>\r\n\r\nWe’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture.\r\n\r\nAmong the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.\r\n\r\n<strong>As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</strong>\r\n\r\nArt has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.\r\n\r\nJust as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts.\r\n\r\n<strong>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify? </strong>\r\n\r\nThey have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around<strong> </strong>the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.\r\n\r\nIn a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.\r\n\r\nIn <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky.\r\n\r\n<strong>Why do you use POK (Pakistan Occupied Kashmir) as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</strong>\r\n\r\nMy father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history.\r\n\r\nPakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed territory in a cold, unsettling stainless steel cradle. It’s in limbo, as are its people, rocked back and forth by political agendas and myopic policies.\r\n\r\n<strong>As well as participating in the Khoj workshop in Mysore you helped organise Khoj Mumbai in 2005. What were those experiences like?</strong>\r\n\r\nI think Khoj played a vital role in the late 1990s and early 2000s when there weren’t many opportunities for artists to travel and work alongside others from different parts of the world. And although there are many more openings now, I continue to value that experience of sharing an experimental studio/laboratory with others. It encourages the extension of art practice into the public sphere. Khoj’s decision to constantly bring in new hands and fresh energy is particularly important: it helps revise and renew the model year after year.','','','inherit','open','open','','1506-revision-3','','','2010-07-09 16:15:54','2010-07-09 16:15:54','',1506,'http://www.biggventures.com/demo/artists/1509/uncat/1506-revision-3',0,'revision','',0),(1511,1,'2010-12-03 06:27:48','2010-12-03 06:27:48','<strong style=\"color: #999999;\">THE KHOJ BOOK</strong>\r\n<strong>Interview with Shilpa Gupta</strong>\r\n\r\n<strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In <em>Penumbra Passage (Canine Cases)</em>, from 2007,<em> </em>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in <em>Pulse 30</em>,<em> </em>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach? </strong>\r\n\r\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\r\n\r\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\r\n\r\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.\r\n\r\nBesides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.\r\n\r\n<em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.\r\n\r\n<strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong>\r\n\r\nAt any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.\r\n\r\n<strong>Has there been a clear evolution from one media/form to another or have you jumped about?</strong>\r\n\r\nI have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea.\r\n\r\n<strong>Where does your interest in storytelling come from? Do you have a favourite story?</strong>\r\n\r\nWe’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture.\r\n\r\nAmong the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.\r\n\r\n<strong>As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</strong>\r\n\r\nArt has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.\r\n\r\nJust as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts.\r\n\r\n<strong>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify? </strong>\r\n\r\nThey have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around<strong> </strong>the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.\r\n\r\nIn a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.\r\n\r\nIn <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky.\r\n\r\n<strong>Why do you use POK (Pakistan Occupied Kashmir) as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</strong>\r\n\r\nMy father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history.\r\n\r\nPakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed territory in a cold, unsettling stainless steel cradle. It’s in limbo, as are its people, rocked back and forth by political agendas and myopic policies.\r\n\r\n<strong>As well as participating in the Khoj workshop in Mysore you helped organise Khoj Mumbai in 2005. What were those experiences like?</strong>\r\n\r\nI think Khoj played a vital role in the late 1990s and early 2000s when there weren’t many opportunities for artists to travel and work alongside others from different parts of the world. And although there are many more openings now, I continue to value that experience of sharing an experimental studio/laboratory with others. It encourages the extension of art practice into the public sphere. Khoj’s decision to constantly bring in new hands and fresh energy is particularly important: it helps revise and renew the model year after year.','','','inherit','open','open','','1506-autosave','','','2010-12-03 06:27:48','2010-12-03 06:27:48','',1506,'http://www.biggventures.com/demo/artists/1511/uncat/1506-autosave',0,'revision','',0),(1512,1,'2010-07-09 16:16:19','2010-07-09 16:16:19','<h4><span style=\"color: #808080;\">THE KHOJ BOOK</span></h4>\r\n<h4>Interview with Shilpa Gupta</h4>\r\n<strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In <em>Penumbra Passage (Canine Cases)</em>, from 2007,<em> </em>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in <em>Pulse 30</em>,<em> </em>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach? </strong>\r\n\r\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\r\n\r\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\r\n\r\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.\r\n\r\nBesides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.\r\n\r\n<em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.\r\n\r\n<strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong>\r\n\r\nAt any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.\r\n\r\n<strong>Has there been a clear evolution from one media/form to another or have you jumped about?</strong>\r\n\r\nI have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea.\r\n\r\n<strong>Where does your interest in storytelling come from? Do you have a favourite story?</strong>\r\n\r\nWe’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture.\r\n\r\nAmong the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.\r\n\r\n<strong>As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</strong>\r\n\r\nArt has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.\r\n\r\nJust as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts.\r\n\r\n<strong>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify? </strong>\r\n\r\nThey have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around<strong> </strong>the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.\r\n\r\nIn a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.\r\n\r\nIn <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky.\r\n\r\n<strong>Why do you use POK (Pakistan Occupied Kashmir) as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</strong>\r\n\r\nMy father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history.\r\n\r\nPakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed territory in a cold, unsettling stainless steel cradle. It’s in limbo, as are its people, rocked back and forth by political agendas and myopic policies.\r\n\r\n<strong>As well as participating in the Khoj workshop in Mysore you helped organise Khoj Mumbai in 2005. What were those experiences like?</strong>\r\n\r\nI think Khoj played a vital role in the late 1990s and early 2000s when there weren’t many opportunities for artists to travel and work alongside others from different parts of the world. And although there are many more openings now, I continue to value that experience of sharing an experimental studio/laboratory with others. It encourages the extension of art practice into the public sphere. Khoj’s decision to constantly bring in new hands and fresh energy is particularly important: it helps revise and renew the model year after year.','','','inherit','open','open','','1506-revision-4','','','2010-07-09 16:16:19','2010-07-09 16:16:19','',1506,'http://www.biggventures.com/demo/artists/1512/uncat/1506-revision-4',0,'revision','',0),(1513,1,'2010-07-09 16:20:03','2010-07-09 16:20:03','<p><strong><span style=\"color: rgb(136, 136, 136);\">NEVER RUN AWAY</span></strong>\r\n<strong>© Shaheen Merali</strong></p>\r\n<p>“Who knows what you said…?</p>\r\n<p>Who knows what I heard?</p>\r\n<p>Some thing stirred in my heart.”1</p>\r\n<p>………is an excerpt from the lyrics of a song featured in the seminal film, Pyaasa, written by the legendary actor and film director Guru Dutt. In these few words, a brief exchange occurs that encapsulates the premise of this exhibition &ndash; the desire to know and be touched by what is known and felt by someone else.</p>\r\n<p>The two artists in this exhibition, Reena Kallat and Sara Rahbar, live on different continents, Asia and North America, or sometimes on the same one, namely Asia (India and Iran), from where their observations about the nature of power as it effects belonging informs their individual practices.</p>\r\n<p>Their work speaks about concerns and caution, in a time when power re-infects those already weakened by how it has been nurtured in a post-global society, of absolutes that have made our world spiral into an existential meltdown with the gradual erosion of rights and mobility; &ndash; a set of conditions that is leading to an increment in the condition of subalternity. 2 This subaltern status that results from the rise of neo-liberalist cosmopolitanism and a hegemonic globalization, has disturbed fragile states and complicates economic relationships along gender, tribal, ethnic and racial lines.</p>\r\n<p><em>“If Winter comes, can Spring be far away?”</em> 3</p>\r\n<p>A feeling of intensity, with grimacing smiles, unites the look of the three portraits that are present in the exhibition. Fused with an uncontrollable shyness, these faces speak of subjugating accounts which have drained the meaning from their lives &ndash; a significance that alludes logic but produces a tragic effect for those who have succumbed to its finality. These three portraits speak of a terminus, of lives which seem to be tainted by a bitter sadness in a quivering space of the unaccepted……in a form of statelessness, a curbed life or a trampled future.</p>\r\n<p>The work that Kallat has been producing can be seen as part of a growing realization in the picturing of the victims of post-global reality. The recent and sudden drop in status of many people from certain regions of India, Pakistan and Bangladesh, who were dependent on patterns of mass migration for their economic survival, has come to provide a vivid portrayal of the victims of the contemporary haste to build and the shadows remaining in the reversal of this trend. Like a rudderless raft by the wayside of international abandon, these courageous souls, who had trawled their way through multitudes of notary agents and officialdom to win over the processes of bureaucracy, are now abandoned in a no-mans land. Here, between economies and between national recessions, they exist virtually, on paper and by symbolic agreements that no longer can be afforded.</p>\r\n<p>Kallat employs rubberstamps in her sculptural works that talk of the selected method given to this signifier of notional belonging, of an identifiable winner in the contest in life’s lottery for official approval. Here these faceless pedestrians remain indebted to these much-valued stamps, an act that seals their fate and proffers a certain clemency, an escape from hunger and unemployment, one more hurdle overcome in a life which constructs always one more hurdle. These sculptures, <em>Synonyms </em>and <em>Colour Curtain (between shores and the seas)</em> are partly summations of their partaking in the arduous process of bureaucracy and of access or denial beyond the border. Often these stamps are themselves the very force that restricts access.</p>\r\n<p>Her portrayal of the barriers and of cross-border travelers is an ode to the scatterlogical effects of labor in the way globalisation has effectively used Asia and Asians. If there was a primal axis of globalisation, it was in the way that people became an asset, moved around or kept in place by these acts of decree. Driven by their need to survive beyond the daily rations of imploded Asian densities and realities, the fantasy of globalisation provided the impulse, the strength and, in some cases, the eventual possibility to forsake the meager economic standards of their homeland. The possibilities of a grander vision of hub capitals and shopping cities, emerging out of deserts and global nightmares, created an insatiable, tameless ambition amongst the subalterns, responding to the swift and loud calling for their bodies.</p>\r\n<p>It was in this uncontrollable moment of labor as goods, trickling slowly but surely from Asia, and especially South East Asia, to quivering impetuous states by the Arabian Seas that a dark turn in the world’s economic fortunes started to make itself felt.</p>\r\n<p>Central to the sculptural works, particularly the large-scale portraits, Synonyms, assembled from the type of rubber stamps commonly used in offices is a jigsaw of the rejected or disappeared, magically re-appearing like a forlorn apparition. Their benign gaze is made manifest in an aura of a contemporary recording that charts the demise of the right to entry or existence.  Never before has the sense of the globally contrite been so finely explored.</p>\r\n<p>A fierce desperation, of loss and the lost is further developed in the accompanying works on paper, <em>Your Mileage May Vary</em>; here aspirations and expectations, displacement and un-belonging are found within a maze of restrictions and controls. It is a truism that all opposites attract and repel, like black and white and these spills and the topographically drawn co-exist on one plane. In this way <em>Colour Curtain (between shores and the seas) </em>is physically formed by linking differing information within one site; that of a set of rubberstamps carrying the names of individuals who have been denied visas to various countries on the basis of their class, culture, nation, religion, politics or other such notions of personal identity in combination with colors derived from various national flags.</p>\r\n<p><em>Your Mileage May Vary</em> takes a similar re-routing of details of individuals’ names and combines them with maps and mazes to suggest lost journeys and unending departures or arrivals. Kallat states “Even as cultures blend with a greater movement of people and information than any moment in human history, borders have become more controlled and monitored than ever before”.4 The contemporary border has ceased to be mere crossings but more a space in which the contraband and the pirated in terms of goods, people and modern slavery is enforced and exchanged. Your Mileage May Vary starts to suggest such a sinister domain, a new place full of sorcerers and gangsters and pirates who make things disappear and where children, women, drugs, organs and arms remain un-rendered, undocumented. This maze of officialdom creates a seemingly haunted place, redolent with both mystery and misery. These occluded spaces remain indicative of a crisis in constant appropriation and the mist of realities that paralyses normality. Borders are no longer guarded domains but contested environments and we have to ask what is their purpose and whom do they really serve? They are, after all, grounds in which to plunder, rape and dehumanize our already demoralized world, in this existential crisis. Kallat asks here not who we are but what we have become.</p>\r\n<p><strong>The sartorial rage</strong><strong> </strong></p>\r\n<p>Sara Rahbar’s Those expectations for sunshine is a series of tightly arranged material, which is highly suggestive in its mixed provenance, making the audience react instantly to its redolent references of today’s regrets and future’s fears.</p>\r\n<p>The title, <em>Those expectations for sunshine, </em>already proposes such a prospect but it is in the correlation and co-relatedness of the prints and their signifiers that one starts to unravel the meaning of what is implied. An old Afghan coat reveals its inner lining to be sewn from an American flag and a set of the Islamic Republic of Iran’s flag droops in a post-coital fashion from a set of old wooden pulleys. This set of flags and garments are foundational sources, which have, over a period of time, come to represent specific and contrary historical accounts. In viewing them together, a unique set of values springs forth in an assembly of suspiring images. Symbolically, the American flag has now come to represent a spectrum of beliefs, of divergent statuses; some see it a symbol of evil and others see it as a force of civility, whilst the flag of Iran has recently been more internationally recognized for its emerging discourse around its own second revolution. Within these two diametrically spirited symbols, the Afghan coat, once a symbol of the relaxed urbanity of the sixties, starts to veer away from its popular but faded hippiedom and begins to mourn the sustained campaign of war and its driving force, opium.  Rahbar delineates the space for consideration by stimulating us, nudging us to think in terms of combinative suggestions- specifically as to what do these three countries mean to us now?</p>\r\n<p>Rahbar is an adept inventor, often astutely combining factors so as to give unusual capital to an image, a brief of complicit arrangements, wherein chaste meanings are combined and a sort of visual combustion, that often challenges assumptions, allows a discursive release. Those expectations for sunshine speaks to its audience through the use of everyday objects and, in drawing them into close proximity, the lack of rationale in the overriding globally recognized geographies of values is exposed.</p>\r\n<p>She offers an exploration of the dilemma about where freedom is now represented in the world and which places do we consider to form our diametric opposite  &ndash; the axis of our evils. We are left to see and feel the taste of our politics and our hypocrisy in an arrangement of stains and symbols.</p>\r\n<p>The photographic series<em>, Love arrived and how red</em>, focuses on an unfulfilled, maybe even failed, human condition of stricken love which she astutely weaves to create a metaphoric reading of the deplorable state of both the nation-state and society.  She employs her band of symbols including the flag, the uniform and the proxy dressing of formalizing liaisons- a wedding dress. A complicated set of Hogarthian images emerges, filled with pain and details of distance, of one season and another treason, of traps and of shame as the series evolves into a culmination of probable death, suicide or matricide &ndash; an immense underworld of distorted emotions and a calculated soaring of the out of control.</p>\r\n<p><em>Love arrived and how red</em> interrogates the common institutionalized methods of organizing life and ambition within a heterosexual (therefore normative) praxis, resulting in a lethal set of symbolic and emotional encounters. The premise explodes in the midst of the very act of coming together, of an imagined set of possibilities which combust to proclaim the impossibility of happiness or of bilateral belonging. The images suggest that all enstrangements and differences slowly crumble under their own imperfections and predict their own eventual undoing, revealing only opposites that fight and flee.</p>\r\n<p>The failure that these images argue is inherent in all socially approved relationships and the weakness apparent in all political acts including diplomacy, is here made evident. The male and female couple, dressed as bride and groom in a set of tribal and nationalistic outfits, make explicit the ‘war’ of the last thirty years of the two countries represented, delineating a contrary Iran, its face turned deliberately away from the USA.</p>\r\n<p>Rahbar is passionate in her choice of textures and fabrics, as is evident in her lengthy conversations with thirty odd assemblages known as the Flag series. The authority gained, both from the process of making and from drawing from research to understand the meanings and qualities of a constructed world of textiles and embroideries, finds itself in her photographic series Love arrived and how red and, in a more subdued manner, in the recent <em>You have come late, and I have lost my chastity.</em><strong> </strong></p>\r\n<p>Nuances, pertaining to gender, power and animalism, are subtly used to allow a fine-tuning between the protagonists, leaving a sour taste around notions of nationalisms, imbued and directed within and without the frame. Both series of works are not meant to be discrete discussions on gender relationships but rather to use symbolism and a sense of movement that collapses the space in between to reveal a caustic narrative.</p>\r\n<p>The dramatic lighting, the costumes and the theatricality, including the army paraphernalia and the flags in Love arrived and how red, the gangsters’ suit and the dark tights in You have come late, and I have lost my chastity have obvious connotations for any spectator, tracing and binding our sense of a vocabulary drawn from the anthropological to the cinematic. Both series remain unapologetic in using the ambition and structure drawn from the cinematic and this usage allows the work to construct many paradoxical relationships of a complexity that depends on our relation to the history of this genre.</p>\r\n<p><em>You have come late, and I have lost my chastity</em> plays on our recognition of these images, from some sort of image bank that is derivative of dance forms and soap operas, where women are forced into submission by force and the act of aggression is based on notions of sexuality.  The notion of honor killings, domestic violence and crimes of passion come to mind, but the slow releasing violence in Lynchian slow motion provides a vantage position from which to understand the place of violence in our world. As Hannah Arendt explains “The more dubious and uncertain an instrument violence has become in international relations, the more it has gained in reputation and appeal in domestic affairs, specifically in the matter of revolution.”5</p>\r\n<p><em>Lets prepare today so that tomorrow we don’t stare at the cries of darkness.</em></p>\r\n<p>Many are those who have recently been talking about patterns that have developed in the first part of this new millennium, particularly from the seminal events of its first decade, which now affect all of us so sharply. The notion of suicide, in terms of frequency and those who use it is as a weapon, seems to be one of the most excessive, costly and maybe, even unsustainable traits of the new millennium. Travel, borders and security are all recognizable issues of concern that protrude into every second of our postmodern realities.</p>\r\n<p>No longer can we be certain of any route or place beyond the fact that the whole world and all its peoples are now burdened and on the verge of serious crisis, anytime and anywhere.  The constancy of threat and the doom and gloom in situ, has affected many artists’ practices and, like many others in the creative fields, they are trying to come to terms with this situation from within their own particular language, history and abilities to contextualize these hyperbolic times.</p>\r\n<p>Their concern and the potency of the current state of exception, of a global apartheid and of internal strife, marks a defining shift from the discourses of wholehearted globalization, where subject or subjectivity were located by cross borders’ references. Never Run Away discusses an account of the ebbing dynamics of unrealized citizenship, not the recent here or there, but a constant without everywhere.</p>\r\n<p><em>Never run away</em> is a curatorial premise based on those who no longer can run away.  It brings together an understanding of the place of not belonging, an exposed fracas, a non-consensual image of cruelty which binds and confers “an anotherness” within, that is starting to be examined forcefully by artists and writers who share a historical and cultural similarity.</p>\r\n<p>In a world of multiple themes and anthologies, the chaos that these terms of loss, disappearance and holding back create, provides an omnivorous, sociological and artistic push for any enquiry. It is through its indexical qualities that it provides an enriched metaphoric ground for further private contestations.</p>\r\n<p>Particularly in this remarkable passage of history, of the credit crunch and hibernating institutions, of unilateral ‘just wars’ and some of the most uncertain global conditions, it is important to take stock of this “worlding” and this exhibition, <em>Never run away</em>, alongside other emerging forums that represent the post-market dialogue, provides an invaluable space in which to study the predicament of culture at a time of deflation and when the ebb is the condition acting as a stimulation in comprehending culture. As Simone de Beauvoir explains “I tore myself away from the safe comfort of certainties through my love for truth &mdash; and truth rewarded me.”6</p>\r\n<p>1.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pyaasa, lyrics from Jaane Kya Tune Kahi, Directed by Guru Dutt, 1957.</p>\r\n<p>2.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; “A person rendered without agency by his or her social status”. Robert Young J. C., Postcolonialism: A Very Short Introduction. (New York: Oxford University Press), 2003.</p>\r\n<p>3.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; P.B.Shelley ‘Ode to the West Wind’ English Poems. Ed. Edward Chauncey Baldwin. New York: American Book Company, 1908.</p>\r\n<p>4.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Reena Kallat, unpublished e-mail Dec 2009.</p>\r\n<p>5.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hannah Arendt, <em>On Revolution</em>, New   York: Viking, 1963.</p>\r\n<p>6.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Simone de Beauvoir <em>All Said and Done</em> p. 16, 1972.</p>\r\nShaheen Merali is a curator and writer based in London.\r\n','','','publish','closed','closed','','never-run-away','','','2011-03-22 12:24:42','2011-03-22 12:24:42','',0,'http://www.biggventures.com/demo/artists/?page_id=1513',0,'page','',0),(2069,1,'2010-09-20 06:28:18','2010-09-20 06:28:18','\r\n<p><strong><span style=\"color: rgb(136, 136, 136);\">NEVER RUN AWAY</span></strong></p>\r\n<p><strong>Shaheen Merali</strong></p>\r\n<p>“Who knows what you said…?</p>\r\n<p>Who knows what I heard?</p>\r\n<p>Some thing stirred in my heart.”1</p>\r\n<p>………is an excerpt from the lyrics of a song featured in the seminal film, Pyaasa, written by the legendary actor and film director Guru Dutt. In these few words, a brief exchange occurs that encapsulates the premise of this exhibition &ndash; the desire to know and be touched by what is known and felt by someone else.</p>\r\n<p>The two artists in this exhibition, Reena Kallat and Sara Rahbar, live on different continents, Asia and North America, or sometimes on the same one, namely Asia (India and Iran), from where their observations about the nature of power as it effects belonging informs their individual practices.</p>\r\n<p>Their work speaks about concerns and caution, in a time when power re-infects those already weakened by how it has been nurtured in a post-global society, of absolutes that have made our world spiral into an existential meltdown with the gradual erosion of rights and mobility; &ndash; a set of conditions that is leading to an increment in the condition of subalternity. 2 This subaltern status that results from the rise of neo-liberalist cosmopolitanism and a hegemonic globalization, has disturbed fragile states and complicates economic relationships along gender, tribal, ethnic and racial lines.</p>\r\n<p><em>“If Winter comes, can Spring be far away?”</em> 3</p>\r\n<p>A feeling of intensity, with grimacing smiles, unites the look of the three portraits that are present in the exhibition. Fused with an uncontrollable shyness, these faces speak of subjugating accounts which have drained the meaning from their lives &ndash; a significance that alludes logic but produces a tragic effect for those who have succumbed to its finality. These three portraits speak of a terminus, of lives which seem to be tainted by a bitter sadness in a quivering space of the unaccepted……in a form of statelessness, a curbed life or a trampled future.</p>\r\n<p>The work that Kallat has been producing can be seen as part of a growing realization in the picturing of the victims of post-global reality. The recent and sudden drop in status of many people from certain regions of India, Pakistan and Bangladesh, who were dependent on patterns of mass migration for their economic survival, has come to provide a vivid portrayal of the victims of the contemporary haste to build and the shadows remaining in the reversal of this trend. Like a rudderless raft by the wayside of international abandon, these courageous souls, who had trawled their way through multitudes of notary agents and officialdom to win over the processes of bureaucracy, are now abandoned in a no-mans land. Here, between economies and between national recessions, they exist virtually, on paper and by symbolic agreements that no longer can be afforded.</p>\r\n<p>Kallat employs rubberstamps in her sculptural works that talk of the selected method given to this signifier of notional belonging, of an identifiable winner in the contest in life’s lottery for official approval. Here these faceless pedestrians remain indebted to these much-valued stamps, an act that seals their fate and proffers a certain clemency, an escape from hunger and unemployment, one more hurdle overcome in a life which constructs always one more hurdle. These sculptures, <em>Synonyms </em>and <em>Colour Curtain (between shores and the seas)</em> are partly summations of their partaking in the arduous process of bureaucracy and of access or denial beyond the border. Often these stamps are themselves the very force that restricts access.</p>\r\n<p>Her portrayal of the barriers and of cross-border travelers is an ode to the scatterlogical effects of labor in the way globalisation has effectively used Asia and Asians. If there was a primal axis of globalisation, it was in the way that people became an asset, moved around or kept in place by these acts of decree. Driven by their need to survive beyond the daily rations of imploded Asian densities and realities, the fantasy of globalisation provided the impulse, the strength and, in some cases, the eventual possibility to forsake the meager economic standards of their homeland. The possibilities of a grander vision of hub capitals and shopping cities, emerging out of deserts and global nightmares, created an insatiable, tameless ambition amongst the subalterns, responding to the swift and loud calling for their bodies.</p>\r\n<p>It was in this uncontrollable moment of labor as goods, trickling slowly but surely from Asia, and especially South East Asia, to quivering impetuous states by the Arabian Seas that a dark turn in the world’s economic fortunes started to make itself felt.</p>\r\n<p>Central to the sculptural works, particularly the large-scale portraits, Synonyms, assembled from the type of rubber stamps commonly used in offices is a jigsaw of the rejected or disappeared, magically re-appearing like a forlorn apparition. Their benign gaze is made manifest in an aura of a contemporary recording that charts the demise of the right to entry or existence.  Never before has the sense of the globally contrite been so finely explored.</p>\r\n<p>A fierce desperation, of loss and the lost is further developed in the accompanying works on paper, <em>Your Mileage May Vary</em>; here aspirations and expectations, displacement and un-belonging are found within a maze of restrictions and controls. It is a truism that all opposites attract and repel, like black and white and these spills and the topographically drawn co-exist on one plane. In this way <em>Colour Curtain (between shores and the seas) </em>is physically formed by linking differing information within one site; that of a set of rubberstamps carrying the names of individuals who have been denied visas to various countries on the basis of their class, culture, nation, religion, politics or other such notions of personal identity in combination with colors derived from various national flags.</p>\r\n<p><em>Your Mileage May Vary</em> takes a similar re-routing of details of individuals’ names and combines them with maps and mazes to suggest lost journeys and unending departures or arrivals. Kallat states “Even as cultures blend with a greater movement of people and information than any moment in human history, borders have become more controlled and monitored than ever before”.4 The contemporary border has ceased to be mere crossings but more a space in which the contraband and the pirated in terms of goods, people and modern slavery is enforced and exchanged. Your Mileage May Vary starts to suggest such a sinister domain, a new place full of sorcerers and gangsters and pirates who make things disappear and where children, women, drugs, organs and arms remain un-rendered, undocumented. This maze of officialdom creates a seemingly haunted place, redolent with both mystery and misery. These occluded spaces remain indicative of a crisis in constant appropriation and the mist of realities that paralyses normality. Borders are no longer guarded domains but contested environments and we have to ask what is their purpose and whom do they really serve? They are, after all, grounds in which to plunder, rape and dehumanize our already demoralized world, in this existential crisis. Kallat asks here not who we are but what we have become.</p>\r\n<p><strong>The sartorial rage</strong><strong> </strong></p>\r\n<p>Sara Rahbar’s Those expectations for sunshine is a series of tightly arranged material, which is highly suggestive in its mixed provenance, making the audience react instantly to its redolent references of today’s regrets and future’s fears.</p>\r\n<p>The title, <em>Those expectations for sunshine, </em>already proposes such a prospect but it is in the correlation and co-relatedness of the prints and their signifiers that one starts to unravel the meaning of what is implied. An old Afghan coat reveals its inner lining to be sewn from an American flag and a set of the Islamic Republic of Iran’s flag droops in a post-coital fashion from a set of old wooden pulleys. This set of flags and garments are foundational sources, which have, over a period of time, come to represent specific and contrary historical accounts. In viewing them together, a unique set of values springs forth in an assembly of suspiring images. Symbolically, the American flag has now come to represent a spectrum of beliefs, of divergent statuses; some see it a symbol of evil and others see it as a force of civility, whilst the flag of Iran has recently been more internationally recognized for its emerging discourse around its own second revolution. Within these two diametrically spirited symbols, the Afghan coat, once a symbol of the relaxed urbanity of the sixties, starts to veer away from its popular but faded hippiedom and begins to mourn the sustained campaign of war and its driving force, opium.  Rahbar delineates the space for consideration by stimulating us, nudging us to think in terms of combinative suggestions- specifically as to what do these three countries mean to us now?</p>\r\n<p>Rahbar is an adept inventor, often astutely combining factors so as to give unusual capital to an image, a brief of complicit arrangements, wherein chaste meanings are combined and a sort of visual combustion, that often challenges assumptions, allows a discursive release. Those expectations for sunshine speaks to its audience through the use of everyday objects and, in drawing them into close proximity, the lack of rationale in the overriding globally recognized geographies of values is exposed.</p>\r\n<p>She offers an exploration of the dilemma about where freedom is now represented in the world and which places do we consider to form our diametric opposite  &ndash; the axis of our evils. We are left to see and feel the taste of our politics and our hypocrisy in an arrangement of stains and symbols.</p>\r\n<p>The photographic series<em>, Love arrived and how red</em>, focuses on an unfulfilled, maybe even failed, human condition of stricken love which she astutely weaves to create a metaphoric reading of the deplorable state of both the nation-state and society.  She employs her band of symbols including the flag, the uniform and the proxy dressing of formalizing liaisons- a wedding dress. A complicated set of Hogarthian images emerges, filled with pain and details of distance, of one season and another treason, of traps and of shame as the series evolves into a culmination of probable death, suicide or matricide &ndash; an immense underworld of distorted emotions and a calculated soaring of the out of control.</p>\r\n<p><em>Love arrived and how red</em> interrogates the common institutionalized methods of organizing life and ambition within a heterosexual (therefore normative) praxis, resulting in a lethal set of symbolic and emotional encounters. The premise explodes in the midst of the very act of coming together, of an imagined set of possibilities which combust to proclaim the impossibility of happiness or of bilateral belonging. The images suggest that all enstrangements and differences slowly crumble under their own imperfections and predict their own eventual undoing, revealing only opposites that fight and flee.</p>\r\n<p>The failure that these images argue is inherent in all socially approved relationships and the weakness apparent in all political acts including diplomacy, is here made evident. The male and female couple, dressed as bride and groom in a set of tribal and nationalistic outfits, make explicit the ‘war’ of the last thirty years of the two countries represented, delineating a contrary Iran, its face turned deliberately away from the USA.</p>\r\n<p>Rahbar is passionate in her choice of textures and fabrics, as is evident in her lengthy conversations with thirty odd assemblages known as the Flag series. The authority gained, both from the process of making and from drawing from research to understand the meanings and qualities of a constructed world of textiles and embroideries, finds itself in her photographic series Love arrived and how red and, in a more subdued manner, in the recent <em>You have come late, and I have lost my chastity.</em><strong> </strong></p>\r\n<p>Nuances, pertaining to gender, power and animalism, are subtly used to allow a fine-tuning between the protagonists, leaving a sour taste around notions of nationalisms, imbued and directed within and without the frame. Both series of works are not meant to be discrete discussions on gender relationships but rather to use symbolism and a sense of movement that collapses the space in between to reveal a caustic narrative.</p>\r\n<p>The dramatic lighting, the costumes and the theatricality, including the army paraphernalia and the flags in Love arrived and how red, the gangsters’ suit and the dark tights in You have come late, and I have lost my chastity have obvious connotations for any spectator, tracing and binding our sense of a vocabulary drawn from the anthropological to the cinematic. Both series remain unapologetic in using the ambition and structure drawn from the cinematic and this usage allows the work to construct many paradoxical relationships of a complexity that depends on our relation to the history of this genre.</p>\r\n<p><em>You have come late, and I have lost my chastity</em> plays on our recognition of these images, from some sort of image bank that is derivative of dance forms and soap operas, where women are forced into submission by force and the act of aggression is based on notions of sexuality.  The notion of honor killings, domestic violence and crimes of passion come to mind, but the slow releasing violence in Lynchian slow motion provides a vantage position from which to understand the place of violence in our world. As Hannah Arendt explains “The more dubious and uncertain an instrument violence has become in international relations, the more it has gained in reputation and appeal in domestic affairs, specifically in the matter of revolution.”5</p>\r\n<p><em>Lets prepare today so that tomorrow we don’t stare at the cries of darkness.</em></p>\r\n<p>Many are those who have recently been talking about patterns that have developed in the first part of this new millennium, particularly from the seminal events of its first decade, which now affect all of us so sharply. The notion of suicide, in terms of frequency and those who use it is as a weapon, seems to be one of the most excessive, costly and maybe, even unsustainable traits of the new millennium. Travel, borders and security are all recognizable issues of concern that protrude into every second of our postmodern realities.</p>\r\n<p>No longer can we be certain of any route or place beyond the fact that the whole world and all its peoples are now burdened and on the verge of serious crisis, anytime and anywhere.  The constancy of threat and the doom and gloom in situ, has affected many artists’ practices and, like many others in the creative fields, they are trying to come to terms with this situation from within their own particular language, history and abilities to contextualize these hyperbolic times.</p>\r\n<p>Their concern and the potency of the current state of exception, of a global apartheid and of internal strife, marks a defining shift from the discourses of wholehearted globalization, where subject or subjectivity were located by cross borders’ references. Never Run Away discusses an account of the ebbing dynamics of unrealized citizenship, not the recent here or there, but a constant without everywhere.</p>\r\n<p><em>Never run away</em> is a curatorial premise based on those who no longer can run away.  It brings together an understanding of the place of not belonging, an exposed fracas, a non-consensual image of cruelty which binds and confers “an anotherness” within, that is starting to be examined forcefully by artists and writers who share a historical and cultural similarity.</p>\r\n<p>In a world of multiple themes and anthologies, the chaos that these terms of loss, disappearance and holding back create, provides an omnivorous, sociological and artistic push for any enquiry. It is through its indexical qualities that it provides an enriched metaphoric ground for further private contestations.</p>\r\n<p>Particularly in this remarkable passage of history, of the credit crunch and hibernating institutions, of unilateral ‘just wars’ and some of the most uncertain global conditions, it is important to take stock of this “worlding” and this exhibition, <em>Never run away</em>, alongside other emerging forums that represent the post-market dialogue, provides an invaluable space in which to study the predicament of culture at a time of deflation and when the ebb is the condition acting as a stimulation in comprehending culture. As Simone de Beauvoir explains “I tore myself away from the safe comfort of certainties through my love for truth &mdash; and truth rewarded me.”6</p>\r\n<p>1.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pyaasa, lyrics from Jaane Kya Tune Kahi, Directed by Guru Dutt, 1957.</p>\r\n<p>2.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; “A person rendered without agency by his or her social status”. Robert Young J. C., Postcolonialism: A Very Short Introduction. (New York: Oxford University Press), 2003.</p>\r\n<p>3.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; P.B.Shelley ‘Ode to the West Wind’ English Poems. Ed. Edward Chauncey Baldwin. New York: American Book Company, 1908.</p>\r\n<p>4.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Reena Kallat, unpublished e-mail Dec 2009.</p>\r\n<p>5.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hannah Arendt, <em>On Revolution</em>, New   York: Viking, 1963.</p>\r\n<p>Simone de Beauvoir <em>All Said and Done</em> p. 16, 1972.</p>\r\n    \r\n<br><span class=\"adminuser\"><a title=\"Edit post\" href=\"http://www.reenakallat.com/wp-admin/page.php?action=edit&amp;post=1513\" class=\"post-edit-link\">edit this entry</a></span>','','','inherit','open','open','','1513-revision-7','','','2010-09-20 06:28:18','2010-09-20 06:28:18','',1513,'http://www.biggventures.com/demo/artists/2069/uncat/1513-revision-7',0,'revision','',0),(1514,1,'2010-07-09 16:19:33','2010-07-09 16:19:33','<strong><span style=\"color: #888888;\">Never Run Away</span></strong>\n\nShaheen Merali<em> </em>\n\n“Who knows what you said…?\n\nWho knows what I heard?\n\nSome thing stirred in my heart.”1\n\n………is an excerpt from the lyrics of a song featured in the seminal film, Pyaasa, written by the legendary actor and film director Guru Dutt. In these few words, a brief exchange occurs that encapsulates the premise of this exhibition - the desire to know and be touched by what is known and felt by someone else.\n\nThe two artists in this exhibition, Reena Kallat and Sara Rahbar, live on different continents, Asia and North America, or sometimes on the same one, namely Asia (India and Iran), from where their observations about the nature of power as it effects belonging informs their individual practices.\n\nTheir work speaks about concerns and caution, in a time when power re-infects those already weakened by how it has been nurtured in a post-global society, of absolutes that have made our world spiral into an existential meltdown with the gradual erosion of rights and mobility; - a set of conditions that is leading to an increment in the condition of subalternity. 2 This subaltern status that results from the rise of neo-liberalist cosmopolitanism and a hegemonic globalisation, has disturbed fragile states and complicates economic relationships along gender, tribal, ethnic and racial lines.\n\n<em>“If Winter comes, can Spring be far away?”</em> 3\n\nA feeling of intensity, with grimacing smiles, unites the look of the three portraits that are present in the exhibition. Fused with an uncontrollable shyness, these faces speak of subjugating accounts which have drained the meaning from their lives - a significance that alludes logic but produces a tragic effect for those who have succumbed to its finality. These three portraits speak of a terminus, of lives which seem to be tainted by a bitter sadness in a quivering space of the unaccepted……in a form of statelessness, a curbed life or a trampled future.\n\nThe work that Kallat has been producing can be seen as part of a growing realization in the picturing of the victims of post-global reality. The recent and sudden drop in status of many people from certain regions of India, Pakistan and Bangladesh, who were dependent on patterns of mass migration for their economic survival, has come to provide a vivid portrayal of the victims of the contemporary haste to build and the shadows remaining in the reversal of this trend. Like a rudderless raft by the wayside of international abandon, these courageous souls, who had trawled their way through multitudes of notary agents and officialdom to win over the processes of bureaucracy, are now abandoned in a no-mans land. Here, between economies and between national recessions, they exist virtually, on paper and by symbolic agreements that no longer can be afforded.\n\nKallat employs rubberstamps in her sculptural works that talk of the selected method given to this signifier of notional belonging, of an identifiable winner in the contest in life’s lottery for official approval. Here these faceless pedestrians remain indebted to these much-valued stamps, an act that seals their fate and proffers a certain clemency, an escape from hunger and unemployment, one more hurdle overcome in a life which constructs always one more hurdle. These sculptures, <em>Synonyms </em>and <em>Colour Curtain (between shores and the seas)</em> are partly summations of their partaking in the arduous process of bureaucracy and of access or denial beyond the border. Often these stamps are themselves the very force that restricts access.\n\nHer portrayal of the barriers and of cross-border travelers is an ode to the scatterlogical effects of labor in the way globalisation has effectively used Asia and Asians. If there was a primal axis of globalisation, it was in the way that people became an asset, moved around or kept in place by these acts of decree. Driven by their need to survive beyond the daily rations of imploded Asian densities and realities, the fantasy of globalisation provided the impulse, the strength and, in some cases, the eventual possibility to forsake the meager economic standards of their homeland. The possibilities of a grander vision of hub capitals and shopping cities, emerging out of deserts and global nightmares, created an insatiable, tameless ambition amongst the subalterns, responding to the swift and loud calling for their bodies.\n\nIt was in this uncontrollable moment of labor as goods, trickling slowly but surely from Asia, and especially South East Asia, to quivering impetuous states by the Arabian Seas that a dark turn in the world’s economic fortunes started to make itself felt.\n\nCentral to the sculptural works, particularly the large-scale portraits, <em>Synonyms</em>, assembled from the type of rubber stamps commonly used in offices is a jigsaw of the rejected or disappeared, magically re-appearing like a forlorn apparition. Their benign gaze is made manifest in an aura of a contemporary recording that charts the demise of the right to entry or existence.  Never before has the sense of the globally contrite been so finely explored.\n\nA fierce desperation, of loss and the lost is further developed in the accompanying works on paper, <em>Your Mileage May Vary</em>; here aspirations and expectations, displacement and un-belonging are found within a maze of restrictions and controls. It is a truism that all opposites attract and repel, like black and white and these spills and the topographically drawn co-exist on one plane. In this way <em>Colour Curtain (between shores and the seas) </em>is physically formed by linking differing information within one site; that of a set of rubberstamps carrying the names of individuals who have been denied visas to various countries on the basis of their class, culture, nation, religion, politics or other such notions of personal identity in combination with colors derived from various national flags.\n\n<em>Your Mileage May Vary</em> takes a similar re-routing of details of individuals’ names and combines them with maps and mazes to suggest lost journeys and unending departures or arrivals. Kallat states “Even as cultures blend with a greater movement of people and information than any moment in human history, borders have become more controlled and monitored than ever before”.4 The contemporary border has ceased to be mere crossings but more a space in which the contraband and the pirated in terms of goods, people and modern slavery is enforced and exchanged. <em>Your Mileage May Vary</em> starts to suggest such a sinister domain, a new place full of sorcerers and gangsters and pirates who make things disappear and where children, women, drugs, organs and arms remain un-rendered, undocumented. This maze of officialdom creates a seemingly haunted place, redolent with both mystery and misery. These occluded spaces remain indicative of a crisis in constant appropriation and the mist of realities that paralyses normality. Borders are no longer guarded domains but contested environments and we have to ask what is their purpose and whom do they really serve? They are, after all, grounds in which to plunder, rape and dehumanize our already demoralized world, in this existential crisis. Kallat asks here not who we are but what we have become.\n\n<strong>The sartorial rage</strong><strong> </strong>\n\nSara Rahbar’s <em>Those expectations for sunshine</em> is a series of tightly arranged material, which is highly suggestive in its mixed provenance, making the audience react instantly to its redolent references of today’s regrets and future’s fears.\n\nThe title, <em>Those expectations for sunshine, </em>already proposes such a prospect but it is in the correlation and co-relatedness of the prints and their signifiers that one starts to unravel the meaning of what is implied. An old Afghan coat reveals its inner lining to be sewn from an American flag and a set of the Islamic Republic of Iran’s flag droops in a post-coital fashion from a set of old wooden pulleys. This set of flags and garments are foundational sources, which have, over a period of time, come to represent specific and contrary historical accounts. In viewing them together, a unique set of values springs forth in an assembly of suspiring images. Symbolically, the American flag has now come to represent a spectrum of beliefs, of divergent statuses; some see it a symbol of evil and others see it as a force of civility, whilst the flag of Iran has recently been more internationally recognized for its emerging discourse around its own second revolution. Within these two diametrically spirited symbols, the Afghan coat, once a symbol of the relaxed urbanity of the sixties, starts to veer away from its popular but faded hippiedom and begins to mourn the sustained campaign of war and its driving force, opium.  Rahbar delineates the space for consideration by stimulating us, nudging us to think in terms of combinative suggestions- specifically as to what do these three countries mean to us now?\n\nRahbar is an adept inventor, often astutely combining factors so as to give unusual capital to an image, a brief of complicit arrangements, wherein chaste meanings are combined and a sort of visual combustion, that often challenges assumptions, allows a discursive release. <em>Those expectations for sunshine</em> speaks to its audience through the use of everyday objects and, in drawing them into close proximity, the lack of rationale in the overriding globally recognised geographies of values is exposed.\n\nShe offers an exploration of the dilemma about where freedom is now represented in the world and which places do we consider to form our diametric opposite  - the axis of our evils. We are left to see and feel the taste of our politics and our hypocrisy in an arrangement of stains and symbols.\n\nThe photographic series<em>, Love arrived and how red</em>, focuses on an unfulfilled, maybe even failed, human condition of stricken love which she astutely weaves to create a metaphoric reading of the deplorable state of both the nation-state and society.  She employs her band of symbols including the flag, the uniform and the proxy dressing of formalizing liaisons- a wedding dress. A complicated set of Hogarthian images emerges, filled with pain and details of distance, of one season and another treason, of traps and of shame as the series evolves into a culmination of probable death, suicide or matricide - an immense underworld of distorted emotions and a calculated soaring of the out of control.\n\n<em>Love arrived and how red</em> interrogates the common institutionalized methods of organizing life and ambition within a heterosexual (therefore normative) praxis, resulting in a lethal set of symbolic and emotional encounters. The premise explodes in the midst of the very act of coming together, of an imagined set of possibilities which combust to proclaim the impossibility of happiness or of bilateral belonging. The images suggest that all enstrangements and differences slowly crumble under their own imperfections and predict their own eventual undoing, revealing only opposites that fight and flee.\n\nThe failure that these images argue is inherent in all socially approved relationships and the weakness apparent in all political acts including diplomacy, is here made evident. The male and female couple, dressed as bride and groom in a set of tribal and nationalistic outfits, make explicit the ‘war’ of the last thirty years of the two countries represented, delineating a contrary Iran, its face turned deliberately away from the USA.\n\nRahbar is passionate in her choice of textures and fabrics, as is evident in her lengthy conversations with thirty odd assemblages known as the <em>Flag</em> series. The authority gained, both from the process of making and from drawing from research to understand the meanings and qualities of a constructed world of textiles and embroideries, finds itself in her photographic series <em>Love arrived and how red </em>and, in a more subdued manner, in the recent <em>You have come late, and I have lost my chastity.</em><strong> </strong>\n\nNuances, pertaining to gender, power and animalism, are subtly used to allow a fine-tuning between the protagonists, leaving a sour taste around notions of nationalisms, imbued and directed within and without the frame. Both series of works are not meant to be discrete discussions on gender relationships but rather to use symbolism and a sense of movement that collapses the space in between to reveal a caustic narrative.\n\nThe dramatic lighting, the costumes and the theatricality, including the army paraphernalia and the flags in <em>Love arrived and how red</em>, the gangsters’ suit and the dark tights in <em>You have come late, and I have lost my chastity</em> have obvious connotations for any spectator, tracing and binding our sense of a vocabulary drawn from the anthropological to the cinematic. Both series remain unapologetic in using the ambition and structure drawn from the cinematic and this usage allows the work to construct many paradoxical relationships of a complexity that depends on our relation to the history of this genre.\n\n<em>You have come late, and I have lost my chastity</em> plays on our recognition of these images, from some sort of image bank that is derivative of dance forms and soap operas, where women are forced into submission by force and the act of aggression is based on notions of sexuality.  The notion of honor killings, domestic violence and crimes of passion come to mind, but the slow releasing violence in Lynchian slow motion provides a vantage position from which to understand the place of violence in our world. As Hannah Arendt explains “<a href=\"http://en.thinkexist.com/quotation/the_more_dubious_and_uncertain_an_instrument/328139.html\" target=\"_blank\">The more dubious and uncertain an instrument violence has become in international relations, the more it has gained in reputation and appeal in domestic affairs, specifically in the matter of revolution.</a>”5\n\n<em>Lets prepare today so that tomorrow we don’t stare at the cries of darkness.</em>\n\nMany are those who have recently been talking about patterns that have developed in the first part of this new millennium, particularly from the seminal events of its first decade, which now affect all of us so sharply. The notion of suicide, in terms of frequency and those who use it is as a weapon, seems to be one of the most excessive, costly and maybe, even unsustainable traits of the new millennium. Travel, borders and security are all recognizable issues of concern that protrude into every second of our postmodern realities.\n\nNo longer can we be certain of any route or place beyond the fact that the whole world and all its peoples are now burdened and on the verge of serious crisis, anytime and anywhere.  The constancy of threat and the doom and gloom in situ, has affected many artists’ practices and, like many others in the creative fields, they are trying to come to terms with this situation from within their own particular language, history and abilities to contextualize these hyperbolic times.\n\nTheir concern and the potency of the current state of exception, of a global apartheid and of internal strife, marks a defining shift from the discourses of wholehearted globalization, where subject or subjectivity were located by cross borders’ references. <em>Never Run Away </em>discusses an account of the ebbing dynamics of unrealized citizenship, not the recent here or there, but a constant without everywhere.\n\n<em>Never run away</em> is a curatorial premise based on those who no longer can run away.  It brings together an understanding of the place of not belonging, an exposed fracas, a non-consensual image of cruelty which binds and confers “an anotherness” within, that is starting to be examined forcefully by artists and writers who share a historical and cultural similarity.\n\nIn a world of multiple themes and anthologies, the chaos that these terms of loss, disappearance and holding back create, provides an omnivorous, sociological and artistic push for any enquiry. It is through its indexical qualities that it provides an enriched metaphoric ground for further private contestations.\n\nParticularly in this remarkable passage of history, of the credit crunch and hibernating institutions, of unilateral ‘just wars’ and some of the most uncertain global conditions, it is important to take stock of this “worlding” and this exhibition, <em>Never run away</em>, alongside other emerging forums that represent the post-market dialogue, provides an invaluable space in which to study the predicament of culture at a time of deflation and when the ebb is the condition acting as a stimulation in comprehending culture. As Simone de Beauvoir explains “I tore myself away from the safe comfort of certainties through my love for truth — and truth rewarded me.”6\n\n1. Pyaasa, lyrics from Jaane Kya Tune Kahi, Directed by Guru Dutt, 1957.\n\n2.  “A person rendered without agency by his or her social status”.\n\nRobert Young J. C., Postcolonialism: A Very Short Introduction. (New  York: Oxford  University Press), 2003.\n\n3. P.B.Shelley \'Ode to the West Wind\' English Poems. Ed. Edward Chauncey Baldwin. New York: American Book Company, 1908.\n\n4. Reena Kallat, unpublished e-mail Dec 2009.\n\n5. Hannah Arendt, <em>On Revolution</em>, New   York: Viking, 1963.\n\n6. Simone de Beauvoir <em>All Said and Done</em> p. 16, 1972.','','','inherit','open','open','','1513-revision','','','2010-07-09 16:19:33','2010-07-09 16:19:33','',1513,'http://www.biggventures.com/demo/artists/1514/uncat/1513-revision',0,'revision','',0),(1515,1,'2011-03-22 12:24:54','2011-03-22 12:24:54','<p><strong><span style=\"color: rgb(136, 136, 136);\">NEVER RUN AWAY</span></strong>\r\n<strong>© Shaheen Merali</strong></p>\r\n<p>“Who knows what you said…?</p>\r\n<p>Who knows what I heard?</p>\r\n<p>Some thing stirred in my heart.”1</p>\r\n<p>………is an excerpt from the lyrics of a song featured in the seminal film, Pyaasa, written by the legendary actor and film director Guru Dutt. In these few words, a brief exchange occurs that encapsulates the premise of this exhibition &ndash; the desire to know and be touched by what is known and felt by someone else.</p>\r\n<p>The two artists in this exhibition, Reena Kallat and Sara Rahbar, live on different continents, Asia and North America, or sometimes on the same one, namely Asia (India and Iran), from where their observations about the nature of power as it effects belonging informs their individual practices.</p>\r\n<p>Their work speaks about concerns and caution, in a time when power re-infects those already weakened by how it has been nurtured in a post-global society, of absolutes that have made our world spiral into an existential meltdown with the gradual erosion of rights and mobility; &ndash; a set of conditions that is leading to an increment in the condition of subalternity. 2 This subaltern status that results from the rise of neo-liberalist cosmopolitanism and a hegemonic globalization, has disturbed fragile states and complicates economic relationships along gender, tribal, ethnic and racial lines.</p>\r\n<p><em>“If Winter comes, can Spring be far away?”</em> 3</p>\r\n<p>A feeling of intensity, with grimacing smiles, unites the look of the three portraits that are present in the exhibition. Fused with an uncontrollable shyness, these faces speak of subjugating accounts which have drained the meaning from their lives &ndash; a significance that alludes logic but produces a tragic effect for those who have succumbed to its finality. These three portraits speak of a terminus, of lives which seem to be tainted by a bitter sadness in a quivering space of the unaccepted……in a form of statelessness, a curbed life or a trampled future.</p>\r\n<p>The work that Kallat has been producing can be seen as part of a growing realization in the picturing of the victims of post-global reality. The recent and sudden drop in status of many people from certain regions of India, Pakistan and Bangladesh, who were dependent on patterns of mass migration for their economic survival, has come to provide a vivid portrayal of the victims of the contemporary haste to build and the shadows remaining in the reversal of this trend. Like a rudderless raft by the wayside of international abandon, these courageous souls, who had trawled their way through multitudes of notary agents and officialdom to win over the processes of bureaucracy, are now abandoned in a no-mans land. Here, between economies and between national recessions, they exist virtually, on paper and by symbolic agreements that no longer can be afforded.</p>\r\n<p>Kallat employs rubberstamps in her sculptural works that talk of the selected method given to this signifier of notional belonging, of an identifiable winner in the contest in life’s lottery for official approval. Here these faceless pedestrians remain indebted to these much-valued stamps, an act that seals their fate and proffers a certain clemency, an escape from hunger and unemployment, one more hurdle overcome in a life which constructs always one more hurdle. These sculptures, <em>Synonyms </em>and <em>Colour Curtain (between shores and the seas)</em> are partly summations of their partaking in the arduous process of bureaucracy and of access or denial beyond the border. Often these stamps are themselves the very force that restricts access.</p>\r\n<p>Her portrayal of the barriers and of cross-border travelers is an ode to the scatterlogical effects of labor in the way globalisation has effectively used Asia and Asians. If there was a primal axis of globalisation, it was in the way that people became an asset, moved around or kept in place by these acts of decree. Driven by their need to survive beyond the daily rations of imploded Asian densities and realities, the fantasy of globalisation provided the impulse, the strength and, in some cases, the eventual possibility to forsake the meager economic standards of their homeland. The possibilities of a grander vision of hub capitals and shopping cities, emerging out of deserts and global nightmares, created an insatiable, tameless ambition amongst the subalterns, responding to the swift and loud calling for their bodies.</p>\r\n<p>It was in this uncontrollable moment of labor as goods, trickling slowly but surely from Asia, and especially South East Asia, to quivering impetuous states by the Arabian Seas that a dark turn in the world’s economic fortunes started to make itself felt.</p>\r\n<p>Central to the sculptural works, particularly the large-scale portraits, Synonyms, assembled from the type of rubber stamps commonly used in offices is a jigsaw of the rejected or disappeared, magically re-appearing like a forlorn apparition. Their benign gaze is made manifest in an aura of a contemporary recording that charts the demise of the right to entry or existence.  Never before has the sense of the globally contrite been so finely explored.</p>\r\n<p>A fierce desperation, of loss and the lost is further developed in the accompanying works on paper, <em>Your Mileage May Vary</em>; here aspirations and expectations, displacement and un-belonging are found within a maze of restrictions and controls. It is a truism that all opposites attract and repel, like black and white and these spills and the topographically drawn co-exist on one plane. In this way <em>Colour Curtain (between shores and the seas) </em>is physically formed by linking differing information within one site; that of a set of rubberstamps carrying the names of individuals who have been denied visas to various countries on the basis of their class, culture, nation, religion, politics or other such notions of personal identity in combination with colors derived from various national flags.</p>\r\n<p><em>Your Mileage May Vary</em> takes a similar re-routing of details of individuals’ names and combines them with maps and mazes to suggest lost journeys and unending departures or arrivals. Kallat states “Even as cultures blend with a greater movement of people and information than any moment in human history, borders have become more controlled and monitored than ever before”.4 The contemporary border has ceased to be mere crossings but more a space in which the contraband and the pirated in terms of goods, people and modern slavery is enforced and exchanged. Your Mileage May Vary starts to suggest such a sinister domain, a new place full of sorcerers and gangsters and pirates who make things disappear and where children, women, drugs, organs and arms remain un-rendered, undocumented. This maze of officialdom creates a seemingly haunted place, redolent with both mystery and misery. These occluded spaces remain indicative of a crisis in constant appropriation and the mist of realities that paralyses normality. Borders are no longer guarded domains but contested environments and we have to ask what is their purpose and whom do they really serve? They are, after all, grounds in which to plunder, rape and dehumanize our already demoralized world, in this existential crisis. Kallat asks here not who we are but what we have become.</p>\r\n<p><strong>The sartorial rage</strong><strong> </strong></p>\r\n<p>Sara Rahbar’s Those expectations for sunshine is a series of tightly arranged material, which is highly suggestive in its mixed provenance, making the audience react instantly to its redolent references of today’s regrets and future’s fears.</p>\r\n<p>The title, <em>Those expectations for sunshine, </em>already proposes such a prospect but it is in the correlation and co-relatedness of the prints and their signifiers that one starts to unravel the meaning of what is implied. An old Afghan coat reveals its inner lining to be sewn from an American flag and a set of the Islamic Republic of Iran’s flag droops in a post-coital fashion from a set of old wooden pulleys. This set of flags and garments are foundational sources, which have, over a period of time, come to represent specific and contrary historical accounts. In viewing them together, a unique set of values springs forth in an assembly of suspiring images. Symbolically, the American flag has now come to represent a spectrum of beliefs, of divergent statuses; some see it a symbol of evil and others see it as a force of civility, whilst the flag of Iran has recently been more internationally recognized for its emerging discourse around its own second revolution. Within these two diametrically spirited symbols, the Afghan coat, once a symbol of the relaxed urbanity of the sixties, starts to veer away from its popular but faded hippiedom and begins to mourn the sustained campaign of war and its driving force, opium.  Rahbar delineates the space for consideration by stimulating us, nudging us to think in terms of combinative suggestions- specifically as to what do these three countries mean to us now?</p>\r\n<p>Rahbar is an adept inventor, often astutely combining factors so as to give unusual capital to an image, a brief of complicit arrangements, wherein chaste meanings are combined and a sort of visual combustion, that often challenges assumptions, allows a discursive release. Those expectations for sunshine speaks to its audience through the use of everyday objects and, in drawing them into close proximity, the lack of rationale in the overriding globally recognized geographies of values is exposed.</p>\r\n<p>She offers an exploration of the dilemma about where freedom is now represented in the world and which places do we consider to form our diametric opposite  &ndash; the axis of our evils. We are left to see and feel the taste of our politics and our hypocrisy in an arrangement of stains and symbols.</p>\r\n<p>The photographic series<em>, Love arrived and how red</em>, focuses on an unfulfilled, maybe even failed, human condition of stricken love which she astutely weaves to create a metaphoric reading of the deplorable state of both the nation-state and society.  She employs her band of symbols including the flag, the uniform and the proxy dressing of formalizing liaisons- a wedding dress. A complicated set of Hogarthian images emerges, filled with pain and details of distance, of one season and another treason, of traps and of shame as the series evolves into a culmination of probable death, suicide or matricide &ndash; an immense underworld of distorted emotions and a calculated soaring of the out of control.</p>\r\n<p><em>Love arrived and how red</em> interrogates the common institutionalized methods of organizing life and ambition within a heterosexual (therefore normative) praxis, resulting in a lethal set of symbolic and emotional encounters. The premise explodes in the midst of the very act of coming together, of an imagined set of possibilities which combust to proclaim the impossibility of happiness or of bilateral belonging. The images suggest that all enstrangements and differences slowly crumble under their own imperfections and predict their own eventual undoing, revealing only opposites that fight and flee.</p>\r\n<p>The failure that these images argue is inherent in all socially approved relationships and the weakness apparent in all political acts including diplomacy, is here made evident. The male and female couple, dressed as bride and groom in a set of tribal and nationalistic outfits, make explicit the ‘war’ of the last thirty years of the two countries represented, delineating a contrary Iran, its face turned deliberately away from the USA.</p>\r\n<p>Rahbar is passionate in her choice of textures and fabrics, as is evident in her lengthy conversations with thirty odd assemblages known as the Flag series. The authority gained, both from the process of making and from drawing from research to understand the meanings and qualities of a constructed world of textiles and embroideries, finds itself in her photographic series Love arrived and how red and, in a more subdued manner, in the recent <em>You have come late, and I have lost my chastity.</em><strong> </strong></p>\r\n<p>Nuances, pertaining to gender, power and animalism, are subtly used to allow a fine-tuning between the protagonists, leaving a sour taste around notions of nationalisms, imbued and directed within and without the frame. Both series of works are not meant to be discrete discussions on gender relationships but rather to use symbolism and a sense of movement that collapses the space in between to reveal a caustic narrative.</p>\r\n<p>The dramatic lighting, the costumes and the theatricality, including the army paraphernalia and the flags in Love arrived and how red, the gangsters’ suit and the dark tights in You have come late, and I have lost my chastity have obvious connotations for any spectator, tracing and binding our sense of a vocabulary drawn from the anthropological to the cinematic. Both series remain unapologetic in using the ambition and structure drawn from the cinematic and this usage allows the work to construct many paradoxical relationships of a complexity that depends on our relation to the history of this genre.</p>\r\n<p><em>You have come late, and I have lost my chastity</em> plays on our recognition of these images, from some sort of image bank that is derivative of dance forms and soap operas, where women are forced into submission by force and the act of aggression is based on notions of sexuality.  The notion of honor killings, domestic violence and crimes of passion come to mind, but the slow releasing violence in Lynchian slow motion provides a vantage position from which to understand the place of violence in our world. As Hannah Arendt explains “The more dubious and uncertain an instrument violence has become in international relations, the more it has gained in reputation and appeal in domestic affairs, specifically in the matter of revolution.”5</p>\r\n<p><em>Lets prepare today so that tomorrow we don’t stare at the cries of darkness.</em></p>\r\n<p>Many are those who have recently been talking about patterns that have developed in the first part of this new millennium, particularly from the seminal events of its first decade, which now affect all of us so sharply. The notion of suicide, in terms of frequency and those who use it is as a weapon, seems to be one of the most excessive, costly and maybe, even unsustainable traits of the new millennium. Travel, borders and security are all recognizable issues of concern that protrude into every second of our postmodern realities.</p>\r\n<p>No longer can we be certain of any route or place beyond the fact that the whole world and all its peoples are now burdened and on the verge of serious crisis, anytime and anywhere.  The constancy of threat and the doom and gloom in situ, has affected many artists’ practices and, like many others in the creative fields, they are trying to come to terms with this situation from within their own particular language, history and abilities to contextualize these hyperbolic times.</p>\r\n<p>Their concern and the potency of the current state of exception, of a global apartheid and of internal strife, marks a defining shift from the discourses of wholehearted globalization, where subject or subjectivity were located by cross borders’ references. Never Run Away discusses an account of the ebbing dynamics of unrealized citizenship, not the recent here or there, but a constant without everywhere.</p>\r\n<p><em>Never run away</em> is a curatorial premise based on those who no longer can run away.  It brings together an understanding of the place of not belonging, an exposed fracas, a non-consensual image of cruelty which binds and confers “an anotherness” within, that is starting to be examined forcefully by artists and writers who share a historical and cultural similarity.</p>\r\n<p>In a world of multiple themes and anthologies, the chaos that these terms of loss, disappearance and holding back create, provides an omnivorous, sociological and artistic push for any enquiry. It is through its indexical qualities that it provides an enriched metaphoric ground for further private contestations.</p>\r\n<p>Particularly in this remarkable passage of history, of the credit crunch and hibernating institutions, of unilateral ‘just wars’ and some of the most uncertain global conditions, it is important to take stock of this “worlding” and this exhibition, <em>Never run away</em>, alongside other emerging forums that represent the post-market dialogue, provides an invaluable space in which to study the predicament of culture at a time of deflation and when the ebb is the condition acting as a stimulation in comprehending culture. As Simone de Beauvoir explains “I tore myself away from the safe comfort of certainties through my love for truth &mdash; and truth rewarded me.”6</p>\r\n<p>1.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Pyaasa, lyrics from Jaane Kya Tune Kahi, Directed by Guru Dutt, 1957.</p>\r\n<p>2.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; “A person rendered without agency by his or her social status”. Robert Young J. C., Postcolonialism: A Very Short Introduction. (New York: Oxford University Press), 2003.</p>\r\n<p>3.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; P.B.Shelley ‘Ode to the West Wind’ English Poems. Ed. Edward Chauncey Baldwin. New York: American Book Company, 1908.</p>\r\n<p>4.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Reena Kallat, unpublished e-mail Dec 2009.</p>\r\n<p>5.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hannah Arendt, <em>On Revolution</em>, New   York: Viking, 1963.</p>\r\n<p>6.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Simone de Beauvoir <em>All Said and Done</em> p. 16, 1972.</p>\r\nShaheen Merali is a curator and writer based in London.\r\n','','','inherit','open','open','','1513-autosave','','','2011-03-22 12:24:54','2011-03-22 12:24:54','',1513,'http://www.biggventures.com/demo/artists/1515/uncat/1513-autosave',0,'revision','',0),(1516,1,'2010-07-09 16:16:25','2010-07-09 16:16:25','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td width=\"21%\" align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left:5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali \r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road \r\nISBN: 978-81-908879-1-5 </span>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/rainbow-of-refuse\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/black-flute\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/battlefield-of-mind\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Skin, </span>2000<span>\r\nInterview with Jitish Kallat\r\nPublisher: Gallery Chemould and Vis-à-vis Art Inc. Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/skin\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td align=\"centre\" valign=\"top\" style=\"padding-top:12px;\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\"/></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote \r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/orchard-pub\" style=\"color:#878787\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\">&nbsp;</td>\r\n</tr>\r\n<tr>\r\n<td>&nbsp;</td>\r\n<td><!-- Start of Other Publications --><span class=\"pubstrong\">Never Run Away, </span>2010<span>\r\nText: Shaheen Merali\r\nPublisher: Stux Gallery</span>\r\n<span colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/reena-kallat\" style=\"color:#878787\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery      \r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span colspan=\"2\" style=\"line-height: 10px; padding-top: 0px;\"><a href=\"http://www.reenakallat.com/khoj-book\" style=\"color:#878787\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Viewpoints & viewings points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai \r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki, \r\nMiho Tagomori \r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum \r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman   \r\nGopinath, Jayaram, Deepak Ananth    \r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur, \r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>)2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller, \r\nBregje van Eekelen      \r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center  \r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern & Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart & The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation & Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n<br/>\r\n<span class=\"pubstrong\" style=\"color:#000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\">In a State of Perennial Siege</span><span>\r\nNancy Adajania, The Hindu, Hyderabad, 29th October 2006</span>\r\n\r\n<span class=\"pubstrong\">Her Crowning Achievement</span><span>\r\nClara Chow, The Straits Times, 18th November 2006</span>\r\n\r\n<span class=\"pubstrong\">Political Chaos</span><span>\r\nDeepali Nandwani, Beautiful people, pg 143, November-December 2006</span>\r\n\r\n<span class=\"pubstrong\">Weapons of Mass Construction</span><span>\r\nRituparna Som, DNA after Hrs, Mumbai, 9th October, 2006</span>\r\n\r\n<span class=\"pubstrong\">Guns and Roses</span><span>\r\nRachna Nakra, The Indian Express, Mumbai Newsline, 18th September 2006</span>\r\n\r\n<span class=\"pubstrong\">Under Attack</span><span>\r\nGitanjali Dang, HT Mumbai, 22nd September 2006</span>\r\n\r\n<span class=\"pubstrong\">Time Traveller</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 27th June 2006</span>\r\n\r\n<span class=\"pubstrong\">The Flower and the Sword</span><span>\r\nGirish Shahane, The Art News magazine of India, pg 93, volume X issue I, 2004</span>\r\n\r\n<span class=\"pubstrong\">India’s top 100 achievers</span><span>\r\nSociety Magazine, pg 137, December 2004</span>\r\n\r\n<span class=\"pubstrong\">Caught Between Demons</span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002</span>\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\">Of Faith and Hunger</span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: roti, makaan & abstract art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect & Builder, pgs 102-104, October 1998</span>\r\n\r\n</td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-148','','','2010-07-09 16:16:25','2010-07-09 16:16:25','',87,'http://www.biggventures.com/demo/artists/1516/uncat/87-revision-148',0,'revision','',0),(1517,1,'2010-07-09 16:20:03','2010-07-09 16:20:03','<strong><span style=\"color: #888888;\">Never Run Away</span></strong>\r\n\r\nShaheen Merali<em> </em>\r\n\r\n“Who knows what you said…?\r\n\r\nWho knows what I heard?\r\n\r\nSome thing stirred in my heart.”1\r\n\r\n………is an excerpt from the lyrics of a song featured in the seminal film, Pyaasa, written by the legendary actor and film director Guru Dutt. In these few words, a brief exchange occurs that encapsulates the premise of this exhibition - the desire to know and be touched by what is known and felt by someone else.\r\n\r\nThe two artists in this exhibition, Reena Kallat and Sara Rahbar, live on different continents, Asia and North America, or sometimes on the same one, namely Asia (India and Iran), from where their observations about the nature of power as it effects belonging informs their individual practices.\r\n\r\nTheir work speaks about concerns and caution, in a time when power re-infects those already weakened by how it has been nurtured in a post-global society, of absolutes that have made our world spiral into an existential meltdown with the gradual erosion of rights and mobility; - a set of conditions that is leading to an increment in the condition of subalternity. 2 This subaltern status that results from the rise of neo-liberalist cosmopolitanism and a hegemonic globalisation, has disturbed fragile states and complicates economic relationships along gender, tribal, ethnic and racial lines.\r\n\r\n<em>“If Winter comes, can Spring be far away?”</em> 3\r\n\r\nA feeling of intensity, with grimacing smiles, unites the look of the three portraits that are present in the exhibition. Fused with an uncontrollable shyness, these faces speak of subjugating accounts which have drained the meaning from their lives - a significance that alludes logic but produces a tragic effect for those who have succumbed to its finality. These three portraits speak of a terminus, of lives which seem to be tainted by a bitter sadness in a quivering space of the unaccepted……in a form of statelessness, a curbed life or a trampled future.\r\n\r\nThe work that Kallat has been producing can be seen as part of a growing realization in the picturing of the victims of post-global reality. The recent and sudden drop in status of many people from certain regions of India, Pakistan and Bangladesh, who were dependent on patterns of mass migration for their economic survival, has come to provide a vivid portrayal of the victims of the contemporary haste to build and the shadows remaining in the reversal of this trend. Like a rudderless raft by the wayside of international abandon, these courageous souls, who had trawled their way through multitudes of notary agents and officialdom to win over the processes of bureaucracy, are now abandoned in a no-mans land. Here, between economies and between national recessions, they exist virtually, on paper and by symbolic agreements that no longer can be afforded.\r\n\r\nKallat employs rubberstamps in her sculptural works that talk of the selected method given to this signifier of notional belonging, of an identifiable winner in the contest in life’s lottery for official approval. Here these faceless pedestrians remain indebted to these much-valued stamps, an act that seals their fate and proffers a certain clemency, an escape from hunger and unemployment, one more hurdle overcome in a life which constructs always one more hurdle. These sculptures, <em>Synonyms </em>and <em>Colour Curtain (between shores and the seas)</em> are partly summations of their partaking in the arduous process of bureaucracy and of access or denial beyond the border. Often these stamps are themselves the very force that restricts access.\r\n\r\nHer portrayal of the barriers and of cross-border travelers is an ode to the scatterlogical effects of labor in the way globalisation has effectively used Asia and Asians. If there was a primal axis of globalisation, it was in the way that people became an asset, moved around or kept in place by these acts of decree. Driven by their need to survive beyond the daily rations of imploded Asian densities and realities, the fantasy of globalisation provided the impulse, the strength and, in some cases, the eventual possibility to forsake the meager economic standards of their homeland. The possibilities of a grander vision of hub capitals and shopping cities, emerging out of deserts and global nightmares, created an insatiable, tameless ambition amongst the subalterns, responding to the swift and loud calling for their bodies.\r\n\r\nIt was in this uncontrollable moment of labor as goods, trickling slowly but surely from Asia, and especially South East Asia, to quivering impetuous states by the Arabian Seas that a dark turn in the world’s economic fortunes started to make itself felt.\r\n\r\nCentral to the sculptural works, particularly the large-scale portraits, <em>Synonyms</em>, assembled from the type of rubber stamps commonly used in offices is a jigsaw of the rejected or disappeared, magically re-appearing like a forlorn apparition. Their benign gaze is made manifest in an aura of a contemporary recording that charts the demise of the right to entry or existence.  Never before has the sense of the globally contrite been so finely explored.\r\n\r\nA fierce desperation, of loss and the lost is further developed in the accompanying works on paper, <em>Your Mileage May Vary</em>; here aspirations and expectations, displacement and un-belonging are found within a maze of restrictions and controls. It is a truism that all opposites attract and repel, like black and white and these spills and the topographically drawn co-exist on one plane. In this way <em>Colour Curtain (between shores and the seas) </em>is physically formed by linking differing information within one site; that of a set of rubberstamps carrying the names of individuals who have been denied visas to various countries on the basis of their class, culture, nation, religion, politics or other such notions of personal identity in combination with colors derived from various national flags.\r\n\r\n<em>Your Mileage May Vary</em> takes a similar re-routing of details of individuals’ names and combines them with maps and mazes to suggest lost journeys and unending departures or arrivals. Kallat states “Even as cultures blend with a greater movement of people and information than any moment in human history, borders have become more controlled and monitored than ever before”.4 The contemporary border has ceased to be mere crossings but more a space in which the contraband and the pirated in terms of goods, people and modern slavery is enforced and exchanged. <em>Your Mileage May Vary</em> starts to suggest such a sinister domain, a new place full of sorcerers and gangsters and pirates who make things disappear and where children, women, drugs, organs and arms remain un-rendered, undocumented. This maze of officialdom creates a seemingly haunted place, redolent with both mystery and misery. These occluded spaces remain indicative of a crisis in constant appropriation and the mist of realities that paralyses normality. Borders are no longer guarded domains but contested environments and we have to ask what is their purpose and whom do they really serve? They are, after all, grounds in which to plunder, rape and dehumanize our already demoralized world, in this existential crisis. Kallat asks here not who we are but what we have become.\r\n\r\n<strong>The sartorial rage</strong><strong> </strong>\r\n\r\nSara Rahbar’s <em>Those expectations for sunshine</em> is a series of tightly arranged material, which is highly suggestive in its mixed provenance, making the audience react instantly to its redolent references of today’s regrets and future’s fears.\r\n\r\nThe title, <em>Those expectations for sunshine, </em>already proposes such a prospect but it is in the correlation and co-relatedness of the prints and their signifiers that one starts to unravel the meaning of what is implied. An old Afghan coat reveals its inner lining to be sewn from an American flag and a set of the Islamic Republic of Iran’s flag droops in a post-coital fashion from a set of old wooden pulleys. This set of flags and garments are foundational sources, which have, over a period of time, come to represent specific and contrary historical accounts. In viewing them together, a unique set of values springs forth in an assembly of suspiring images. Symbolically, the American flag has now come to represent a spectrum of beliefs, of divergent statuses; some see it a symbol of evil and others see it as a force of civility, whilst the flag of Iran has recently been more internationally recognized for its emerging discourse around its own second revolution. Within these two diametrically spirited symbols, the Afghan coat, once a symbol of the relaxed urbanity of the sixties, starts to veer away from its popular but faded hippiedom and begins to mourn the sustained campaign of war and its driving force, opium.  Rahbar delineates the space for consideration by stimulating us, nudging us to think in terms of combinative suggestions- specifically as to what do these three countries mean to us now?\r\n\r\nRahbar is an adept inventor, often astutely combining factors so as to give unusual capital to an image, a brief of complicit arrangements, wherein chaste meanings are combined and a sort of visual combustion, that often challenges assumptions, allows a discursive release. <em>Those expectations for sunshine</em> speaks to its audience through the use of everyday objects and, in drawing them into close proximity, the lack of rationale in the overriding globally recognised geographies of values is exposed.\r\n\r\nShe offers an exploration of the dilemma about where freedom is now represented in the world and which places do we consider to form our diametric opposite  - the axis of our evils. We are left to see and feel the taste of our politics and our hypocrisy in an arrangement of stains and symbols.\r\n\r\nThe photographic series<em>, Love arrived and how red</em>, focuses on an unfulfilled, maybe even failed, human condition of stricken love which she astutely weaves to create a metaphoric reading of the deplorable state of both the nation-state and society.  She employs her band of symbols including the flag, the uniform and the proxy dressing of formalizing liaisons- a wedding dress. A complicated set of Hogarthian images emerges, filled with pain and details of distance, of one season and another treason, of traps and of shame as the series evolves into a culmination of probable death, suicide or matricide - an immense underworld of distorted emotions and a calculated soaring of the out of control.\r\n\r\n<em>Love arrived and how red</em> interrogates the common institutionalized methods of organizing life and ambition within a heterosexual (therefore normative) praxis, resulting in a lethal set of symbolic and emotional encounters. The premise explodes in the midst of the very act of coming together, of an imagined set of possibilities which combust to proclaim the impossibility of happiness or of bilateral belonging. The images suggest that all enstrangements and differences slowly crumble under their own imperfections and predict their own eventual undoing, revealing only opposites that fight and flee.\r\n\r\nThe failure that these images argue is inherent in all socially approved relationships and the weakness apparent in all political acts including diplomacy, is here made evident. The male and female couple, dressed as bride and groom in a set of tribal and nationalistic outfits, make explicit the ‘war’ of the last thirty years of the two countries represented, delineating a contrary Iran, its face turned deliberately away from the USA.\r\n\r\nRahbar is passionate in her choice of textures and fabrics, as is evident in her lengthy conversations with thirty odd assemblages known as the <em>Flag</em> series. The authority gained, both from the process of making and from drawing from research to understand the meanings and qualities of a constructed world of textiles and embroideries, finds itself in her photographic series <em>Love arrived and how red </em>and, in a more subdued manner, in the recent <em>You have come late, and I have lost my chastity.</em><strong> </strong>\r\n\r\nNuances, pertaining to gender, power and animalism, are subtly used to allow a fine-tuning between the protagonists, leaving a sour taste around notions of nationalisms, imbued and directed within and without the frame. Both series of works are not meant to be discrete discussions on gender relationships but rather to use symbolism and a sense of movement that collapses the space in between to reveal a caustic narrative.\r\n\r\nThe dramatic lighting, the costumes and the theatricality, including the army paraphernalia and the flags in <em>Love arrived and how red</em>, the gangsters’ suit and the dark tights in <em>You have come late, and I have lost my chastity</em> have obvious connotations for any spectator, tracing and binding our sense of a vocabulary drawn from the anthropological to the cinematic. Both series remain unapologetic in using the ambition and structure drawn from the cinematic and this usage allows the work to construct many paradoxical relationships of a complexity that depends on our relation to the history of this genre.\r\n\r\n<em>You have come late, and I have lost my chastity</em> plays on our recognition of these images, from some sort of image bank that is derivative of dance forms and soap operas, where women are forced into submission by force and the act of aggression is based on notions of sexuality.  The notion of honor killings, domestic violence and crimes of passion come to mind, but the slow releasing violence in Lynchian slow motion provides a vantage position from which to understand the place of violence in our world. As Hannah Arendt explains “<a href=\"http://en.thinkexist.com/quotation/the_more_dubious_and_uncertain_an_instrument/328139.html\" target=\"_blank\">The more dubious and uncertain an instrument violence has become in international relations, the more it has gained in reputation and appeal in domestic affairs, specifically in the matter of revolution.</a>”5\r\n\r\n<em>Lets prepare today so that tomorrow we don’t stare at the cries of darkness.</em>\r\n\r\nMany are those who have recently been talking about patterns that have developed in the first part of this new millennium, particularly from the seminal events of its first decade, which now affect all of us so sharply. The notion of suicide, in terms of frequency and those who use it is as a weapon, seems to be one of the most excessive, costly and maybe, even unsustainable traits of the new millennium. Travel, borders and security are all recognizable issues of concern that protrude into every second of our postmodern realities.\r\n\r\nNo longer can we be certain of any route or place beyond the fact that the whole world and all its peoples are now burdened and on the verge of serious crisis, anytime and anywhere.  The constancy of threat and the doom and gloom in situ, has affected many artists’ practices and, like many others in the creative fields, they are trying to come to terms with this situation from within their own particular language, history and abilities to contextualize these hyperbolic times.\r\n\r\nTheir concern and the potency of the current state of exception, of a global apartheid and of internal strife, marks a defining shift from the discourses of wholehearted globalization, where subject or subjectivity were located by cross borders’ references. <em>Never Run Away </em>discusses an account of the ebbing dynamics of unrealized citizenship, not the recent here or there, but a constant without everywhere.\r\n\r\n<em>Never run away</em> is a curatorial premise based on those who no longer can run away.  It brings together an understanding of the place of not belonging, an exposed fracas, a non-consensual image of cruelty which binds and confers “an anotherness” within, that is starting to be examined forcefully by artists and writers who share a historical and cultural similarity.\r\n\r\nIn a world of multiple themes and anthologies, the chaos that these terms of loss, disappearance and holding back create, provides an omnivorous, sociological and artistic push for any enquiry. It is through its indexical qualities that it provides an enriched metaphoric ground for further private contestations.\r\n\r\nParticularly in this remarkable passage of history, of the credit crunch and hibernating institutions, of unilateral ‘just wars’ and some of the most uncertain global conditions, it is important to take stock of this “worlding” and this exhibition, <em>Never run away</em>, alongside other emerging forums that represent the post-market dialogue, provides an invaluable space in which to study the predicament of culture at a time of deflation and when the ebb is the condition acting as a stimulation in comprehending culture. As Simone de Beauvoir explains “I tore myself away from the safe comfort of certainties through my love for truth — and truth rewarded me.”6\r\n\r\n1. Pyaasa, lyrics from Jaane Kya Tune Kahi, Directed by Guru Dutt, 1957.\r\n\r\n2.  “A person rendered without agency by his or her social status”.\r\n\r\nRobert Young J. C., Postcolonialism: A Very Short Introduction. (New  York: Oxford  University Press), 2003.\r\n\r\n3. P.B.Shelley \'Ode to the West Wind\' English Poems. Ed. Edward Chauncey Baldwin. New York: American Book Company, 1908.\r\n\r\n4. Reena Kallat, unpublished e-mail Dec 2009.\r\n\r\n5. Hannah Arendt, <em>On Revolution</em>, New   York: Viking, 1963.\r\n\r\n6. Simone de Beauvoir <em>All Said and Done</em> p. 16, 1972.','','','inherit','open','open','','1513-revision-2','','','2010-07-09 16:20:03','2010-07-09 16:20:03','',1513,'http://www.biggventures.com/demo/artists/1517/uncat/1513-revision-2',0,'revision','',0),(1518,1,'2010-07-09 16:22:34','2010-07-09 16:22:34','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" width=\"21%\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left: 5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali\r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road\r\nISBN: 978-81-908879-1-5 </span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/reena-kallat\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/rainbow-of-refuse\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/black-flute\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/battlefield-of-mind\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Skin, </span>2000<span>\r\nInterview with Jitish Kallat\r\nPublisher: Gallery Chemould and Vis-à-vis Art Inc. Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/skin\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote\r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/orchard-pub\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n<td><!-- Start of Other Publications --><span class=\"pubstrong\">Never Run Away, </span>2010<span>\r\nText: Shaheen Merali\r\nPublisher: Stux Gallery</span>\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/never-run-away\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery\r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/khoj-book\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Viewpoints &amp; viewings points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai\r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki,\r\nMiho Tagomori\r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum\r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman\r\nGopinath, Jayaram, Deepak Ananth\r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur,\r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>)2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller,\r\nBregje van Eekelen\r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center\r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern &amp; Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart &amp; The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation &amp; Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n\r\n\r\n<span class=\"pubstrong\" style=\"color: #000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\">In a State of Perennial Siege</span><span>\r\nNancy Adajania, The Hindu, Hyderabad, 29th October 2006</span>\r\n\r\n<span class=\"pubstrong\">Her Crowning Achievement</span><span>\r\nClara Chow, The Straits Times, 18th November 2006</span>\r\n\r\n<span class=\"pubstrong\">Political Chaos</span><span>\r\nDeepali Nandwani, Beautiful people, pg 143, November-December 2006</span>\r\n\r\n<span class=\"pubstrong\">Weapons of Mass Construction</span><span>\r\nRituparna Som, DNA after Hrs, Mumbai, 9th October, 2006</span>\r\n\r\n<span class=\"pubstrong\">Guns and Roses</span><span>\r\nRachna Nakra, The Indian Express, Mumbai Newsline, 18th September 2006</span>\r\n\r\n<span class=\"pubstrong\">Under Attack</span><span>\r\nGitanjali Dang, HT Mumbai, 22nd September 2006</span>\r\n\r\n<span class=\"pubstrong\">Time Traveller</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 27th June 2006</span>\r\n\r\n<span class=\"pubstrong\">The Flower and the Sword</span><span>\r\nGirish Shahane, The Art News magazine of India, pg 93, volume X issue I, 2004</span>\r\n\r\n<span class=\"pubstrong\">India’s top 100 achievers</span><span>\r\nSociety Magazine, pg 137, December 2004</span>\r\n\r\n<span class=\"pubstrong\">Caught Between Demons</span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\">Of Faith and Hunger</span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: roti, makaan &amp; abstract art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect &amp; Builder, pgs 102-104, October 1998</span></td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-149','','','2010-07-09 16:22:34','2010-07-09 16:22:34','',87,'http://www.biggventures.com/demo/artists/1518/uncat/87-revision-149',0,'revision','',0),(1523,1,'2010-07-09 17:01:18','2010-07-09 17:01:18','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td>2009                  </td><td><em>Drift</em>, Primo Marella Gallery, Milan\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td>2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2005                  </td><td><em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n</td></tr><tr><td>2004                  </td><td><em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n</td></tr><tr><td>2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td>2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td>2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td>1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr>\r\n\r\n<tr><td>2010                  </td><td><em>In Transition: New Art from India</em>, Richmond Art Gallery\r\n\r\nVancouver Biennale, Vancouver\r\n\r\n</td></tr><tr><td>2010                  </td><td><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\n\r\nGallery, St. Louis, Missouri\r\n\r\n</td></tr><tr><td>2010                  </td><td><em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em>Stux   Gallery,  New York\r\n\r\n</td></tr><tr><td>2010                  </td><td><em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n</td></tr><tr><td>2010 </td><td><em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\n\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\n\r\nPaulo, Brazil\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>View Points and Viewing points - </td></tr><tr><td>2009 </td><td>Asian Art Biennale</em>, National Taiwan Museum of Fine Arts \r\n\r\n</td></tr><tr><td>2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\n\r\nWolverhampton, UK\r\n\r\n</td></tr><tr><td>2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td>2009     </td><td><em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\n\r\nKorea and Essl Museum, Vienna\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>INDIA</em></td><td><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\n\r\nShanghai\r\n\r\n</td></tr><tr><td>2009                   </td><td><em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n\r\n</td></tr><tr><td>2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,\r\n\r\nCasa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td>2008     </td><td><em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n</td></tr><tr><td>2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\n\r\nMuseum, Valencia, Spain </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>International Incheon Women Artists’</em> </td><td><em>Biennale</em>, Korea\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\n\r\nBicocca , Milan </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>INDIA</em></td><td><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>,\r\n\r\ncurated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,\r\n\r\nChicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\n\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td>2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\n\r\n</td><td><em> </em>Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td>2006                  </td><td><em>Lille</em></td><td><em> 3000 (</em>Maximum City-Mumbai), Lille,  France </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\n\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td>2006                  </td><td><em>India</em></td><td><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\n\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\n\r\nFinland </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td>2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td>2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\n\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td>2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td>2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\n\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td>2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\n\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\n\r\nArt, Mumbai\r\n\r\n</td></tr><tr><td>2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td>2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td>2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\n\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\n\r\nGallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td>2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\n\r\nHenie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td>2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\n\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td>2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td>2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td>2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td>2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td>1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td>2007             Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\n\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td>2003                       Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td>2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\n\r\nLiverpool, Australia\r\n\r\n</td></tr><tr><td>2002</td><td><em> Khoj </td></tr><tr><td>2002</em>, International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td>2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the\r\n\r\nBoreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td>2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle\r\n\r\nArts Trust at Grand Riviere, Trinidad, West Indies\r\n\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n\r\n</td></tr><tr><td>2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic\r\n\r\nat the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td>2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and\r\n\r\nJayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td>2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td>2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid\r\n\r\nat the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td>2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td>2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td>2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td>2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td>2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-37','','','2010-07-09 17:01:18','2010-07-09 17:01:18','',105,'http://www.biggventures.com/demo/artists/1523/uncat/105-revision-37',0,'revision','',0),(1522,1,'2010-07-09 16:52:27','2010-07-09 16:52:27','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n\r\n2009                  <em>Drift</em>, Primo Marella Gallery, Milan\r\n\r\n2008                  <em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai\r\n\r\n2008                  <em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n2006                  <em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore <em> </em>\r\n\r\n2005                  <em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n2004                  <em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n2002                  <em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n2002                  <em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n2000                  <em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n1998                  <em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art\r\n				      <em>Gallery, Mumbai</em>\r\n\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n\r\n<em> </em>\r\n\r\n2010                  <em>In Transition: New Art from India</em>, Richmond Art Gallery\r\n\r\nVancouver Biennale, Vancouver\r\n\r\n2010                  <em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\n\r\nGallery, St. Louis, Missouri\r\n\r\n2010                  <em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em>\r\n\r\n<em> </em>Stux   Gallery,  New York\r\n\r\n2010                  <em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n2010 <em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\n\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\n\r\nPaulo, Brazil\r\n\r\n2009                  <em>View Points and Viewing points - 2009 Asian Art Biennale</em>, National Taiwan\r\nMuseum of Fine Arts <em> </em>\r\n\r\n2009                  <em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n2009                  <em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n2009                  <em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\n\r\nWolverhampton, UK\r\n\r\n2009                  Ventosul Biennale, Curitiba, Brazil\r\n\r\n2009     <em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\n\r\nKorea and Essl Museum, Vienna\r\n\r\n2009                  <em>INDIA</em><em> XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\n\r\nShanghai\r\n\r\n2009                   <em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n\r\n2009<em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,\r\n\r\nCasa  Asia, Madrid and Barcelona, Spain\r\n\r\n2009                  <em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n2008     <em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n2008                  India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\n\r\nMuseum, Valencia, Spain <em> </em>\r\n\r\n2008                  <em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n2008                  <em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n2008                  <em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n2008                  <em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n2008                  <em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n2008                  <em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai <em> </em>\r\n\r\n2007                  <em>International Incheon Women Artists’</em> <em>Biennale</em>, Korea\r\n\r\n2007                  <em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n2007                  <em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\n\r\nBicocca , Milan <em> </em>\r\n\r\n2007                  <em>INDIA</em><em> NOW: Contemporary Indian Art, Between Continuity and transformation</em>,\r\n\r\ncurated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n2007                  <em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,\r\n\r\nChicago Cultural Centre, Chicago <em> </em>\r\n\r\n2007                  <em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\n\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n2006                  <em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\n\r\n<em> </em>Georgia Museum of Art, USA\r\n\r\n2006                  <em>Lille</em><em> 3000 (</em>Maximum City-Mumbai), Lille,  France <em> </em>\r\n\r\n2006<em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\n\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n2006                  <em>India</em><em> Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\n\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\n\r\nFinland <em> </em>\r\n\r\n2005                  <em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n2005                  <em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n2005                  <em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\n\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n2004 <em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n2004                    <em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\n\r\nSerpa, The Culturgest Museum, Lisbon, Portugal<em> </em>\r\n\r\n<em> </em>\r\n\r\n2003<em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\n\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\n\r\nArt, Mumbai\r\n\r\n2003<em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n2003                  <em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi<em> </em>\r\n\r\n2003<em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\n\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\n\r\nGallery 4A, Sydney<em> </em>\r\n\r\n2003                  <em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\n\r\nHenie Onstad Kunstsenter (Oslo), Norway<em></em>\r\n\r\n2002                   <em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\n\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n2002                        <em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n2002                       <em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n2001                        <em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n2001                   <em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n1999<em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n\r\n2009                  <em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n2007             Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\n\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n2003                       Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n2003                  <em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\n\r\nLiverpool, Australia\r\n\r\n2002<em> Khoj 2002</em>, International Artists Workshop, Mysore, India\r\n\r\n2002<em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the\r\n\r\nBoreal Art/Nature Centre, Canada\r\n\r\n2001                  <em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle\r\n\r\nArts Trust at Grand Riviere, Trinidad, West Indies\r\n\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n\r\n2009                  Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic\r\n\r\nat the Sammlung Essl Museum, Vienna\r\n\r\n2008                    Slide presentation followed by a panel discussion with Nalini Malani and\r\n\r\nJayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n2008                  Slide presentation at the School of the Art Institute of Chicago\r\n\r\n2007                  Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid\r\n\r\nat the Chicago Cultural Centre\r\n\r\n2007                  Lecture at the University Boccini, Milan\r\n\r\n2006                  Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n2006                  Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n2003                  Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n2000                  Mohile Parikh Centre for the Visual Arts, Mumbai','Biography','','inherit','open','open','','105-revision-36','','','2010-07-09 16:52:27','2010-07-09 16:52:27','',105,'http://www.biggventures.com/demo/artists/1522/uncat/105-revision-36',0,'revision','',0),(1524,1,'2010-07-09 17:16:54','2010-07-09 17:16:54','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td>2009                  </td><td><em>Drift</em>, Primo Marella Gallery, Milan\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td>2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2005                  </td><td><em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n</td></tr><tr><td>2004                  </td><td><em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n</td></tr><tr><td>2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td>2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td>2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td>1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n\r\n</td></tr>\r\n<br>\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr>\r\n\r\n<tr><td>2010                  </td><td><em>In Transition: New Art from India</em>, Richmond Art Gallery\r\n\r\nVancouver Biennale, Vancouver\r\n\r\n</td></tr><tr><td>2010                  </td><td><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\n\r\nGallery, St. Louis, Missouri\r\n\r\n</td></tr><tr><td>2010                  </td><td><em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali, <em> </em>Stux   Gallery,  New York\r\n\r\n</td></tr><tr><td>2010                  </td><td><em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n</td></tr><tr><td>2010 </td><td><em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\n\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\n\r\nPaulo, Brazil\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>View Points and Viewing points - </td></tr><tr><td>2009 </td><td>Asian Art Biennale</em>, National Taiwan Museum of Fine Arts \r\n\r\n</td></tr><tr><td>2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\n\r\nWolverhampton, UK\r\n\r\n</td></tr><tr><td>2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td>2009     </td><td><em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\n\r\nKorea and Essl Museum, Vienna\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>INDIA XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\n\r\nShanghai\r\n\r\n</td></tr><tr><td>2009                   </td><td><em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n\r\n</td></tr><tr><td>2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,\r\n\r\nCasa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td>2009                  </td><td><em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td>2008     </td><td><em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n</td></tr><tr><td>2008                  </td><td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\n\r\nMuseum, Valencia, Spain </td><td>\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n</td></tr><tr><td>2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\n\r\nBicocca , Milan </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>INDIA NOW: Contemporary Indian Art, Between Continuity and transformation</em>,\r\n\r\ncurated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,\r\n\r\nChicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td>2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\n\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td>2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\n\r\nGeorgia Museum of Art, USA\r\n\r\n</td></tr><tr><td>2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td>2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\n\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td>2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\n\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\n\r\nFinland\r\n\r\n</td></tr><tr><td>2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td>2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td>2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\n\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td>2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td>2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\n\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td>2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\n\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\n\r\nArt, Mumbai\r\n\r\n</td></tr><tr><td>2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td>2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td>2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\n\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\n\r\nGallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td>2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\n\r\nHenie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td>2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\n\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td>2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td>2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td>2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td>2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td>1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n</td><tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td>2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\n\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td>2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td>2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\n\r\nLiverpool, Australia\r\n\r\n</td></tr><tr><td>2002</td><td><em> Khoj </td></tr><tr><td>2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td>2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the\r\n\r\nBoreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td>2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle\r\n\r\nArts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr>\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic\r\n\r\nat the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td>2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and\r\n\r\nJayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td>2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td>2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid\r\n\r\nat the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td>2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td>2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td>2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td>2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td>2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-38','','','2010-07-09 17:16:54','2010-07-09 17:16:54','',105,'http://www.biggventures.com/demo/artists/1524/uncat/105-revision-38',0,'revision','',0),(1525,1,'2010-07-09 17:49:59','2010-07-09 17:49:59','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><em>Drift</em>, Primo Marella Gallery, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><em>In Transition: New Art from India</em>, Richmond Art Gallery\r\nVancouver Biennale, Vancouver\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\nGallery, St. Louis, Missouri\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York\r\n\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n</td></tr><tr><td valign=\"top\">2010 </td><td><em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\nPaulo, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>View Points and Viewing points - </td></tr><tr><td valign=\"top\">2009 </td><td>Asian Art Biennale</em>, National Taiwan Museum of Fine Arts \r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\nWolverhampton, UK\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009     </td><td><em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\nKorea and Essl Museum, Vienna\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>INDIA XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\nShanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2009                   </td><td><em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2008     </td><td><em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\nMuseum, Valencia, Spain </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\nBicocca , Milan </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>INDIA NOW: Contemporary Indian Art, Between Continuity and transformation</em>,curated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\nGeorgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\nArt, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\nGallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\nHenie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n</td></tr><tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\nLiverpool, Australia\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-39','','','2010-07-09 17:49:59','2010-07-09 17:49:59','',105,'http://www.biggventures.com/demo/artists/1525/uncat/105-revision-39',0,'revision','',0),(1526,1,'2010-07-09 16:36:29','2010-07-09 16:36:29','<strong><span style=\"color: #888888;\">Never Run Away</span></strong>\r\n\r\nShaheen Merali<em> </em>\r\n\r\n“Who knows what you said…?\r\n\r\nWho knows what I heard?\r\n\r\nSome thing stirred in my heart.”1\r\n\r\n………is an excerpt from the lyrics of a song featured in the seminal film, Pyaasa, written by the legendary actor and film director Guru Dutt. In these few words, a brief exchange occurs that encapsulates the premise of this exhibition - the desire to know and be touched by what is known and felt by someone else.\r\n\r\nThe two artists in this exhibition, Reena Kallat and Sara Rahbar, live on different continents, Asia and North America, or sometimes on the same one, namely Asia (India and Iran), from where their observations about the nature of power as it effects belonging informs their individual practices.\r\n\r\nTheir work speaks about concerns and caution, in a time when power re-infects those already weakened by how it has been nurtured in a post-global society, of absolutes that have made our world spiral into an existential meltdown with the gradual erosion of rights and mobility; - a set of conditions that is leading to an increment in the condition of subalternity. 2 This subaltern status that results from the rise of neo-liberalist cosmopolitanism and a hegemonic globalisation, has disturbed fragile states and complicates economic relationships along gender, tribal, ethnic and racial lines.\r\n\r\n<em>“If Winter comes, can Spring be far away?”</em> 3\r\n\r\nA feeling of intensity, with grimacing smiles, unites the look of the three portraits that are present in the exhibition. Fused with an uncontrollable shyness, these faces speak of subjugating accounts which have drained the meaning from their lives - a significance that alludes logic but produces a tragic effect for those who have succumbed to its finality. These three portraits speak of a terminus, of lives which seem to be tainted by a bitter sadness in a quivering space of the unaccepted……in a form of statelessness, a curbed life or a trampled future.\r\n\r\nThe work that Kallat has been producing can be seen as part of a growing realization in the picturing of the victims of post-global reality. The recent and sudden drop in status of many people from certain regions of India, Pakistan and Bangladesh, who were dependent on patterns of mass migration for their economic survival, has come to provide a vivid portrayal of the victims of the contemporary haste to build and the shadows remaining in the reversal of this trend. Like a rudderless raft by the wayside of international abandon, these courageous souls, who had trawled their way through multitudes of notary agents and officialdom to win over the processes of bureaucracy, are now abandoned in a no-mans land. Here, between economies and between national recessions, they exist virtually, on paper and by symbolic agreements that no longer can be afforded.\r\n\r\nKallat employs rubberstamps in her sculptural works that talk of the selected method given to this signifier of notional belonging, of an identifiable winner in the contest in life’s lottery for official approval. Here these faceless pedestrians remain indebted to these much-valued stamps, an act that seals their fate and proffers a certain clemency, an escape from hunger and unemployment, one more hurdle overcome in a life which constructs always one more hurdle. These sculptures, <em>Synonyms </em>and <em>Colour Curtain (between shores and the seas)</em> are partly summations of their partaking in the arduous process of bureaucracy and of access or denial beyond the border. Often these stamps are themselves the very force that restricts access.\r\n\r\nHer portrayal of the barriers and of cross-border travelers is an ode to the scatterlogical effects of labor in the way globalisation has effectively used Asia and Asians. If there was a primal axis of globalisation, it was in the way that people became an asset, moved around or kept in place by these acts of decree. Driven by their need to survive beyond the daily rations of imploded Asian densities and realities, the fantasy of globalisation provided the impulse, the strength and, in some cases, the eventual possibility to forsake the meager economic standards of their homeland. The possibilities of a grander vision of hub capitals and shopping cities, emerging out of deserts and global nightmares, created an insatiable, tameless ambition amongst the subalterns, responding to the swift and loud calling for their bodies.\r\n\r\nIt was in this uncontrollable moment of labor as goods, trickling slowly but surely from Asia, and especially South East Asia, to quivering impetuous states by the Arabian Seas that a dark turn in the world’s economic fortunes started to make itself felt.\r\n\r\nCentral to the sculptural works, particularly the large-scale portraits, <em>Synonyms</em>, assembled from the type of rubber stamps commonly used in offices is a jigsaw of the rejected or disappeared, magically re-appearing like a forlorn apparition. Their benign gaze is made manifest in an aura of a contemporary recording that charts the demise of the right to entry or existence.  Never before has the sense of the globally contrite been so finely explored.\r\n\r\nA fierce desperation, of loss and the lost is further developed in the accompanying works on paper, <em>Your Mileage May Vary</em>; here aspirations and expectations, displacement and un-belonging are found within a maze of restrictions and controls. It is a truism that all opposites attract and repel, like black and white and these spills and the topographically drawn co-exist on one plane. In this way <em>Colour Curtain (between shores and the seas) </em>is physically formed by linking differing information within one site; that of a set of rubberstamps carrying the names of individuals who have been denied visas to various countries on the basis of their class, culture, nation, religion, politics or other such notions of personal identity in combination with colors derived from various national flags.\r\n\r\n<em>Your Mileage May Vary</em> takes a similar re-routing of details of individuals’ names and combines them with maps and mazes to suggest lost journeys and unending departures or arrivals. Kallat states “Even as cultures blend with a greater movement of people and information than any moment in human history, borders have become more controlled and monitored than ever before”.4 The contemporary border has ceased to be mere crossings but more a space in which the contraband and the pirated in terms of goods, people and modern slavery is enforced and exchanged. <em>Your Mileage May Vary</em> starts to suggest such a sinister domain, a new place full of sorcerers and gangsters and pirates who make things disappear and where children, women, drugs, organs and arms remain un-rendered, undocumented. This maze of officialdom creates a seemingly haunted place, redolent with both mystery and misery. These occluded spaces remain indicative of a crisis in constant appropriation and the mist of realities that paralyses normality. Borders are no longer guarded domains but contested environments and we have to ask what is their purpose and whom do they really serve? They are, after all, grounds in which to plunder, rape and dehumanize our already demoralized world, in this existential crisis. Kallat asks here not who we are but what we have become.\r\n\r\n<strong>The sartorial rage</strong><strong> </strong>\r\n\r\nSara Rahbar’s <em>Those expectations for sunshine</em> is a series of tightly arranged material, which is highly suggestive in its mixed provenance, making the audience react instantly to its redolent references of today’s regrets and future’s fears.\r\n\r\nThe title, <em>Those expectations for sunshine, </em>already proposes such a prospect but it is in the correlation and co-relatedness of the prints and their signifiers that one starts to unravel the meaning of what is implied. An old Afghan coat reveals its inner lining to be sewn from an American flag and a set of the Islamic Republic of Iran’s flag droops in a post-coital fashion from a set of old wooden pulleys. This set of flags and garments are foundational sources, which have, over a period of time, come to represent specific and contrary historical accounts. In viewing them together, a unique set of values springs forth in an assembly of suspiring images. Symbolically, the American flag has now come to represent a spectrum of beliefs, of divergent statuses; some see it a symbol of evil and others see it as a force of civility, whilst the flag of Iran has recently been more internationally recognized for its emerging discourse around its own second revolution. Within these two diametrically spirited symbols, the Afghan coat, once a symbol of the relaxed urbanity of the sixties, starts to veer away from its popular but faded hippiedom and begins to mourn the sustained campaign of war and its driving force, opium.  Rahbar delineates the space for consideration by stimulating us, nudging us to think in terms of combinative suggestions- specifically as to what do these three countries mean to us now?\r\n\r\nRahbar is an adept inventor, often astutely combining factors so as to give unusual capital to an image, a brief of complicit arrangements, wherein chaste meanings are combined and a sort of visual combustion, that often challenges assumptions, allows a discursive release. <em>Those expectations for sunshine</em> speaks to its audience through the use of everyday objects and, in drawing them into close proximity, the lack of rationale in the overriding globally recognised geographies of values is exposed.\r\n\r\nShe offers an exploration of the dilemma about where freedom is now represented in the world and which places do we consider to form our diametric opposite  - the axis of our evils. We are left to see and feel the taste of our politics and our hypocrisy in an arrangement of stains and symbols.\r\n\r\nThe photographic series<em>, Love arrived and how red</em>, focuses on an unfulfilled, maybe even failed, human condition of stricken love which she astutely weaves to create a metaphoric reading of the deplorable state of both the nation-state and society.  She employs her band of symbols including the flag, the uniform and the proxy dressing of formalizing liaisons- a wedding dress. A complicated set of Hogarthian images emerges, filled with pain and details of distance, of one season and another treason, of traps and of shame as the series evolves into a culmination of probable death, suicide or matricide - an immense underworld of distorted emotions and a calculated soaring of the out of control.\r\n\r\n<em>Love arrived and how red</em> interrogates the common institutionalized methods of organizing life and ambition within a heterosexual (therefore normative) praxis, resulting in a lethal set of symbolic and emotional encounters. The premise explodes in the midst of the very act of coming together, of an imagined set of possibilities which combust to proclaim the impossibility of happiness or of bilateral belonging. The images suggest that all enstrangements and differences slowly crumble under their own imperfections and predict their own eventual undoing, revealing only opposites that fight and flee.\r\n\r\nThe failure that these images argue is inherent in all socially approved relationships and the weakness apparent in all political acts including diplomacy, is here made evident. The male and female couple, dressed as bride and groom in a set of tribal and nationalistic outfits, make explicit the ‘war’ of the last thirty years of the two countries represented, delineating a contrary Iran, its face turned deliberately away from the USA.\r\n\r\nRahbar is passionate in her choice of textures and fabrics, as is evident in her lengthy conversations with thirty odd assemblages known as the <em>Flag</em> series. The authority gained, both from the process of making and from drawing from research to understand the meanings and qualities of a constructed world of textiles and embroideries, finds itself in her photographic series <em>Love arrived and how red </em>and, in a more subdued manner, in the recent <em>You have come late, and I have lost my chastity.</em><strong> </strong>\r\n\r\nNuances, pertaining to gender, power and animalism, are subtly used to allow a fine-tuning between the protagonists, leaving a sour taste around notions of nationalisms, imbued and directed within and without the frame. Both series of works are not meant to be discrete discussions on gender relationships but rather to use symbolism and a sense of movement that collapses the space in between to reveal a caustic narrative.\r\n\r\nThe dramatic lighting, the costumes and the theatricality, including the army paraphernalia and the flags in <em>Love arrived and how red</em>, the gangsters’ suit and the dark tights in <em>You have come late, and I have lost my chastity</em> have obvious connotations for any spectator, tracing and binding our sense of a vocabulary drawn from the anthropological to the cinematic. Both series remain unapologetic in using the ambition and structure drawn from the cinematic and this usage allows the work to construct many paradoxical relationships of a complexity that depends on our relation to the history of this genre.\r\n\r\n<em>You have come late, and I have lost my chastity</em> plays on our recognition of these images, from some sort of image bank that is derivative of dance forms and soap operas, where women are forced into submission by force and the act of aggression is based on notions of sexuality.  The notion of honor killings, domestic violence and crimes of passion come to mind, but the slow releasing violence in Lynchian slow motion provides a vantage position from which to understand the place of violence in our world. As Hannah Arendt explains “<a href=\"http://en.thinkexist.com/quotation/the_more_dubious_and_uncertain_an_instrument/328139.html\" target=\"_blank\">The more dubious and uncertain an instrument violence has become in international relations, the more it has gained in reputation and appeal in domestic affairs, specifically in the matter of revolution.</a>”5\r\n\r\n<em>Lets prepare today so that tomorrow we don’t stare at the cries of darkness.</em>\r\n\r\nMany are those who have recently been talking about patterns that have developed in the first part of this new millennium, particularly from the seminal events of its first decade, which now affect all of us so sharply. The notion of suicide, in terms of frequency and those who use it is as a weapon, seems to be one of the most excessive, costly and maybe, even unsustainable traits of the new millennium. Travel, borders and security are all recognizable issues of concern that protrude into every second of our postmodern realities.\r\n\r\nNo longer can we be certain of any route or place beyond the fact that the whole world and all its peoples are now burdened and on the verge of serious crisis, anytime and anywhere.  The constancy of threat and the doom and gloom in situ, has affected many artists’ practices and, like many others in the creative fields, they are trying to come to terms with this situation from within their own particular language, history and abilities to contextualize these hyperbolic times.\r\n\r\nTheir concern and the potency of the current state of exception, of a global apartheid and of internal strife, marks a defining shift from the discourses of wholehearted globalization, where subject or subjectivity were located by cross borders’ references. <em>Never Run Away </em>discusses an account of the ebbing dynamics of unrealized citizenship, not the recent here or there, but a constant without everywhere.\r\n\r\n<em>Never run away</em> is a curatorial premise based on those who no longer can run away.  It brings together an understanding of the place of not belonging, an exposed fracas, a non-consensual image of cruelty which binds and confers “an anotherness” within, that is starting to be examined forcefully by artists and writers who share a historical and cultural similarity.\r\n\r\nIn a world of multiple themes and anthologies, the chaos that these terms of loss, disappearance and holding back create, provides an omnivorous, sociological and artistic push for any enquiry. It is through its indexical qualities that it provides an enriched metaphoric ground for further private contestations.\r\n\r\nParticularly in this remarkable passage of history, of the credit crunch and hibernating institutions, of unilateral ‘just wars’ and some of the most uncertain global conditions, it is important to take stock of this “worlding” and this exhibition, <em>Never run away</em>, alongside other emerging forums that represent the post-market dialogue, provides an invaluable space in which to study the predicament of culture at a time of deflation and when the ebb is the condition acting as a stimulation in comprehending culture. As Simone de Beauvoir explains “I tore myself away from the safe comfort of certainties through my love for truth — and truth rewarded me.”6\r\n\r\n1. Pyaasa, lyrics from Jaane Kya Tune Kahi, Directed by Guru Dutt, 1957.\r\n\r\n2.  “A person rendered without agency by his or her social status”.\r\n\r\nRobert Young J. C., Postcolonialism: A Very Short Introduction. (New  York: Oxford  University Press), 2003.\r\n\r\n3. P.B.Shelley \'Ode to the West Wind\' English Poems. Ed. Edward Chauncey Baldwin. New York: American Book Company, 1908.\r\n\r\n4. Reena Kallat, unpublished e-mail Dec 2009.\r\n\r\n5. Hannah Arendt, <em>On Revolution</em>, New   York: Viking, 1963.\r\n\r\n6. Simone de Beauvoir <em>All Said and Done</em> p. 16, 1972.','','','inherit','open','open','','1513-revision-3','','','2010-07-09 16:36:29','2010-07-09 16:36:29','',1513,'http://www.biggventures.com/demo/artists/1526/uncat/1513-revision-3',0,'revision','',0),(1527,1,'2010-07-10 10:56:42','2010-07-10 10:56:42','<strong><span style=\"color: #888888;\">Never Run Away</span></strong>\r\n<b>Shaheen Merali</b>\r\n\r\n“Who knows what you said…?\r\n\r\nWho knows what I heard?\r\n\r\nSome thing stirred in my heart.”1\r\n\r\n………is an excerpt from the lyrics of a song featured in the seminal film, Pyaasa, written by the legendary actor and film director Guru Dutt. In these few words, a brief exchange occurs that encapsulates the premise of this exhibition - the desire to know and be touched by what is known and felt by someone else.\r\n\r\nThe two artists in this exhibition, Reena Kallat and Sara Rahbar, live on different continents, Asia and North America, or sometimes on the same one, namely Asia (India and Iran), from where their observations about the nature of power as it effects belonging informs their individual practices.\r\n\r\nTheir work speaks about concerns and caution, in a time when power re-infects those already weakened by how it has been nurtured in a post-global society, of absolutes that have made our world spiral into an existential meltdown with the gradual erosion of rights and mobility; - a set of conditions that is leading to an increment in the condition of subalternity. 2 This subaltern status that results from the rise of neo-liberalist cosmopolitanism and a hegemonic globalisation, has disturbed fragile states and complicates economic relationships along gender, tribal, ethnic and racial lines.\r\n\r\n<em>“If Winter comes, can Spring be far away?”</em> 3\r\n\r\nA feeling of intensity, with grimacing smiles, unites the look of the three portraits that are present in the exhibition. Fused with an uncontrollable shyness, these faces speak of subjugating accounts which have drained the meaning from their lives - a significance that alludes logic but produces a tragic effect for those who have succumbed to its finality. These three portraits speak of a terminus, of lives which seem to be tainted by a bitter sadness in a quivering space of the unaccepted……in a form of statelessness, a curbed life or a trampled future.\r\n\r\nThe work that Kallat has been producing can be seen as part of a growing realization in the picturing of the victims of post-global reality. The recent and sudden drop in status of many people from certain regions of India, Pakistan and Bangladesh, who were dependent on patterns of mass migration for their economic survival, has come to provide a vivid portrayal of the victims of the contemporary haste to build and the shadows remaining in the reversal of this trend. Like a rudderless raft by the wayside of international abandon, these courageous souls, who had trawled their way through multitudes of notary agents and officialdom to win over the processes of bureaucracy, are now abandoned in a no-mans land. Here, between economies and between national recessions, they exist virtually, on paper and by symbolic agreements that no longer can be afforded.\r\n\r\nKallat employs rubberstamps in her sculptural works that talk of the selected method given to this signifier of notional belonging, of an identifiable winner in the contest in life’s lottery for official approval. Here these faceless pedestrians remain indebted to these much-valued stamps, an act that seals their fate and proffers a certain clemency, an escape from hunger and unemployment, one more hurdle overcome in a life which constructs always one more hurdle. These sculptures, <em>Synonyms </em>and <em>Colour Curtain (between shores and the seas)</em> are partly summations of their partaking in the arduous process of bureaucracy and of access or denial beyond the border. Often these stamps are themselves the very force that restricts access.\r\n\r\nHer portrayal of the barriers and of cross-border travelers is an ode to the scatterlogical effects of labor in the way globalisation has effectively used Asia and Asians. If there was a primal axis of globalisation, it was in the way that people became an asset, moved around or kept in place by these acts of decree. Driven by their need to survive beyond the daily rations of imploded Asian densities and realities, the fantasy of globalisation provided the impulse, the strength and, in some cases, the eventual possibility to forsake the meager economic standards of their homeland. The possibilities of a grander vision of hub capitals and shopping cities, emerging out of deserts and global nightmares, created an insatiable, tameless ambition amongst the subalterns, responding to the swift and loud calling for their bodies.\r\n\r\nIt was in this uncontrollable moment of labor as goods, trickling slowly but surely from Asia, and especially South East Asia, to quivering impetuous states by the Arabian Seas that a dark turn in the world’s economic fortunes started to make itself felt.\r\n\r\nCentral to the sculptural works, particularly the large-scale portraits, <em>Synonyms</em>, assembled from the type of rubber stamps commonly used in offices is a jigsaw of the rejected or disappeared, magically re-appearing like a forlorn apparition. Their benign gaze is made manifest in an aura of a contemporary recording that charts the demise of the right to entry or existence.  Never before has the sense of the globally contrite been so finely explored.\r\n\r\nA fierce desperation, of loss and the lost is further developed in the accompanying works on paper, <em>Your Mileage May Vary</em>; here aspirations and expectations, displacement and un-belonging are found within a maze of restrictions and controls. It is a truism that all opposites attract and repel, like black and white and these spills and the topographically drawn co-exist on one plane. In this way <em>Colour Curtain (between shores and the seas) </em>is physically formed by linking differing information within one site; that of a set of rubberstamps carrying the names of individuals who have been denied visas to various countries on the basis of their class, culture, nation, religion, politics or other such notions of personal identity in combination with colors derived from various national flags.\r\n\r\n<em>Your Mileage May Vary</em> takes a similar re-routing of details of individuals’ names and combines them with maps and mazes to suggest lost journeys and unending departures or arrivals. Kallat states “Even as cultures blend with a greater movement of people and information than any moment in human history, borders have become more controlled and monitored than ever before”.4 The contemporary border has ceased to be mere crossings but more a space in which the contraband and the pirated in terms of goods, people and modern slavery is enforced and exchanged. <em>Your Mileage May Vary</em> starts to suggest such a sinister domain, a new place full of sorcerers and gangsters and pirates who make things disappear and where children, women, drugs, organs and arms remain un-rendered, undocumented. This maze of officialdom creates a seemingly haunted place, redolent with both mystery and misery. These occluded spaces remain indicative of a crisis in constant appropriation and the mist of realities that paralyses normality. Borders are no longer guarded domains but contested environments and we have to ask what is their purpose and whom do they really serve? They are, after all, grounds in which to plunder, rape and dehumanize our already demoralized world, in this existential crisis. Kallat asks here not who we are but what we have become.\r\n\r\n<strong>The sartorial rage</strong><strong> </strong>\r\n\r\nSara Rahbar’s <em>Those expectations for sunshine</em> is a series of tightly arranged material, which is highly suggestive in its mixed provenance, making the audience react instantly to its redolent references of today’s regrets and future’s fears.\r\n\r\nThe title, <em>Those expectations for sunshine, </em>already proposes such a prospect but it is in the correlation and co-relatedness of the prints and their signifiers that one starts to unravel the meaning of what is implied. An old Afghan coat reveals its inner lining to be sewn from an American flag and a set of the Islamic Republic of Iran’s flag droops in a post-coital fashion from a set of old wooden pulleys. This set of flags and garments are foundational sources, which have, over a period of time, come to represent specific and contrary historical accounts. In viewing them together, a unique set of values springs forth in an assembly of suspiring images. Symbolically, the American flag has now come to represent a spectrum of beliefs, of divergent statuses; some see it a symbol of evil and others see it as a force of civility, whilst the flag of Iran has recently been more internationally recognized for its emerging discourse around its own second revolution. Within these two diametrically spirited symbols, the Afghan coat, once a symbol of the relaxed urbanity of the sixties, starts to veer away from its popular but faded hippiedom and begins to mourn the sustained campaign of war and its driving force, opium.  Rahbar delineates the space for consideration by stimulating us, nudging us to think in terms of combinative suggestions- specifically as to what do these three countries mean to us now?\r\n\r\nRahbar is an adept inventor, often astutely combining factors so as to give unusual capital to an image, a brief of complicit arrangements, wherein chaste meanings are combined and a sort of visual combustion, that often challenges assumptions, allows a discursive release. <em>Those expectations for sunshine</em> speaks to its audience through the use of everyday objects and, in drawing them into close proximity, the lack of rationale in the overriding globally recognised geographies of values is exposed.\r\n\r\nShe offers an exploration of the dilemma about where freedom is now represented in the world and which places do we consider to form our diametric opposite  - the axis of our evils. We are left to see and feel the taste of our politics and our hypocrisy in an arrangement of stains and symbols.\r\n\r\nThe photographic series<em>, Love arrived and how red</em>, focuses on an unfulfilled, maybe even failed, human condition of stricken love which she astutely weaves to create a metaphoric reading of the deplorable state of both the nation-state and society.  She employs her band of symbols including the flag, the uniform and the proxy dressing of formalizing liaisons- a wedding dress. A complicated set of Hogarthian images emerges, filled with pain and details of distance, of one season and another treason, of traps and of shame as the series evolves into a culmination of probable death, suicide or matricide - an immense underworld of distorted emotions and a calculated soaring of the out of control.\r\n\r\n<em>Love arrived and how red</em> interrogates the common institutionalized methods of organizing life and ambition within a heterosexual (therefore normative) praxis, resulting in a lethal set of symbolic and emotional encounters. The premise explodes in the midst of the very act of coming together, of an imagined set of possibilities which combust to proclaim the impossibility of happiness or of bilateral belonging. The images suggest that all enstrangements and differences slowly crumble under their own imperfections and predict their own eventual undoing, revealing only opposites that fight and flee.\r\n\r\nThe failure that these images argue is inherent in all socially approved relationships and the weakness apparent in all political acts including diplomacy, is here made evident. The male and female couple, dressed as bride and groom in a set of tribal and nationalistic outfits, make explicit the ‘war’ of the last thirty years of the two countries represented, delineating a contrary Iran, its face turned deliberately away from the USA.\r\n\r\nRahbar is passionate in her choice of textures and fabrics, as is evident in her lengthy conversations with thirty odd assemblages known as the <em>Flag</em> series. The authority gained, both from the process of making and from drawing from research to understand the meanings and qualities of a constructed world of textiles and embroideries, finds itself in her photographic series <em>Love arrived and how red </em>and, in a more subdued manner, in the recent <em>You have come late, and I have lost my chastity.</em><strong> </strong>\r\n\r\nNuances, pertaining to gender, power and animalism, are subtly used to allow a fine-tuning between the protagonists, leaving a sour taste around notions of nationalisms, imbued and directed within and without the frame. Both series of works are not meant to be discrete discussions on gender relationships but rather to use symbolism and a sense of movement that collapses the space in between to reveal a caustic narrative.\r\n\r\nThe dramatic lighting, the costumes and the theatricality, including the army paraphernalia and the flags in <em>Love arrived and how red</em>, the gangsters’ suit and the dark tights in <em>You have come late, and I have lost my chastity</em> have obvious connotations for any spectator, tracing and binding our sense of a vocabulary drawn from the anthropological to the cinematic. Both series remain unapologetic in using the ambition and structure drawn from the cinematic and this usage allows the work to construct many paradoxical relationships of a complexity that depends on our relation to the history of this genre.\r\n\r\n<em>You have come late, and I have lost my chastity</em> plays on our recognition of these images, from some sort of image bank that is derivative of dance forms and soap operas, where women are forced into submission by force and the act of aggression is based on notions of sexuality.  The notion of honor killings, domestic violence and crimes of passion come to mind, but the slow releasing violence in Lynchian slow motion provides a vantage position from which to understand the place of violence in our world. As Hannah Arendt explains “<a href=\"http://en.thinkexist.com/quotation/the_more_dubious_and_uncertain_an_instrument/328139.html\" target=\"_blank\">The more dubious and uncertain an instrument violence has become in international relations, the more it has gained in reputation and appeal in domestic affairs, specifically in the matter of revolution.</a>”5\r\n\r\n<em>Lets prepare today so that tomorrow we don’t stare at the cries of darkness.</em>\r\n\r\nMany are those who have recently been talking about patterns that have developed in the first part of this new millennium, particularly from the seminal events of its first decade, which now affect all of us so sharply. The notion of suicide, in terms of frequency and those who use it is as a weapon, seems to be one of the most excessive, costly and maybe, even unsustainable traits of the new millennium. Travel, borders and security are all recognizable issues of concern that protrude into every second of our postmodern realities.\r\n\r\nNo longer can we be certain of any route or place beyond the fact that the whole world and all its peoples are now burdened and on the verge of serious crisis, anytime and anywhere.  The constancy of threat and the doom and gloom in situ, has affected many artists’ practices and, like many others in the creative fields, they are trying to come to terms with this situation from within their own particular language, history and abilities to contextualize these hyperbolic times.\r\n\r\nTheir concern and the potency of the current state of exception, of a global apartheid and of internal strife, marks a defining shift from the discourses of wholehearted globalization, where subject or subjectivity were located by cross borders’ references. <em>Never Run Away </em>discusses an account of the ebbing dynamics of unrealized citizenship, not the recent here or there, but a constant without everywhere.\r\n\r\n<em>Never run away</em> is a curatorial premise based on those who no longer can run away.  It brings together an understanding of the place of not belonging, an exposed fracas, a non-consensual image of cruelty which binds and confers “an anotherness” within, that is starting to be examined forcefully by artists and writers who share a historical and cultural similarity.\r\n\r\nIn a world of multiple themes and anthologies, the chaos that these terms of loss, disappearance and holding back create, provides an omnivorous, sociological and artistic push for any enquiry. It is through its indexical qualities that it provides an enriched metaphoric ground for further private contestations.\r\n\r\nParticularly in this remarkable passage of history, of the credit crunch and hibernating institutions, of unilateral ‘just wars’ and some of the most uncertain global conditions, it is important to take stock of this “worlding” and this exhibition, <em>Never run away</em>, alongside other emerging forums that represent the post-market dialogue, provides an invaluable space in which to study the predicament of culture at a time of deflation and when the ebb is the condition acting as a stimulation in comprehending culture. As Simone de Beauvoir explains “I tore myself away from the safe comfort of certainties through my love for truth — and truth rewarded me.”6\r\n\r\n1. Pyaasa, lyrics from Jaane Kya Tune Kahi, Directed by Guru Dutt, 1957.\r\n\r\n2.  “A person rendered without agency by his or her social status”.\r\n\r\nRobert Young J. C., Postcolonialism: A Very Short Introduction. (New  York: Oxford  University Press), 2003.\r\n\r\n3. P.B.Shelley \'Ode to the West Wind\' English Poems. Ed. Edward Chauncey Baldwin. New York: American Book Company, 1908.\r\n\r\n4. Reena Kallat, unpublished e-mail Dec 2009.\r\n\r\n5. Hannah Arendt, <em>On Revolution</em>, New   York: Viking, 1963.\r\n\r\n6. Simone de Beauvoir <em>All Said and Done</em> p. 16, 1972.','','','inherit','open','open','','1513-revision-4','','','2010-07-10 10:56:42','2010-07-10 10:56:42','',1513,'http://www.biggventures.com/demo/artists/1527/uncat/1513-revision-4',0,'revision','',0),(1528,1,'2011-04-28 07:41:00','2011-04-28 07:41:00','<b style=\"color:#999999;\">ORCHARD OF HOME-GROWN SECRETS</b>\r\n<b>© Ranjit Hoskote</b>\r\n\r\nReena Saini’s art has come of age during an epoch in which Kalidasa’s Yaksha would be more likely to commit his missive of love and yearning to an e-mail server than a cloud; and Odysseus, were he alive today, would be more likely to spend the years of war and exile re-playing his recorded memories of Ithaca on the video than evoking the lost homeland in song. In other words, Saini’s art must content with a frame of experience that has to a great extent replaced poetry with technology, and passionate engagement likewise with a remote-control surrogacy.\r\n\r\nBut let us not fall into the error of supposing that art can be defeated by change; change is the only arena in which art can test its range, extend its resources, transform itself. The dominance of technology has summoned poets into a radical awareness of the word as disturbance; the torpid acceptance of surrogacy has provoked artists into an engagement with improvised gesture and mischievous, even shocking image: these are the styles we know as Conceptual Art.\r\n\r\nBut what are the lower-case conceptual options available to artists like Saini, who are not entirely comfortable with upper-case Conceptualism, with its sharply polemical stance and its insistence that the idea is the form? What are the formal choices exercised by an artist who still wishes to address the art-work as sensuous form, as a vehicle for mysterious and unsayable impulses rather than as an ideologically programmed device?\r\n\r\nLet me try and phrase this question in another way. What can an artist do in a situation where art no longer aspires to the condition of mythology - that heightened awareness of loss, separation, distance and quest which once formed the vital psychological centre of society? Is it possible for an artist to recover something of the grief, the melancholia, the exaltation germane to the mythological consciousness – without losing the ironic, playful finesse of the contemporary?\r\n\r\nThese are the dilemmas that Saini dramatises, with an accomplished sense of purpose, in her paintings and constructions. Knowing that it is no longer possible to enter the grand ruins of the temple of mythology, she assembles a mosaic of small myths instead. It is her project, after all, to find pictorial accommodation for memories that have no other home: for the great fish that was once the saviour of the world; for the column without beginning or end, that was the link between heaven and earth; for the houses of the heart that stood wide as the sky.\r\n\r\nSaini’s works are cast, then, in the form of a fascinating interplay between the archetype and the novelty. The flavours of present-day waking life are patterned, here, across the archaic structures of experience that manifest themselves in dream and hallucination. The effect is one of a fabulist’s magical continuity: the viewer enters a region where the spiral staircase is the path to the house of the gods and its column is the axis mundi, where the keyed-up mechanical toy is an impersonation of the self and Aladdin’s lamp is placed just out of reach of a hand that desires acquaintance with genies.\r\nAs with any post-mythological art, Saini’s underlying theme is that of belonging: the attempt to establish coherence between self and world. She does not pretend that the attempt is anything but difficult; her studio is replete with surreal images of the all-too-human conditions of fallibility, error, weakness, bewilderment. It is an intriguing array of hybrids that Saini offers us: the cloud floating above a dreamer stretched out on a park bench; the hand encased in a glove made from a map, its territorial ambitions belied by its evident delicacy; the Trojan horse that two children treat as a toy, oblivious to its capacity for treachery; the child in a conch-shell, as enigmatic as Vishnu, whom the sage sees as a cosmic infant in the Markandeya Purana. Here, we can tune in to the echoes of the cloud-bell, observe the opening of the sky-flower’s petals.\r\n\r\nThe binary of home and world, not unnaturally, occupies a central place in this schema. In a work like  ‘Escapades of the Ladder Occupants’, for instance, Saini turns inside and outside around, questioning the distinctions we make between interior and landscape, private and public. The questions that haunt this construction have haunted philosophy for centuries: Must the self revel in schizophrenia, investing its emotions in spheres artificially separated by tact and reason? Is a transparency of intention possible? Do acts and motives twine around each other like coupling serpents, or do they come apart like the halves of a broken ladder?\r\n\r\nAnother outcome of the post-mythological condition is the formal problem of containing the epic within the scope of the miniature. In ’Joint Family’, a construction cast in the form of a house, Saini employs the trope of a family tree – which grows over the walls - to pack in multiple histories, private and public, ancient and modern, local and global. This is a trail of clues rather than a rigorously detailed encyclopaedia: as we scan the leaves, we pick up a train, a light-bulb, the a Buddha, the diagram of the yogic body with its splendid chakras, Leonardo’s ideal man measuring himself against the cosmos. We scan the leaves again, as though they held the oracular answer to a riddle: we see a diver, or is he parachutist, or a tourist with his backpack?\r\n\r\nHere are energies of various kinds, and enlightenments: the Bodhisattva in the forest, Edison in his laboratory, the diver reaching for the pearl. This quasi-allegorical narrative is as ‘global’ or ‘national’ in its mood as it is personal, even autobiographical. In gently mocking the project of a universal history even in the act of tracing its outlines, Saini successfully draws our attention to the ongoing crisis of internationalism. We are plagued by the knowledge that the alien and the intimate are not always opposites: the foreign is often closer to us than the native, the native is often more distant than the foreign.\r\n\r\nSaini’s use of the painting or construction as an envelope for diverse elements  - elements which she has not yet configured into coherent relationships - was first rehearsed two years ago, in tentative works like ‘Home, a Showcase for Culture’. There, she was preoccupied with the rituals of possession, consumption and acquisition by which the affluent convince themselves of their success: the self is invested, finally and literally, in the sum total of the objects of its desire.\r\n\r\nThrough these works, there continues the quest for an identity: a self-definition that Saini prefers to approach obliquely rather than with frontal bravado. In the sequence of photographs, digitally printed on clear film and assembled as ‘Recital from the City Garden’, the artist presents us with the images of events performed like little rites. We trace the fate of a choir of wax dolls, each holding a paper house or boat, that is burnt. It is a model of sati that we witness (morally and politically treacherous as the analogy is, it is appropriate) in which the artefact survives the loss of presence. Like a song that has outlived the throat which first sang it, the sequence of photographs becomes a memorial to the precise, calculated violence that has become an endemic feature of our polity.\r\n\r\nBut Saini does not simply plunge us into despair; she also offers us metaphors of hope and emancipation. There is the fish in ‘Reservoir’, its splotchy acrylic surface flagged with little pictures of taxis and mapped over as though by latitude and longitude. And juxtaposed with this painting, the fibreglass sculpture of a fish: an icon that is also an entertaining diversion, with a peephole cut into it, through which we see the inset of a smaller fish. The comedy of the toy is a lyric release, an affirmation that we can always find needles to puncture the monumental figures who overwhelm our minds.\r\n\r\nAnd there is that quintessential image of risk: the pyramidal palace of cards, a suite of cards layered over with cement primer and sprinkled with cement, bearing the motifs of clasped hands and cloud-creepers, bowls of sweets and spiral shells. Does life remain in suspense awaiting the draw, and does a fateful augury lie hidden in these innocuous pictures? Are these solemn rituals or are they spirited games? Reena Saini seems to suggest that they can be both at once: for are not our lives a lila shaped by the play of paradoxical forces, of agency and structure, of necessity and chance? She has invited us into her orchard of home-grown secrets; we must now do her the courtesy of cultivating a taste for its fruits.\r\n\r\n<b>Summer 1998</b>','','','inherit','open','open','','1477-autosave','','','2011-04-28 07:41:00','2011-04-28 07:41:00','',1477,'http://www.biggventures.com/demo/artists/1528/uncat/1477-autosave',0,'revision','',0),(1529,1,'2010-07-09 16:18:26','2010-07-09 16:18:26','<h4><span style=\"color: #999999;\">THE KHOJ BOOK</span></h4>\r\n<h4>Interview with Shilpa Gupta</h4>\r\n<strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In <em>Penumbra Passage (Canine Cases)</em>, from 2007,<em> </em>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in <em>Pulse 30</em>,<em> </em>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach? </strong>\r\n\r\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\r\n\r\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\r\n\r\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.\r\n\r\nBesides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.\r\n\r\n<em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.\r\n\r\n<strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong>\r\n\r\nAt any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.\r\n\r\n<strong>Has there been a clear evolution from one media/form to another or have you jumped about?</strong>\r\n\r\nI have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea.\r\n\r\n<strong>Where does your interest in storytelling come from? Do you have a favourite story?</strong>\r\n\r\nWe’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture.\r\n\r\nAmong the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.\r\n\r\n<strong>As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</strong>\r\n\r\nArt has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.\r\n\r\nJust as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts.\r\n\r\n<strong>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify? </strong>\r\n\r\nThey have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around<strong> </strong>the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.\r\n\r\nIn a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.\r\n\r\nIn <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky.\r\n\r\n<strong>Why do you use POK (Pakistan Occupied Kashmir) as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</strong>\r\n\r\nMy father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history.\r\n\r\nPakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed territory in a cold, unsettling stainless steel cradle. It’s in limbo, as are its people, rocked back and forth by political agendas and myopic policies.\r\n\r\n<strong>As well as participating in the Khoj workshop in Mysore you helped organise Khoj Mumbai in 2005. What were those experiences like?</strong>\r\n\r\nI think Khoj played a vital role in the late 1990s and early 2000s when there weren’t many opportunities for artists to travel and work alongside others from different parts of the world. And although there are many more openings now, I continue to value that experience of sharing an experimental studio/laboratory with others. It encourages the extension of art practice into the public sphere. Khoj’s decision to constantly bring in new hands and fresh energy is particularly important: it helps revise and renew the model year after year.','','','inherit','open','open','','1506-revision-5','','','2010-07-09 16:18:26','2010-07-09 16:18:26','',1506,'http://www.biggventures.com/demo/artists/1529/uncat/1506-revision-5',0,'revision','',0),(1530,1,'2010-07-10 11:00:39','2010-07-10 11:00:39','<b style=\"color: #999999;\">THE KHOJ BOOK</b>\r\n<h4>Interview with Shilpa Gupta</h4>\r\n<strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In <em>Penumbra Passage (Canine Cases)</em>, from 2007,<em> </em>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in <em>Pulse 30</em>,<em> </em>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach? </strong>\r\n\r\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\r\n\r\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\r\n\r\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of idhe mind. Why do you employ this approach? </strong>\r\n\r\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\r\n\r\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\r\n\r\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.\r\n\r\nBesides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.\r\n\r\n<em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.\r\n\r\n<strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong>\r\n\r\nAt any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.\r\n\r\n<strong>Has there been a clear evolution from one media/form to another or have you jumped about?</strong>\r\n\r\nI have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea.\r\n\r\n<strong>Where does your interest in storytelling come from? Do you have a favourite story?</strong>\r\n\r\nWe’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture.\r\n\r\nAmong the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.\r\n\r\n<strong>As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</strong>\r\n\r\nArt has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.\r\n\r\nJust as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts.\r\n\r\n<strong>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify? </strong>\r\n\r\nThey have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around<strong> </strong>the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.\r\n\r\nIn a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.\r\n\r\nIn <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky.\r\n\r\n<strong>Why do you use POK (Pakistan Occupied Kashmir) as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</strong>\r\n\r\nMy father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history.\r\n\r\nPakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed terri','','','inherit','open','open','','1506-revision-6','','','2010-07-10 11:00:39','2010-07-10 11:00:39','',1506,'http://www.biggventures.com/demo/artists/1530/uncat/1506-revision-6',0,'revision','',0),(1531,1,'2010-07-10 11:01:07','2010-07-10 11:01:07','<b style=\"color: #999999;\">THE KHOJ BOOK</b>\r\n<b>Interview with Shilpa Gupta</b>\r\n<strong>In your works, forms are overlapped but often painted on different planes that maintain an unsettling distance between them. In <em>Penumbra Passage (Canine Cases)</em>, from 2007,<em> </em>for example, the figure blankly looks at the viewer unaware of the stain near its mouth; or in <em>Pulse 30</em>,<em> </em>from 2002, two-dimensional figures from mythology rendered in great detail lie on top of a tactile three-dimensional piece of bread. This way of painting affects the way meaning gets formed, not instantaneously visually but in the mind. Why do you employ this approach? </strong>\r\n\r\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\r\n\r\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\r\n\r\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of idhe mind. Why do you employ this approach? </strong>\r\n\r\nYes, the tentativeness of meaning created by certain juxtapositions can be quite discomforting. The relationship between images is kept provisional. I often employ this approach when I’m trying to make a connection between people or objects and yet it is not meant to be conclusive. For instance, <em>Penumbra Passage (Canine Cases)</em> comprises of a series of portraits of ordinary people/civilians from India and Pakistan, with their faces blemished by the silhouette of the disputed territory often referred to as POK (Pakistan Occupied Kashmir). The portraits are put in grand frames like those of royal descendants, while the map of the land that remains at the core of the dispute between the two neighbouring countries casts a shadow over these, haunting us with tales from the region.\r\n\r\n<strong>When a lot of art is becoming instantaneous, you continue to use the structure of narrative, where elements of mythology are woven with factual data, so that the viewer decodes a work over time. Mythology, especially, has been a reference point for several artists in India. I was wondering what you think about using it at a time when people are increasingly unaware of the meanings it contains?</strong>\r\n\r\nI use Indian mythology because I find it extremely interesting and an incredibly rich source of ideas and images. Artworks always carry the potential of being misread and misunderstood, given that they get exhibited in different venues across the world. That doesn’t discourage me, although I increasingly want to back my work up with information that assists an understanding of the context in which it was produced.\r\n\r\nBesides mythology, I often like to take off from a familiar object or story that comes with its own set of associations and then, by the slightest alteration, inject fresh meaning. My sculptures <em>Memoria Corona</em> and <em>Memoria Mausolea</em> are examples where a pre-existing object becomes a starting point for the work. <em>Memoria Corona</em> was modelled on Elizabeth II’s crown in which rests the precious Kohinoor diamond that India lost to the British Empire. I inscribed the names of Indian freedom fighters on the surface of this symbol of authority and power because I wanted the crown to bear the weight of other precious treasures, the human lives that were also lost to the British Empire.\r\n\r\n<em>Memoria Mausolea</em> was modelled on Bombay’s Gateway of India, which was built to commemorate the visit of King George V and Queen Mary to India in 1911. Although it was built as a gateway ‘to’ India, the last convoy of British troops, the Somerset Light Infantry, ‘exited’ the country through it in 1948. By enveloping it with perished colonial names of streets in Mumbai, which have now been replaced with indigenous names, I wanted this monument to be playfully remembered for the end of the British Empire.\r\n\r\n<strong>Can you tell us a little bit about your working process? How do your ideas develop and do you generally work in long series?</strong>\r\n\r\nAt any given point there will be a bunch of ideas I’m toying with at different stages of completion. A certain amount of groundwork is often needed before things can take on a more definitive form. It’s then that decisions about media come into play. In a more recent series of portraits titled <em>Synonym</em>, for example, I’ve employed rubber stamps, which are normally used for official purposes. Since the portraits carry names out of official police records of those who’ve gone missing, I decided to bring them to the surface of the work. Depending on how far an idea needs to travel to reach its optimum effectiveness, a work may or may not grow into a series.\r\n\r\n<strong>Has there been a clear evolution from one media/form to another or have you jumped about?</strong>\r\n\r\nI have always worked between media, from my early days at Sir JJ School of Art in 1993 onwards. My debut solo exhibition in 1998, for instance, held simultaneously at Gallery Chemould and Pundole Art Gallery in Mumbai, comprised both paintings and sculptural installations, including the house of cards series <em>Orchard of Home-grown Secrets</em>, the photographic translites <em>Escapades of the Ladder Occupants</em> and a walk-in installation called <em>Joint Family</em>. Content takes precedence over form or medium for me: I like working with whatever medium best carries out the idea.\r\n\r\n<strong>Where does your interest in storytelling come from? Do you have a favourite story?</strong>\r\n\r\nWe’ve all grown up listening to stories, reading comics and watching epics on television. However, it wasn’t until after I finished college in 1996 that my interest in the narrative school of painting evolved. I took a diploma in Indian aesthetics at Rachana Sansad, affiliated to Bombay University that gave me a more holistic perspective on Indian culture.\r\n\r\nAmong the stories that have captivated me is one from the Hindu <em>Puranas</em> called the <em>Samudra Manthan</em>. <em>Samudra</em>,<em> </em>as we know, means ‘the ocean’ and <em>manthan</em> means ‘to churn’. In this particular episode, the gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that can empower them again. They cast a number of herbs into the ocean and the churning produces several objects and beings that are served as symbolic offerings to please the demi-gods. Some truly fantastical forms emerge, such as the <em>Kamadhenu</em> or the wish-granting cow. This became a generative point of departure for a sculptural installation titled <em>Saline</em>, a piece made up of 150 parts.\r\n\r\n<strong>As artists we primarily operate in galleries, yet only a miniscule section of our society visits them. With such low visibility what do you think is the role and function of art?</strong>\r\n\r\nArt has always played several roles in society, including recording change and raising awareness on issues. Besides tickling the spirit, it can comment, critique and challenge existing ideas by generating dialogue. This can happen both inside and outside the gallery. While some works are best suited to being viewed within the clean white space of the gallery, other art interfaces, perhaps even on the street, promote more participation from a wider audience, which democratises access. However, the circulation of images through books and catalogues is a powerful means for certain works of art to reach beyond their immediate use value as exhibits.\r\n\r\nJust as I would not undermine the effectiveness and impact of a short performance, I would not be demoralised or discouraged about the legitimacy and role of art just because limited numbers of people frequent galleries. Not only are the numbers growing, but also the works themselves have gained larger mobility by being showcased in multiple venues across the globe. It remains true though that there is a dearth of platforms for public intervention, especially in India where there is no state support for the arts.\r\n\r\n<strong>Braids of leaves have been a constant recurrence in your work, be they in painting, floor installations or interactive performances. What do they signify? </strong>\r\n\r\nThey have served varied purposes in different works. They first made an appearance in a sculpture from 1998 titled <em>Joint Family</em>, where the leaves wrap around<strong> </strong>the surface of houses made of packaging material that are inserted one into the other. Like an overgrown family tree, they hold up images offering clues that might uncover family secrets.\r\n\r\nIn a triptych called <em>Braiding the Line</em>,<em> </em>made in 2002, I posit the last incarnation of Vishnu as Kalki, in the form of a fisherman. His net, woven with leaves, is unfurled to reveal the colours of the Indian national flag or what might be seen as the colours of the changing seasons. Motifs from aquatic, bird, animal and human life are interwoven with the leaves, offered as samples that could be carried on to the next era after the end of the world. The leaves are often a visual apparatus for inserting or depositing other images.\r\n\r\nIn <em>Birds of Steel </em>made in 2006,<em> </em>the romantic idea of the skies as being boundless is marred by the threatening image of several airplanes that leave behind a sinister trail of black twines. <em>Birds of Steel </em>works by juxtaposing motifs of border disputes and invasions against the liberating image of the open sky.\r\n\r\n<strong>Why do you use POK (Pakistan Occupied Kashmir) as a symbol in several works? Do you have personal connections to the region or do you relate to it for broader political/humanitarian reasons?</strong>\r\n\r\nMy father was born in Lahore and moved to Punjab before Partition, and, as a young girl, I grew up listening to stories about his ancestral home. However, this hasn’t had a direct bearing on my practice. More important, I suspect, was my exposure to art with a strong social conscience, which was prevalent in the early 1990s when I was a student.<em> </em>I think an artist’s work can be independent of his or her personal history.\r\n\r\nPakistan Occupied Kashmir has been the nucleus of conflict between India and Pakistan since 1947. Its territorial form begins to function as a symbol of this strained relationship between the two neighbours, as well as of human folly. In <em>Penumbra</em>, I showed the disputed terri','','','inherit','open','open','','1506-revision-7','','','2010-07-10 11:01:07','2010-07-10 11:01:07','',1506,'http://www.biggventures.com/demo/artists/1531/uncat/1506-revision-7',0,'revision','',0),(1532,1,'2010-07-10 10:57:20','2010-07-10 10:57:20','<strong><span style=\"color: #888888;\">NEVER RUN AWAY</span></strong>\r\n<b>Shaheen Merali</b>\r\n\r\n“Who knows what you said…?\r\n\r\nWho knows what I heard?\r\n\r\nSome thing stirred in my heart.”1\r\n\r\n………is an excerpt from the lyrics of a song featured in the seminal film, Pyaasa, written by the legendary actor and film director Guru Dutt. In these few words, a brief exchange occurs that encapsulates the premise of this exhibition - the desire to know and be touched by what is known and felt by someone else.\r\n\r\nThe two artists in this exhibition, Reena Kallat and Sara Rahbar, live on different continents, Asia and North America, or sometimes on the same one, namely Asia (India and Iran), from where their observations about the nature of power as it effects belonging informs their individual practices.\r\n\r\nTheir work speaks about concerns and caution, in a time when power re-infects those already weakened by how it has been nurtured in a post-global society, of absolutes that have made our world spiral into an existential meltdown with the gradual erosion of rights and mobility; - a set of conditions that is leading to an increment in the condition of subalternity. 2 This subaltern status that results from the rise of neo-liberalist cosmopolitanism and a hegemonic globalisation, has disturbed fragile states and complicates economic relationships along gender, tribal, ethnic and racial lines.\r\n\r\n<em>“If Winter comes, can Spring be far away?”</em> 3\r\n\r\nA feeling of intensity, with grimacing smiles, unites the look of the three portraits that are present in the exhibition. Fused with an uncontrollable shyness, these faces speak of subjugating accounts which have drained the meaning from their lives - a significance that alludes logic but produces a tragic effect for those who have succumbed to its finality. These three portraits speak of a terminus, of lives which seem to be tainted by a bitter sadness in a quivering space of the unaccepted……in a form of statelessness, a curbed life or a trampled future.\r\n\r\nThe work that Kallat has been producing can be seen as part of a growing realization in the picturing of the victims of post-global reality. The recent and sudden drop in status of many people from certain regions of India, Pakistan and Bangladesh, who were dependent on patterns of mass migration for their economic survival, has come to provide a vivid portrayal of the victims of the contemporary haste to build and the shadows remaining in the reversal of this trend. Like a rudderless raft by the wayside of international abandon, these courageous souls, who had trawled their way through multitudes of notary agents and officialdom to win over the processes of bureaucracy, are now abandoned in a no-mans land. Here, between economies and between national recessions, they exist virtually, on paper and by symbolic agreements that no longer can be afforded.\r\n\r\nKallat employs rubberstamps in her sculptural works that talk of the selected method given to this signifier of notional belonging, of an identifiable winner in the contest in life’s lottery for official approval. Here these faceless pedestrians remain indebted to these much-valued stamps, an act that seals their fate and proffers a certain clemency, an escape from hunger and unemployment, one more hurdle overcome in a life which constructs always one more hurdle. These sculptures, <em>Synonyms </em>and <em>Colour Curtain (between shores and the seas)</em> are partly summations of their partaking in the arduous process of bureaucracy and of access or denial beyond the border. Often these stamps are themselves the very force that restricts access.\r\n\r\nHer portrayal of the barriers and of cross-border travelers is an ode to the scatterlogical effects of labor in the way globalisation has effectively used Asia and Asians. If there was a primal axis of globalisation, it was in the way that people became an asset, moved around or kept in place by these acts of decree. Driven by their need to survive beyond the daily rations of imploded Asian densities and realities, the fantasy of globalisation provided the impulse, the strength and, in some cases, the eventual possibility to forsake the meager economic standards of their homeland. The possibilities of a grander vision of hub capitals and shopping cities, emerging out of deserts and global nightmares, created an insatiable, tameless ambition amongst the subalterns, responding to the swift and loud calling for their bodies.\r\n\r\nIt was in this uncontrollable moment of labor as goods, trickling slowly but surely from Asia, and especially South East Asia, to quivering impetuous states by the Arabian Seas that a dark turn in the world’s economic fortunes started to make itself felt.\r\n\r\nCentral to the sculptural works, particularly the large-scale portraits, <em>Synonyms</em>, assembled from the type of rubber stamps commonly used in offices is a jigsaw of the rejected or disappeared, magically re-appearing like a forlorn apparition. Their benign gaze is made manifest in an aura of a contemporary recording that charts the demise of the right to entry or existence.  Never before has the sense of the globally contrite been so finely explored.\r\n\r\nA fierce desperation, of loss and the lost is further developed in the accompanying works on paper, <em>Your Mileage May Vary</em>; here aspirations and expectations, displacement and un-belonging are found within a maze of restrictions and controls. It is a truism that all opposites attract and repel, like black and white and these spills and the topographically drawn co-exist on one plane. In this way <em>Colour Curtain (between shores and the seas) </em>is physically formed by linking differing information within one site; that of a set of rubberstamps carrying the names of individuals who have been denied visas to various countries on the basis of their class, culture, nation, religion, politics or other such notions of personal identity in combination with colors derived from various national flags.\r\n\r\n<em>Your Mileage May Vary</em> takes a similar re-routing of details of individuals’ names and combines them with maps and mazes to suggest lost journeys and unending departures or arrivals. Kallat states “Even as cultures blend with a greater movement of people and information than any moment in human history, borders have become more controlled and monitored than ever before”.4 The contemporary border has ceased to be mere crossings but more a space in which the contraband and the pirated in terms of goods, people and modern slavery is enforced and exchanged. <em>Your Mileage May Vary</em> starts to suggest such a sinister domain, a new place full of sorcerers and gangsters and pirates who make things disappear and where children, women, drugs, organs and arms remain un-rendered, undocumented. This maze of officialdom creates a seemingly haunted place, redolent with both mystery and misery. These occluded spaces remain indicative of a crisis in constant appropriation and the mist of realities that paralyses normality. Borders are no longer guarded domains but contested environments and we have to ask what is their purpose and whom do they really serve? They are, after all, grounds in which to plunder, rape and dehumanize our already demoralized world, in this existential crisis. Kallat asks here not who we are but what we have become.\r\n\r\n<strong>The sartorial rage</strong><strong> </strong>\r\n\r\nSara Rahbar’s <em>Those expectations for sunshine</em> is a series of tightly arranged material, which is highly suggestive in its mixed provenance, making the audience react instantly to its redolent references of today’s regrets and future’s fears.\r\n\r\nThe title, <em>Those expectations for sunshine, </em>already proposes such a prospect but it is in the correlation and co-relatedness of the prints and their signifiers that one starts to unravel the meaning of what is implied. An old Afghan coat reveals its inner lining to be sewn from an American flag and a set of the Islamic Republic of Iran’s flag droops in a post-coital fashion from a set of old wooden pulleys. This set of flags and garments are foundational sources, which have, over a period of time, come to represent specific and contrary historical accounts. In viewing them together, a unique set of values springs forth in an assembly of suspiring images. Symbolically, the American flag has now come to represent a spectrum of beliefs, of divergent statuses; some see it a symbol of evil and others see it as a force of civility, whilst the flag of Iran has recently been more internationally recognized for its emerging discourse around its own second revolution. Within these two diametrically spirited symbols, the Afghan coat, once a symbol of the relaxed urbanity of the sixties, starts to veer away from its popular but faded hippiedom and begins to mourn the sustained campaign of war and its driving force, opium.  Rahbar delineates the space for consideration by stimulating us, nudging us to think in terms of combinative suggestions- specifically as to what do these three countries mean to us now?\r\n\r\nRahbar is an adept inventor, often astutely combining factors so as to give unusual capital to an image, a brief of complicit arrangements, wherein chaste meanings are combined and a sort of visual combustion, that often challenges assumptions, allows a discursive release. <em>Those expectations for sunshine</em> speaks to its audience through the use of everyday objects and, in drawing them into close proximity, the lack of rationale in the overriding globally recognised geographies of values is exposed.\r\n\r\nShe offers an exploration of the dilemma about where freedom is now represented in the world and which places do we consider to form our diametric opposite  - the axis of our evils. We are left to see and feel the taste of our politics and our hypocrisy in an arrangement of stains and symbols.\r\n\r\nThe photographic series<em>, Love arrived and how red</em>, focuses on an unfulfilled, maybe even failed, human condition of stricken love which she astutely weaves to create a metaphoric reading of the deplorable state of both the nation-state and society.  She employs her band of symbols including the flag, the uniform and the proxy dressing of formalizing liaisons- a wedding dress. A complicated set of Hogarthian images emerges, filled with pain and details of distance, of one season and another treason, of traps and of shame as the series evolves into a culmination of probable death, suicide or matricide - an immense underworld of distorted emotions and a calculated soaring of the out of control.\r\n\r\n<em>Love arrived and how red</em> interrogates the common institutionalized methods of organizing life and ambition within a heterosexual (therefore normative) praxis, resulting in a lethal set of symbolic and emotional encounters. The premise explodes in the midst of the very act of coming together, of an imagined set of possibilities which combust to proclaim the impossibility of happiness or of bilateral belonging. The images suggest that all enstrangements and differences slowly crumble under their own imperfections and predict their own eventual undoing, revealing only opposites that fight and flee.\r\n\r\nThe failure that these images argue is inherent in all socially approved relationships and the weakness apparent in all political acts including diplomacy, is here made evident. The male and female couple, dressed as bride and groom in a set of tribal and nationalistic outfits, make explicit the ‘war’ of the last thirty years of the two countries represented, delineating a contrary Iran, its face turned deliberately away from the USA.\r\n\r\nRahbar is passionate in her choice of textures and fabrics, as is evident in her lengthy conversations with thirty odd assemblages known as the <em>Flag</em> series. The authority gained, both from the process of making and from drawing from research to understand the meanings and qualities of a constructed world of textiles and embroideries, finds itself in her photographic series <em>Love arrived and how red </em>and, in a more subdued manner, in the recent <em>You have come late, and I have lost my chastity.</em><strong> </strong>\r\n\r\nNuances, pertaining to gender, power and animalism, are subtly used to allow a fine-tuning between the protagonists, leaving a sour taste around notions of nationalisms, imbued and directed within and without the frame. Both series of works are not meant to be discrete discussions on gender relationships but rather to use symbolism and a sense of movement that collapses the space in between to reveal a caustic narrative.\r\n\r\nThe dramatic lighting, the costumes and the theatricality, including the army paraphernalia and the flags in <em>Love arrived and how red</em>, the gangsters’ suit and the dark tights in <em>You have come late, and I have lost my chastity</em> have obvious connotations for any spectator, tracing and binding our sense of a vocabulary drawn from the anthropological to the cinematic. Both series remain unapologetic in using the ambition and structure drawn from the cinematic and this usage allows the work to construct many paradoxical relationships of a complexity that depends on our relation to the history of this genre.\r\n\r\n<em>You have come late, and I have lost my chastity</em> plays on our recognition of these images, from some sort of image bank that is derivative of dance forms and soap operas, where women are forced into submission by force and the act of aggression is based on notions of sexuality.  The notion of honor killings, domestic violence and crimes of passion come to mind, but the slow releasing violence in Lynchian slow motion provides a vantage position from which to understand the place of violence in our world. As Hannah Arendt explains “<a href=\"http://en.thinkexist.com/quotation/the_more_dubious_and_uncertain_an_instrument/328139.html\" target=\"_blank\">The more dubious and uncertain an instrument violence has become in international relations, the more it has gained in reputation and appeal in domestic affairs, specifically in the matter of revolution.</a>”5\r\n\r\n<em>Lets prepare today so that tomorrow we don’t stare at the cries of darkness.</em>\r\n\r\nMany are those who have recently been talking about patterns that have developed in the first part of this new millennium, particularly from the seminal events of its first decade, which now affect all of us so sharply. The notion of suicide, in terms of frequency and those who use it is as a weapon, seems to be one of the most excessive, costly and maybe, even unsustainable traits of the new millennium. Travel, borders and security are all recognizable issues of concern that protrude into every second of our postmodern realities.\r\n\r\nNo longer can we be certain of any route or place beyond the fact that the whole world and all its peoples are now burdened and on the verge of serious crisis, anytime and anywhere.  The constancy of threat and the doom and gloom in situ, has affected many artists’ practices and, like many others in the creative fields, they are trying to come to terms with this situation from within their own particular language, history and abilities to contextualize these hyperbolic times.\r\n\r\nTheir concern and the potency of the current state of exception, of a global apartheid and of internal strife, marks a defining shift from the discourses of wholehearted globalization, where subject or subjectivity were located by cross borders’ references. <em>Never Run Away </em>discusses an account of the ebbing dynamics of unrealized citizenship, not the recent here or there, but a constant without everywhere.\r\n\r\n<em>Never run away</em> is a curatorial premise based on those who no longer can run away.  It brings together an understanding of the place of not belonging, an exposed fracas, a non-consensual image of cruelty which binds and confers “an anotherness” within, that is starting to be examined forcefully by artists and writers who share a historical and cultural similarity.\r\n\r\nIn a world of multiple themes and anthologies, the chaos that these terms of loss, disappearance and holding back create, provides an omnivorous, sociological and artistic push for any enquiry. It is through its indexical qualities that it provides an enriched metaphoric ground for further private contestations.\r\n\r\nParticularly in this remarkable passage of history, of the credit crunch and hibernating institutions, of unilateral ‘just wars’ and some of the most uncertain global conditions, it is important to take stock of this “worlding” and this exhibition, <em>Never run away</em>, alongside other emerging forums that represent the post-market dialogue, provides an invaluable space in which to study the predicament of culture at a time of deflation and when the ebb is the condition acting as a stimulation in comprehending culture. As Simone de Beauvoir explains “I tore myself away from the safe comfort of certainties through my love for truth — and truth rewarded me.”6\r\n\r\n1. Pyaasa, lyrics from Jaane Kya Tune Kahi, Directed by Guru Dutt, 1957.\r\n\r\n2.  “A person rendered without agency by his or her social status”.\r\n\r\nRobert Young J. C., Postcolonialism: A Very Short Introduction. (New  York: Oxford  University Press), 2003.\r\n\r\n3. P.B.Shelley \'Ode to the West Wind\' English Poems. Ed. Edward Chauncey Baldwin. New York: American Book Company, 1908.\r\n\r\n4. Reena Kallat, unpublished e-mail Dec 2009.\r\n\r\n5. Hannah Arendt, <em>On Revolution</em>, New   York: Viking, 1963.\r\n\r\n6. Simone de Beauvoir <em>All Said and Done</em> p. 16, 1972.','','','inherit','open','open','','1513-revision-5','','','2010-07-10 10:57:20','2010-07-10 10:57:20','',1513,'http://www.biggventures.com/demo/artists/1532/uncat/1513-revision-5',0,'revision','',0),(1533,1,'2010-07-09 16:36:32','2010-07-09 16:36:32','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" width=\"21%\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left: 5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali\r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road\r\nISBN: 978-81-908879-1-5 </span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/reena-kallat\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/rainbow-of-refuse\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/black-flute\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/battlefield-of-mind\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Skin, </span>2000<span>\r\nInterview with Jitish Kallat\r\nPublisher: Gallery Chemould and Vis-à-vis Art Inc. Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/skin\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote\r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/orchard-pub\">read essay</a></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n<td><!-- Start of Other Publications --><span class=\"pubstrong\">Never Run Away, </span>2010<span>\r\nText: Shaheen Merali\r\nPublisher: Stux Gallery</span>\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/never-run-away\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery\r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/khoj-book\">read essay</a></span>\r\n\r\n<span class=\"pubstrong\">Viewpoints &amp; viewings points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai\r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki,\r\nMiho Tagomori\r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum\r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman\r\nGopinath, Jayaram, Deepak Ananth\r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur,\r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>)2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller,\r\nBregje van Eekelen\r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center\r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern &amp; Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart &amp; The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation &amp; Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n\r\n\r\n<span class=\"pubstrong\" style=\"color: #000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\">In a State of Perennial Siege</span><span>\r\nNancy Adajania, The Hindu, Hyderabad, 29th October 2006</span>\r\n\r\n<span class=\"pubstrong\">Her Crowning Achievement</span><span>\r\nClara Chow, The Straits Times, 18th November 2006</span>\r\n\r\n<span class=\"pubstrong\">Political Chaos</span><span>\r\nDeepali Nandwani, Beautiful people, pg 143, November-December 2006</span>\r\n\r\n<span class=\"pubstrong\">Weapons of Mass Construction</span><span>\r\nRituparna Som, DNA after Hrs, Mumbai, 9th October, 2006</span>\r\n\r\n<span class=\"pubstrong\">Guns and Roses</span><span>\r\nRachna Nakra, The Indian Express, Mumbai Newsline, 18th September 2006</span>\r\n\r\n<span class=\"pubstrong\">Under Attack</span><span>\r\nGitanjali Dang, HT Mumbai, 22nd September 2006</span>\r\n\r\n<span class=\"pubstrong\">Time Traveller</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 27th June 2006</span>\r\n\r\n<span class=\"pubstrong\">The Flower and the Sword</span><span>\r\nGirish Shahane, The Art News magazine of India, pg 93, volume X issue I, 2004</span>\r\n\r\n<span class=\"pubstrong\">India’s top 100 achievers</span><span>\r\nSociety Magazine, pg 137, December 2004</span>\r\n\r\n<span class=\"pubstrong\">Caught Between Demons</span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\">Of Faith and Hunger</span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: roti, makaan &amp; abstract art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect &amp; Builder, pgs 102-104, October 1998</span></td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-150','','','2010-07-09 16:36:32','2010-07-09 16:36:32','',87,'http://www.biggventures.com/demo/artists/1533/uncat/87-revision-150',0,'revision','',0),(1535,1,'2010-07-11 05:51:05','2010-07-11 05:51:05','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&view=past\">Drift, Primo Marella Gallery, Milan</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\"> Silt of Seasons, Chemould   Prescott Road, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><em>In Transition: New Art from India</em>, Richmond Art Gallery\r\nVancouver Biennale, Vancouver\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\nGallery, St. Louis, Missouri\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York\r\n\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n</td></tr><tr><td valign=\"top\">2010 </td><td><em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\nPaulo, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>View Points and Viewing points - </td></tr><tr><td valign=\"top\">2009 </td><td>Asian Art Biennale</em>, National Taiwan Museum of Fine Arts \r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\nWolverhampton, UK\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009     </td><td><em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\nKorea and Essl Museum, Vienna\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>INDIA XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\nShanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2009                   </td><td><em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2008     </td><td><em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\nMuseum, Valencia, Spain </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\nBicocca , Milan </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>INDIA NOW: Contemporary Indian Art, Between Continuity and transformation</em>,curated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\nGeorgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\nArt, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\nGallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\nHenie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n</td></tr><tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\nLiverpool, Australia\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-41','','','2010-07-11 05:51:05','2010-07-11 05:51:05','',105,'http://www.biggventures.com/demo/artists/1535/uncat/105-revision-41',0,'revision','',0),(1534,1,'2010-07-09 18:01:10','2010-07-09 18:01:10','Reena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><em>Drift</em>, Primo Marella Gallery, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Silt of Seasons</em>, Chemould   Prescott Road, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><em>In Transition: New Art from India</em>, Richmond Art Gallery\r\nVancouver Biennale, Vancouver\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\nGallery, St. Louis, Missouri\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York\r\n\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n</td></tr><tr><td valign=\"top\">2010 </td><td><em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\nPaulo, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>View Points and Viewing points - </td></tr><tr><td valign=\"top\">2009 </td><td>Asian Art Biennale</em>, National Taiwan Museum of Fine Arts \r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\nWolverhampton, UK\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009     </td><td><em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\nKorea and Essl Museum, Vienna\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>INDIA XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\nShanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2009                   </td><td><em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2008     </td><td><em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\nMuseum, Valencia, Spain </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\nBicocca , Milan </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>INDIA NOW: Contemporary Indian Art, Between Continuity and transformation</em>,curated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\nGeorgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\nArt, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\nGallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\nHenie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n</td></tr><tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\nLiverpool, Australia\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-40','','','2010-07-09 18:01:10','2010-07-09 18:01:10','',105,'http://www.biggventures.com/demo/artists/1534/uncat/105-revision-40',0,'revision','',0),(1536,1,'2010-07-11 05:56:06','2010-07-11 05:56:06','<style>\r\na {\r\ncolor: #000000;\r\n}\r\na:hover {\r\ncolor: #000000;\r\nfont-weight: bold;\r\ntext-decoration: underline;\r\n}\r\na:visited {\r\ncolor: #000000;\r\n}\r\na:link{\r\ncolor: #000000;\r\n}\r\na:active{\r\ncolor: #000000\r\n}\r\n</style>\r\nReena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&view=past\">Drift, Primo Marella Gallery, Milan</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\"> Silt of Seasons, Chemould   Prescott Road, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><em>In Transition: New Art from India</em>, Richmond Art Gallery\r\nVancouver Biennale, Vancouver\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\nGallery, St. Louis, Missouri\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York\r\n\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n</td></tr><tr><td valign=\"top\">2010 </td><td><em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\nPaulo, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>View Points and Viewing points - </td></tr><tr><td valign=\"top\">2009 </td><td>Asian Art Biennale</em>, National Taiwan Museum of Fine Arts \r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\nWolverhampton, UK\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009     </td><td><em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\nKorea and Essl Museum, Vienna\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>INDIA XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\nShanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2009                   </td><td><em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2008     </td><td><em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\nMuseum, Valencia, Spain </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\nBicocca , Milan </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>INDIA NOW: Contemporary Indian Art, Between Continuity and transformation</em>,curated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\nGeorgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\nArt, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\nGallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\nHenie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n</td></tr><tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\nLiverpool, Australia\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-42','','','2010-07-11 05:56:06','2010-07-11 05:56:06','',105,'http://www.biggventures.com/demo/artists/1536/uncat/105-revision-42',0,'revision','',0),(1537,1,'2010-07-11 05:59:22','2010-07-11 05:59:22','<style>\r\na {\r\nfont-weight:normal;\r\ncolor: #000000;\r\n}\r\na:hover {\r\ncolor: #000000;\r\nfont-weight: bold;\r\ntext-decoration: underline;\r\n}\r\na:visited {\r\nfont-weight:normal;\r\ncolor: #000000;\r\n}\r\na:link{\r\nfont-weight:normal;\r\ncolor: #000000;\r\n}\r\na:active{\r\nfont-weight:normal;\r\ncolor: #000000\r\n}\r\n</style>\r\nReena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&view=past\">Drift, Primo Marella Gallery, Milan</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\"> Silt of Seasons, Chemould   Prescott Road, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><em>In Transition: New Art from India</em>, Richmond Art Gallery\r\nVancouver Biennale, Vancouver\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\nGallery, St. Louis, Missouri\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York\r\n\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n</td></tr><tr><td valign=\"top\">2010 </td><td><em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\nPaulo, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>View Points and Viewing points - </td></tr><tr><td valign=\"top\">2009 </td><td>Asian Art Biennale</em>, National Taiwan Museum of Fine Arts \r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\nWolverhampton, UK\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009     </td><td><em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\nKorea and Essl Museum, Vienna\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>INDIA XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\nShanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2009                   </td><td><em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2008     </td><td><em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\nMuseum, Valencia, Spain </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\nBicocca , Milan </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>INDIA NOW: Contemporary Indian Art, Between Continuity and transformation</em>,curated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\nGeorgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\nArt, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\nGallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\nHenie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n</td></tr><tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\nLiverpool, Australia\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-43','','','2010-07-11 05:59:22','2010-07-11 05:59:22','',105,'http://www.biggventures.com/demo/artists/1537/uncat/105-revision-43',0,'revision','',0),(1538,1,'2010-07-11 06:00:21','2010-07-11 06:00:21','<style>\r\na {\r\ncolor: #000000;\r\n}\r\na:hover {\r\ncolor: #000000;\r\nfont-weight: bold;\r\ntext-decoration: underline;\r\n}\r\na:visited {\r\nfont-weight:normal;\r\ncolor: #000000;\r\n}\r\na:link{\r\nfont-weight:normal;\r\ncolor: #000000;\r\n}\r\na:active{\r\nfont-weight:normal;\r\ncolor: #000000\r\n}\r\n</style>\r\nReena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&view=past\">Drift, Primo Marella Gallery, Milan</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\"> Silt of Seasons, Chemould   Prescott Road, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><em>In Transition: New Art from India</em>, Richmond Art Gallery\r\nVancouver Biennale, Vancouver\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\nGallery, St. Louis, Missouri\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York\r\n\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n</td></tr><tr><td valign=\"top\">2010 </td><td><em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\nPaulo, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>View Points and Viewing points - </td></tr><tr><td valign=\"top\">2009 </td><td>Asian Art Biennale</em>, National Taiwan Museum of Fine Arts \r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\nWolverhampton, UK\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009     </td><td><em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\nKorea and Essl Museum, Vienna\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>INDIA XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\nShanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2009                   </td><td><em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2008     </td><td><em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\nMuseum, Valencia, Spain </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\nBicocca , Milan </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>INDIA NOW: Contemporary Indian Art, Between Continuity and transformation</em>,curated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\nGeorgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\nArt, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\nGallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\nHenie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n</td></tr><tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\nLiverpool, Australia\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-44','','','2010-07-11 06:00:21','2010-07-11 06:00:21','',105,'http://www.biggventures.com/demo/artists/1538/uncat/105-revision-44',0,'revision','',0),(1539,1,'2010-07-11 06:01:08','2010-07-11 06:01:08','<style>\r\na {\r\ncolor: #000000;\r\n}\r\na:hover {\r\ncolor: #000000;\r\nfont-weight: bold;\r\ntext-decoration: underline;\r\n}\r\na:visited {\r\nfont-weight:normal;\r\ncolor: #000000;\r\n}\r\na:link{\r\ncolor: #000000;\r\n}\r\na:active{\r\nfont-weight:normal;\r\ncolor: #000000\r\n}\r\n</style>\r\nReena Saini Kallat (b. Delhi 1973) graduated from the Sir J. J. School of Art, Mumbai in 1996 with a B. F. A. in painting. Her practice - spanning painting, photography, video and sculptural installations - frequently deals with the condition of an individual in a rapidly changing society, ever susceptible to being reduced to an anonymous and forgotten statistic. Kallat is interested in constructing images that seem to change and transform by the possibilities they carry for the generation of meaning through a calibrated interplay of image and form.\r\n\r\nOver the last decade her work has been part of many important exhibitions, across the world. She has had ten solo exhibitions in India and abroad, collectively, and participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n\r\n<strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong>\r\n<table>\r\n<tr><td valign=\"top\">2009                  </td><td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&view=past\">Drift, Primo Marella Gallery, Milan</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\"> Silt of Seasons, Chemould   Prescott Road, Mumbai</a>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Subject to Change without Notice</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Rainbow Of Refuse, </em>Bodhi Art Gallery, Mumbai and Singapore </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Black Flute (And Other Stories)</em>, Nature Morte, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">2004                  </td><td><em>Black Flute</em>, Gallery Chemould, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>The Battlefield Is The Mind</em>, Sakshi Gallery, Bangalore\r\n\r\n</td></tr><tr><td valign=\"top\">2002                  </td><td><em>Seven Faces of Dust</em>, Chicago Radio, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td><em>Skin</em>, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1998                  </td><td><em>Orchard of Home-grown Secrets</em>, Gallery Chemould and Pundole  Art <em>Gallery, Mumbai</em>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td colspan=\"2\">\r\n<span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n\r\n<tr><td valign=\"top\">2010                  </td><td><em>In Transition: New Art from India</em>, Richmond Art Gallery\r\nVancouver Biennale, Vancouver\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University</em>, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt\r\nGallery, St. Louis, Missouri\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>Never Run Away</em>, 2 person exhibition curated by Shaheen Merali,Stux   Gallery,  New York\r\n\r\n</td></tr><tr><td valign=\"top\">2010                  </td><td><em>The Empire Strikes Back</em>, Saatchi Gallery, London\r\n\r\n</td></tr><tr><td valign=\"top\">2010 </td><td><em> Urban Manners 2</em>, Contemporary Artists from India, curated by Adelina\r\nVon Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao\r\nPaulo, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>View Points and Viewing points - </td></tr><tr><td valign=\"top\">2009 </td><td>Asian Art Biennale</em>, National Taiwan Museum of Fine Arts \r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</em>\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Milan Galleria</em>, curated by Georgio Verzotti, Triennale Museum, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Passage to India Part II show </em>at Initial Access, Frank Cohen Collection,\r\nWolverhampton, UK\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Ventosul Biennale, Curitiba, Brazil\r\n\r\n</td></tr><tr><td valign=\"top\">2009     </td><td><em> Chalo! India: A New Era of Indian Art</em>, National  Museum of Contemporary Art,\r\nKorea and Essl Museum, Vienna\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>INDIA XIANZAI: Contemporary Indian Art</em>, Museum of Contemporary Art,\r\nShanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2009                   </td><td><em>Low Blow: And Other Species of Confusion</em>, Stux gallery, New York\r\n</td></tr><tr><td valign=\"top\">2009</td><td><em> Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History</em>,Casa  Asia, Madrid and Barcelona, Spain\r\n\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Body Chatter</em>, Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2008     </td><td><em> Chalo! India: A New Era of Indian Art</em>, Mori Art   Museum, Japan\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM\r\nMuseum, Valencia, Spain </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>3<sup>rd</sup> Nanjing Triennale</em>, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Everywhere is War (And Rumours of it</em>), Bodhi Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Fire Walkers</em>, Stefan Stux gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Three Points of view</em>, Galerie Mirchandani + Steinrucke, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td><em>Excavation: Memory / Myth / Membrane</em>, Museum Gallery, Mumbai </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>International Incheon Women Artists’ Biennale</em>, Korea\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Soft Power: Asian Attitude</em>, Shanghai Zendai Museum of Modern Art, Shanghai\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Urban Manners</em>, curated by Adelina Von Furstenberg, at Hangar\r\nBicocca , Milan </td><td>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>INDIA NOW: Contemporary Indian Art, Between Continuity and transformation</em>,curated by Daniela Palozzoli at Spazio Oberdan, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>New Narratives: Contemporary Art From India</em>, curated by Betty Seid,Chicago Cultural Centre, Chicago </td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td><em>Thermocline Of Art- New Asian Waves</em>, curated by Wonil Rhee and Peter\r\nWeibel at ZKM in Karlsruhe, Germany\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Modern Indian Works On Paper,</em> Arthur Ross Gallery, Philadelphia and the\r\nGeorgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>Lille 3000 (</em>Maximum City-Mumbai), Lille,  France \r\n\r\n</td></tr><tr><td valign=\"top\">2006</td><td><em> Hungry God- Indian Contemporary Art</em>, curated by Yun Chaegab and June\r\nGwak, Arario Gallery, Beijing and Busan MoMA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td><em>India Express – Art and Popular Culture</em>, Art Museum Tennispalace,\r\ncurators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum,\r\nFinland\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Mom and Pop Art, </em>Walsh Gallery, Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Span</em>, Sakshi Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2005                  </td><td><em>Indian Paintings of the New Millenium</em>, curated by Helen Asquine Fazio\r\nat Thomas J. Walsh Art Gallery at Fairfield   University, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2004 </td><td><em> Contemporary Art from India</em>, Thomas   Erben Gallery, New York\r\n\r\n</td></tr><tr><td valign=\"top\">2004                    </td><td><em>Zoom! Art in Contemporary India.</em> Curators: Nancy Adajania and Luis\r\nSerpa, The Culturgest Museum, Lisbon, Portugal</td><td><em> </em>\r\n\r\n</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Crossing generations: diVERGE</em>, Gallery Chemould’s 40th anniversary,\r\nCurators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern\r\nArt, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Hard Copy,</em> two-person show with Jitish Kallat, Gallery 88, Calcutta*\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Tiranga</em>, curator: Peter Nagy, India Habitat Centre, New Delhi</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003</td><td><em> Elephant Walks</em>, Youth Arts Project in collaboration with Jitish Kallat as part of\r\nIndians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson\r\nGallery 4A, Sydney</td><td><em> </em>\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>The Tree From The Seed, Contemporary Art from India, </em>curator: Gavin Jantjes\r\nHenie Onstad Kunstsenter (Oslo), Norway</td><td><em></em>\r\n\r\n</td></tr><tr><td valign=\"top\">2002                   </td><td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary\r\ncelebrations of Jehangir Art  Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                        </td><td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2002                       </td><td><em>Crossing Borders</em>, Gallery Windkracht 13, Den Helder, Holland\r\n\r\n</td></tr><tr><td valign=\"top\">2001                        </td><td><em>Big River 2</em>, CCA7 Gallery, Port Of Spain, Trinidad\r\n\r\n</td></tr><tr><td valign=\"top\">2001                   </td><td><em>AOM- Art on the move</em>, organized by Sahmat, New Delhi\r\n\r\n</td></tr><tr><td valign=\"top\">1999</td><td><em> Edge of the Century,</em> curated by Amit Mukhopadhyay, Academy  of Fine Arts\r\n\r\nand Literature, New Delhi\r\n</td></tr><tr><td colspan=\"2\">\r\n<strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td><em>Vanishing Point</em>, children’s project at the Celebrate Bandra Festival, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2007             </td><td>Collaborative workshop as part of the exhibition <em>Aftershock</em> at the Sainsbury\r\nCentre for Visual Arts, University of East Anglia, Norwich,  UK\r\n\r\n</td></tr><tr><td valign=\"top\">2003                       </td><td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td><em>Elephant Walks</em>, Youth Arts Project at the Casula Power House Arts Centre,\r\nLiverpool, Australia\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Khoj </td></tr><tr><td valign=\"top\">2002</em></td><td> International Artists Workshop, Mysore, India\r\n\r\n</td></tr><tr><td valign=\"top\">2002</td><td><em> Identity and Landscape</em>, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada\r\n\r\n</td></tr><tr><td valign=\"top\">2001                  </td><td><em>Big River 2</em>, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr>\r\n<tr><td>\r\n<span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span>\r\n</td></tr><tr><td>&nbsp;\r\n</td></tr><tr><td valign=\"top\">2009                  </td><td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna\r\n\r\n</td></tr><tr><td valign=\"top\">2008                    </td><td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai\r\n\r\n</td></tr><tr><td valign=\"top\">2008                  </td><td>Slide presentation at the School of the Art Institute of Chicago\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre\r\n\r\n</td></tr><tr><td valign=\"top\">2007                  </td><td>Lecture at the University Boccini, Milan\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Slide presentation at the Lamar Dodd School of Art, University   of Georgia, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2006                  </td><td>Talk at the Griffith Auditorium, Georgia Museum of Art, USA\r\n\r\n</td></tr><tr><td valign=\"top\">2003                  </td><td>Slide presentation at Oslo National Academy of the Arts, Norway\r\n\r\n</td></tr><tr><td valign=\"top\">2000                  </td><td>Mohile Parikh Centre for the Visual Arts, Mumbai\r\n</td></tr>\r\n</table>','Biography','','inherit','open','open','','105-revision-45','','','2010-07-11 06:01:08','2010-07-11 06:01:08','',105,'http://www.biggventures.com/demo/artists/1539/uncat/105-revision-45',0,'revision','',0),