(1483,1,'2010-07-08 06:14:20','2010-07-08 06:14:20',' <b style=\"color:#999999;\">THE ARCHIVES OF THE HEART</b>\r\n<b>Nancy Adajania</b>\r\n\r\n\r\nAn island in Japan houses an archive of heartbeats gathered from people living in different parts of the world. We might regard this as a New Age technique of mummification. And indeed, in this work, ‘Les archives du coeur’ (2008), Christian Boltanski creates what the curator Tessa Praun describes as a unique class of ‘portraits’, her contention being that these recorded heartbeats will prolong the lives of the subjects even after their physical death. [1] Since the 1960s, Boltanski has been recording his own personal effects, as well as those of anonymous people condemned to occupy the margins of history. His photographic portraits are subject to the tremors of representation, appearing to float in a liquid blur, in the twilight zone between birth and dying, between the wingbeat of recorded history and the ephemera of personal memory. With his idiosyncratic conceptual take on portraiture in ‘Les archives du coeur’, Boltanski distils the portrait into a pure note of classical music, a thrum of life that transcends local and corporal circumstances and reminds us of the survivor’s drive that has kept us going on the long journey from Olduvai Gorge.\r\n\r\nLaunched on an analogous quest for the posthumous evidence of the missing, Reena Saini Kallat began to experiment in early 2000 with the portraiture of anonymous denizens of the global multitudes. Her passion for nameless faces gradually grew into an obsession with compiling archives of the missing and the dead from India, articulating in contour a history of post-colonial India as told through traumatic upheaval. Recall that the nation-state of India was born in cataclysmic circumstances, through the Partition, which was accompanied by pogroms, forced migrations, mass rape and the irrevocable dispersal of families and communities. Such crises have recurred in India since, at different scales and intensities, because India balances on a paradox, between robust democracy and relentless atrocity. \r\n\r\nThe political logic of democracy has been to enfranchise every single individual, so that in theory every single person has a name and a share in electoral power. Therefore, metaphorically speaking, we could say that the nation-state is a complex composite portrait made up of a billion mosaic units. The tragedy is that we cannot see these units clearly, but only through a symbolic blur. While the Constitution of India guarantees its individuals various entitlements, in reality the vast majority cannot articulate their political rights.\r\n\r\nPrecisely this paradox animates Reena’s mixed-media works, photographs, sculpture installations and video in the recent suite of works, ‘Silt of Seasons’ (Chemould Prescott Road, Bombay, 2008). In ‘Synonym’ (2007), for instance, we are confronted with a series of 6-foot-high portraits of ordinary citizens constructed from hundreds of painted rubber-stamps bearing names gathered from police records. She scours the records to retrieve the memory of those who have disappeared during riots, earthquakes, landslides or genocides. \r\n\r\nWith ‘Synonym’, Reena constructs an anti-monument. Unlike official monuments, which extol the virtues of permanence, these portraits appear like ghostly transmissions from another planet. From a distance, they look like burnt, scarred faces; up close, they pixellate, lose definition, hover in a grey zone. They are, in the development activist Dunu Roy’s words, “nowhere people looking for a somewhere place.”\r\n\r\n\r\n<b>A Sentimental Education </b>\r\n\r\nWhat’s in a name? Deep histories of violence and loss. Bodies are swallowed up by mass graves, dumped into oceans, shovelled into ovens. Names remain, residues silted up in the ever-growing list of the missing. Names are talismans of absence, keys to a resistance against amnesia. The spectre that haunts Reena’s art is the spectre of forgetting. \r\n\r\nTwo anomalies remain behind in the ruins of war, civil strife and genocide twinned in a cruel asymmetry: bodies without names and names without bodies. When we go close to the portraits, we realise that the names are withheld in plain view. Hundreds of names in 14 different languages in reverse sensitise us to the fact that historical silences cannot be decoded with the certainty of a cryptographer, and that loss cannot always be compensated.\r\n\r\nCuriously, despite being the carriers of hundreds of names, the portraits themselves remain unnamed. Or alternately, we might think that instead of having a fixed identity, the portraits possess multiple lineages of ethnicity, language and religious persuasion. Reena’s acts of naming and recalling suggest a secular, politicised recovery of the practice of japa or dhikr. Instead of a mantra or the names of God, the artist recounts the last traces of history’s victims.\r\n \r\nThe methodology of ‘Synonym’ shares an unmistakable affinity with that employed by Chuck Close in his portraits, where the picture grid is incrementally built from units consisting of finger-prints, scribbles and wads of pulp paper. As Close observes about his artistic process: “It’s that tension between the artificial and the real – the insistent flatness of the surface and the conjured up illusion that makes for a very physical experience for the viewer.” [2] \r\n\r\nThat said, the act of painterly representation can involve the reductive translation of a wide range of surfaces and effects into the relatively limited language of the medium, of pigment, brush, knife, spatula, rag and roller. By contrast, Reena extends painterly media in such as way that a wide array of palpabilities is made disturbingly available. For example, the bruised skin of the portraits produced from an intense chromatic saturation and their extra-dimensionality, the move made from the painted surface of the rubber stamps to their tactile knob-like presence on the reverse. \r\n\r\nIndeed, we realise that these works are no longer paintings, but rather, are delivered as sculptures in the round. This is where their family resemblance with Close’s portraits ends. Although Reena’s mixed media works seem to function in an interlocking grid, they are more like jigsaw puzzles in nature than grid-like. And unlike Close’s incrementally painted grids, we realise with some surprise, these works are formally sculptural: they occupy mass and volume and create dense black silhouettes. This gives them edge and unpredictability: double portraits that confront us with one face and darken the walls with their spectral shadows.\r\n\r\nThe first time the artist deployed the rubber stamp as an object and device was in a sculptural assemblage titled ‘Kiosk’ in 2003. She recomposed the colours of the Indian flag by suspending rubber stamps from a stand. The mixed-up colours of the flag were meant to stamp out the violent differences wracking the Indian republic. A mock MOU (Memorandum of Understanding), an agreement between the Indian State and its citizens to renew the original contract of inclusiveness that the nation promised its citizens in 1950, accompanied the sculpture.\r\n\r\nThe rubber stamps and the MOU signal the dialectical tension between two discourses, that of the juridical and of sentiment: a tension that has underwritten Reena’s art over half a decade. The play with the juridical documents that legitimise the authority of the State and the status of the citizen is not difficult to decode; but the discourse of sentiment is less easily reduced to evidence. What is the locus of sentiment? For instance, the term ‘public sentiment’ is grossly manipulated in a country which is governed by competing populist forces whose only aim of politics is to secure a ‘vote bank’, a reliable support base constructed on the basis of an exclusive and defensive group identity, and where, as a corollary, popular mobilisations are made by playing up religious and linguistic differences among a largely illiterate electorate. Repeatedly, in over six decades of Independence, charlatans of every shade from the Left, Right and Centre have played with public sentiment to disrupt peace, manufacture riots and factionalise a society already divided along identitarian lines. When I speak of the discourse of sentiment in Reena’s art, I mean that she provides her viewers with a ‘sentimental education’ in the Flaubertian sense. This has nothing to do with sentimentality as commonly conceived, meaning the maudlin expression of strong feeling. On the contrary, it signifies a training in the modes of responding to a potentially fracturing experience in such a way as to develop the resources of the self: sensitivity, reflection, the ability to understand vicissitudes, the gifts of acceptance and reconciliation. Such an education in feeling has specific value in a desensitised society where the values of liberty, equality and fraternity have been sacrificed at the altar of expediency. In Reena’s art, the discourses of the juridical and of sentiment manifest themselves as a relay of effect and affect in the public domain.\r\n\r\n\r\n<b>Branding/ Incisions </b>\r\n\r\nIn ‘Crease/Crevice/Contour’ (2008), a set of ten photographic prints of a torso are stamped with the changing contours of a contested territory. As we trace the changing magnifications of these red scars, we realise we are looking at a woman’s torso, vulnerable to the brandings of a territorial claim. The figure of the abducted woman has haunted both sides of the Partition: Hindu and Sikh women were abducted by Muslims on the one hand, and Muslim women by Hindus and Sikhs on the other, in 1947. Within a few years, with no hope of recovery by their families and an acceptance of their new lives, many of these women married their abductors and even had children. Then, with the horrifying lack of compassion that only the most public-spirited can afford, commissions of recovery decided that the women must be found and ‘returned’ to their ‘original’ countries, even if this meant destroying the new families they had created, separating them from their husbands and children. Stories recounted by feminist writers about these search and recovery operations for abducted women both from India and Pakistan after Independence make for chilling reading. Veena Das observes that the recovered women were not seen as citizens with equal rights but were seen as ‘sexual and reproductive beings’ who had to be returned to their rightful territory to save the ‘national honour’. As Das observes: “In the fantasy of men, the inscription of nationalist slogans on the bodies of women (Victory to India, Long Live Pakistan) or proclaiming possessions of their bodies (This thing, this loot – ye maal – is ours), would create a future memory by which men of the other community would never be able to forget that the woman as territory had already been claimed and occupied by other men. The bodies of the women were surfaces on which texts were to be written and read – icons of the new nations.” [3] \r\n \r\nThe contested territory in Crease/Crevice/Contour happens to be Kashmir, morphing in relation to the LOC (Line of Control) between October 1947 and December 1948. Neither India nor Pakistan has been able or willing to resolve this issue. Kashmiris call it the Ceasefire Line, not agreeing to the military strategists’ ambiguous term LOC. Since the late 1980s, the women of Kashmir have suffered violation and brutality at the hands of the militants and the Indian state: the scars have deepened.   \r\n\r\nAs a gesture of healing, the artist decided to stamp the names of people who have signed the peace agreement between India and Pakistan on the woman’s torso. Thus, Reena’s representation of the woman’s body in ‘Crease/Crevice/Contour’ is that of desiring agency rather than passive victimhood.\r\n \r\n\r\n<b>Where Have The Masons Gone? </b>\r\n\r\nHistory has shown us how the names of people who have suffered slavery or genocide are transformed into ciphers, recall the branded foreheads of Chinese slaves or the numbered bands of the Holocaust victims. Artists have responded to these historical silences by building memorials and making mementos. I would like to draw parallels between Reena’s recent work and Maya Lin’s ‘Vietnam Veterans Memorial’ (1982) and Boltanski’s ‘The Missing House’ (1990). \r\n\r\nLin’s ‘Vietnam Veterans Memorial’, which began as a controversial public arts project, has achieved iconic status. The granite wall (built, incidentally, from stone quarried in South India) is etched with 58,175 names of US soldiers who died during the Vietnam War. The present melds into the past as the families of the veterans see their reflections in a wall that is more mirror than stone. This fluid interface becomes urgently haptic as they take away rubbings of the names as souvenirs. [4] \r\n\r\nIn ‘The Missing House’ (1990), Boltanski has placed nameplates on the facade of a building in Berlin that had formerly been occupied by Jewish families, and had been destroyed by Allied aerial bombardment in 1945. The artist makes a gesture that is at once archaeological and elegiac, by reminding an urban present of one of its brutally erased pasts. [5]  \r\n\r\nReena’s first attempt at creating memorials for the ordinary citizens began with her series ‘Sword-Swallowers’ (2004). Painted portraits with unfolding screens of visual inscription were installed in the form of archetypal memorial columns or steles. The stele narrates the deeds of the heroes of the ancient world to gods and humans. But the people we meet in Reena’s contemporary memorial columns are not legendary heroes but day-to-day survivors. [6] \r\n\r\nIn her recent works, Reena puts the erased impulses of ordinary people back into the historical record. She dismantles historical monuments brick by brick, metaphorically, and stamps them with the names of the workers who built them. She redrafts the Taj Mahal’s beautiful pietra dura patterns, using the names of workers and their guild signatures, instead of the precious stones originally inlaid there. This gesture of defacing the monument with the marks of labour creates a dense and robust beauty, cutting against the refined craftsmanship we are familiar with. Bertolt Brecht’s song, ‘A Worker Reads History’ returns to our lips: \r\n\r\n“Who built the seven gates of Thebes? \r\nThe books are filled with names of kings.\r\nWas it the kings who hauled the craggy blocks of stone? \r\nIn the evening when the Chinese Wall was finished \r\nWhere did the masons go?”\r\n\r\nIn the same vein, the artist subverts the solidity of the Mughal architectural masterpiece by making it porous, a see-through curtain that marks domestic thoroughfare. The beads of the curtain recount the names of the lovers who will not make it to the history books, but who will live on in graffiti and song. Other monuments like Bombay’s colonial structure the Gateway of India is scaled down to act as a maquette or a teaching model in an urban history museum. The litany of colonial names of streets – Ropewalk Lane, Cruickshank Lane, Hope Street and so forth – were embossed on the structure to remind us of our present rather than of our past. Bombay was renamed under pressure from right-wing nativist forces in the mid-1990s and is now Mumbai. This politics of renaming shows the rise of an illiberal politics that has no interest in securing the rights of citizens but prefers to produce the empty spectacle of demagogic triumph over hapless symbols, branding and re-branding streets and squares, tearing down and replacing public statuary.\r\n\r\n<b>The Lost Mother </b>\r\n\r\n“I began to work as an artist when I began to be an adult, when I understood that my childhood was finished, and was dead. I think we all have somebody who is dead inside of us. A dead child. I remember the Little Christian that is dead inside me.” [7]\r\n\r\nWhile Boltanski’s art may be activated by the dead child he carries within himself, I would say that in Reena’s case it is the memory of her dead mother that has given birth to an art of (un)belonging. Although she professes not to allow autobiographical elements to enter into her work, she has made such exceptions as ‘Walls of the Womb’, a work made two years ago and scored in Braille to articulate hazy memories of her mother who died of cancer when she was a child. It could be argued that Reena’s obsessive inscription of the names of the missing could have its roots in her search for the mother she never knew. The personal is the political and her loss becomes, in her art, a mode of recovering the status of all those citizens who have not been mourned properly, whose memories are alive only in their erasure. [8]\r\n\r\nReena’s first video work, which is projected on the contested territory of Kashmir, is the most powerful work in this suite. Names scatter like snowflakes and dissolve into other names. We stand mesmerised as a blue spiritual light sheathes names of people belonging to various religions and ethnicities. Suffering recognises no distinctions. In this work, the conceptual charge of Reena’s art is seen to advantage; elsewhere, it can sometimes be overwhelmed under the dazzling effects of surface or technical accomplishment that she brings to the production of her art. With its minimalism and clarity, the video takes the logic of japa or dhikr to its conclusion. It is a prayer, but it is also an ode to silence.  \r\n\r\n\r\n<b>Notes & References</b>\r\n\r\n1. See Tessa Praun, ‘Les archives du coeur’ in Zeitung für Kunst und Ästhetik (Buch 3, 2/2008).\r\n\r\n2. See ‘Chuck Close: Decoding the Mysterious Process of Art’ in Herb Meyers and Richard Gertsman eds., Creativity: Unconventional Wisdom from 20 Accomplished Minds (New York: Palgrave Macmillan, 2008).      \r\n\r\n3. See Veena Das, Life and Words: Violence and the Descent into the Ordinary (New Delhi: Oxford University Press, 2007).    \r\n \r\n4. See Robert Campbell, ‘An Emotive Place Apart’ (A.I.A. Journal, May 1983). \r\n\r\n5. See http://www.chgs.umn.edu/museum/memorials/berlin/index.html\r\n\r\n6. See Nancy Adajania, ‘Screens of Demonology’, essay in the exhibition catalogue, ‘Black Flute (And Other Stories)’ (Gallery Chemould, Bombay, & Nature Morte, New Delhi, 2005).   \r\n\r\n7. See http://www.tate.org.uk/magazine/issue2/boltanski.htm\r\n\r\n8. See Nancy Adajania, ‘The Braille of Desire’, essay in the exhibition catalogue, Urban Manners: 15 Contemporary Artists from India (Hangar Bicocca, Milan, in collaboration with Art for the World, Geneva & Milan, 2007).<p>&nbsp;</p><b style=\"color:#999999;\">BEYOND RESOLUTION: THE ART OF REENA SAINI KALLAT\r\nMurtaza Vali</b>\r\n\r\nI\r\nThe dramatic expansion of mass media – print, televisual and cybernetic – that followed economic liberalization in the early 1990s, has profoundly shifted the terrain of the visual in India. The growing ubiquity of media images has forced artists to reexamine the changing status, role and power of the image in contemporary culture. According to Nancy Adajania, this dynamic new mediascape has inspired the emergence of a “new mediatic realism,” a realist impulse among Indian painters that explicitly references the imagery, format, effects and surfaces of the media flow.  Like many of her peers, in her recent work Reena Saini Kallat has experimented with strategies for arresting the overwhelming glut of media images and imbuing these images, especially those of people, with renewed pictorial and emotional significance. Her approach has been to anoint the human image sourced from the media with symbols and icons from a mythic register. In the 2004 series Sword Swallowers, generic portraits of ordinary people, sourced from the Internet, topped stele-like stacks of paintings filled with fantastical images of warring demons. Two years later, in the Penumbra Passage (Canine Cases) series, similar painted portraits appeared again, each framed and stained with a floating form in the shape of the contested Occupied Kashmir region, and hovering over a museum case containing tiny toy-like weapons arranged like a menacing set of teeth. According to Adajania, Saini Kallat’s constellations of images and objects, of the mediatic real juxtaposed with the mythic imaginary, may be understood as serving an “apotropaic” function, providing a spiritual salve for the many evils and injustices that trouble India and its least fortunate citizens.  \r\n	Saini Kallat’s recent Synonym series marks a distinct departure. Here, the portraits stand alone, monumental yet atomized, composed entirely of hundreds of painted rubberstamps, each bearing a name (in reverse) in one of over fourteen Indian languages. From the appropriate viewing distance the array of stamps coalesce into a recognizable human image; up close they register as pure pattern, an irregular lattice of color and text. Ambiguously hybrid objects, they oscillate between photography, painting and sculpture, between human portrait and abstract pattern, between image and text. Seemingly forgoing the mythic as the mode for consecrating human images extracted from the media flow, the Synonyms instead register in their very pixilated materiality the growing fragility and profound dissolution of the human image enacted by the spread of media, an indeterminacy that appears to extend to issues related to subjectivity, identity and citizenship that these human images embody. \r\n	The Synonyms are not without precedent and bear superficial similarities to Chuck Close’s large gridded portrait paintings or Rashid Rana’s Ommatidia series, composite digital prints of Bollywood heartthrobs composed of thousands of tiny images of everyday Pakistani men. However, Saini Kallat’s works, comprised of short interlocking horizontals and verticals of varying lengths, reject the stability that a regular orthogonal grid might provide. The composite image that emerges more closely resembles a mosaic or, in the artist’s own words, a “circuit board,” pulsating, as the eye is forced to wander across the surface in search of a visual anchor.  Despite their three-dimensionality, for Saini Kallat, these works are intimately tied to the history of painted portraiture, reflecting her training at Mumbai’s Sir J.J. School of Art and revealing much about the craft of painting. Encrusted with illegible text, each stamp resembles an individual brushstroke, its rough surface suggesting the impasto of an Impressionist or Post-Impressionist canvas. Like these earlier styles, Saini Kallat’s Synonyms challenge the smooth illusionistic space of traditional painting, evincing instead the piecemeal way in which a painted image is constructed, through the careful application of individual marks. Saini Kallat goes a step further, literally disintegrating the picture plane, dramatizing the dialectical relationship between image and mark.   \r\n	In their teeming, tessellated and text-ured surfaces, these portraits seem to visualize the Nehruvian maxim of ‘unity in diversity,’ a popular nationalist creed that asserted that India’s national identity and true strength lay in its cultural diversity, that a palpable but indefinable ‘Indianness’ united and transcended the myriad of ethnicities, religions, castes, and languages found across the nation.  While the motto served as an important rallying cry, mobilizing these diverse populations against the colonial power, India’s troubled post-colonial history has demonstrated that, though laudatory, it is a difficult if not impossible ideal to achieve. Rather than naively celebrating its increasingly hollow utopian multiculturalism, Saini Kallat’s Synonyms reflect the strange paradox and delicate tension inherent in this nationalist credo; their trembling surfaces register difficult lessons about democracy, secularism and citizenship. The unstable formal relationship between image part and image whole serves as metaphor for the increasingly fraught relationship between the individual and the collective, the citizen-subject and the nation-state, the regions and the center. Like in these portraits of its citizens, which do not completely cohere, resolution is never absolute in a democracy like India and consensus is at best temporary and ephemeral, the result of constant and always contested negotiation.\r\n	The stamps in these portraits bear the names of those officially registered as missing, from victims of the natural disasters, riots and accidents that regularly afflict the Indian populace, to those whose disappearances are inexplicable but no less distressing, who have willfully absconded or been forcefully abducted. While Saini Kallat’s earlier experiments with portraiture reproduced anonymous images from the Internet these works are based on photographs of migrant workers, many children, encountered in the artist’s Mumbai neighborhood, shot by the artist herself. Despite the somewhat impersonal passport photograph format, the occasional coyly tilted head or cheeky grin betrays the warm intimacy of this face-to-face encounter. Their collective title, Synonym, suggests a series of equivalences: between the linguistic, ethnic, religious, caste and cultural differences registered in the variously scripted names, between those named and those pictured, between the missing person and the migrant worker. The missing, in Saini Kallat’s own words, are those who have “slipped out of the radar of human communication, [have been] thrown off the social safety net.”  The migrant worker’s existence is similarly precarious; displacement from their rural homes severs their traditional bonds of kith, kin and community, resulting in a gnawing instability and deep sense of loss. And like the missing, the migrant workers are rendered invisible; they are the dark under belly of the metropolis, the hidden and exploited work force whose unacknowledged labor is, however, integral to its proper functioning. While the Synonyms rightly monumentalize these marginalized figures, their portraits remain visually liminal, their faces appearing and disappearing like phantasms.  \r\n\r\nII\r\nThe name as marker of the subaltern citizen reappears in the photographic series and sculptural installation entitled Lunar Notes (2008). Arranged in an incomplete grid, the photographs document instances of ‘love-graffiti’ scrawled and etched on the often ornately carved but decaying walls of historic monuments across India. To the authorities that manage these heritage sites, the inscriptions are a nuisance, small acts of vandalism that collectively threaten the integrity of national treasures. One tongue-in-cheek image includes a clearly ignored Archaeological Survey of India sign pleading, “Thank you for not scratching on the monument.” Drawn to these scrawls for their tender transposition of the private emotion of love into the public sphere of history, Saini Kallat began systematically documenting examples encountered on her travels. Seemingly neutral documents, these photographs, however, reveal a profound tension between the master narrative of Indian history and literature and the quotidian experiences and desires of its subaltern citizens. Examples of a spontaneous populism, little acts of romantic resistance to eventual historical absence, the inscriptions, through the most human of emotions, register a powerful need to index subaltern presence by literally etching one’s name onto the architectural edifices of history. \r\n	Inspired by the photographs, the accompanying sculptural installation is a curtain comprised of strings of variously sized beads of bonded marble, that, from a distance suggest the silhouette of the Taj Mahal. Along with the names of the everyday Romeos and Juliets documented in the photographs, the beads bear those of great lovers from the annals of Indian myth and history: the star-crossed Punjabi lovers Heer and Ranjha, immortalized in verse by Waris Shah; the Mughal emperor Shah Jahan and his queen Mumtaz, the monument’s patron and muse respectively. An architectural masterpiece and an enduring memorial to lost love, the Taj is increasingly a visual cliché for India, repeated ad nauseam on travel guides, tourist brochures and snapshots, and kitsch souvenirs. The installation seems to acknowledge this dual status, and like the Synonyms, uses optical resolution as metaphor. The image of the monolithic Taj is literally dispersed, rendered fragile and fugitive like the love it symbolizes, a fleeting vision increasingly difficult to resolutely grasp.  \r\n\r\nIII\r\nIf the Synonyms and Lunar Notes both rely on the limits of optical resolution to address the indeterminate status of hallowed national myths, Saini Kallat’s other recent work focuses on the always uncertain relationship between India and Pakistan, a conflict that, despite repeated efforts at peace, appears irresolvable. Saini Kallat unites work in diverse media through her iconographical repetition of the form of the still-disputed territory of Occupied Kashmir, a shape, that for the artist, becomes an “emblem of human folly,” and carries with it a powerful traumatic legacy that continues to taint Subcontinental geo-politics.  The brazen terrorist attacks that besieged Mumbai for three devastating days in late November, and appear to have derailed attempts at peace between the two countries, are just the latest disheartening reminder of this.\r\n	In Crease/Crevice/Contour (2008), a series of ten photographs trace the shifting Line of Control (L.O.C.) between the newly independent India and Pakistan during their first war over the region of Kashmir. In each image, the specific contours of the conflict area at a particular stage of the conflagration – which lasted from October 1947 to December 1948, following on the heels of the devastation of Partition – is rubber-stamped onto a woman’s naked back. The form is composed of the names of signatories of a petition demanding the construction, at the Wagah-Attari border crossing, of a bilateral memorial to victims of Partition violence, such an official public acknowledgement of atrocities being a necessary first step to resolving deep-rooted traumas and achieving lasting peace in the region.  By visually equating territory and the female body, Saini Kallat extends the popular concept of Bharat Mata or Mother India, of the nation personified as a nurturing and self-sacrificing Mother Goddess, a patriarchal archetype of Indian femininity that emerged in nationalist discourse in the late Nineteenth century. However, her analogy introduces a critique. Stamped in blood red ink, the changing cluster of names resembles an embarrassing birthmark or a malignant skin lesion, growing or shrinking with the shifting frontline. As a “residual scar” of an ongoing territorial dispute, one that has cast a lingering shadow of violence and mistrust over the Subcontinent’s post-colonial history, the form symbolically marks the fact that women inadvertently bear the brunt of such hostilities, their bodies literally invaded, defiled, occupied and exchanged, like pieces of land.  During the dark days of Partition, on both sides of the newly drawn border, women were abducted and forcibly converted, raped and murdered by strangers as a show of strength, and killed by their own to safeguard so-called ‘family honor.’ \r\n	Through exaggerations in scale and symbol, the playfully absurd sculptural installation White Heat (2008) dramatizes the frustration that characterizes attempts to resolve the conflict. Perched atop an ironing board is an oversized iron, its flat surface encrusted with ornate weapon-like projections that render it useless, unable to smooth out the creases in a cloth repeatedly embroidered with the form of the contested territory. Embedded within the weapons are the characteristic rooftops of religious monuments – a mosque dome, a temple shikhara, a church steeple – a gesture that acknowledges how religion is cynically, strategically and divisively wielded by power hungry politicians on both sides, hindering all attempts at peace. In contrast, Silt of Seasons (2008), the artist’s first video installation, appears more optimistic. Projected onto sand shaped into the form of Occupied Kashmir, recalling Saini Kallat’s previous use of rangoli or ritual floor patterns, are the names of signatories of a recent peace petition. Each name, carefully spelt out in letters of sand, appears momentarily, eventually blowing away, its transience reflecting the fragility of the peace process. Yet the piece balances elegy with hope; each erased name is promptly replaced by that of another peace advocate, the desire for and commitment to peace enduring, renewing itself with each new name.\r\n\r\n*****\r\nDisplaying these varied works, both in subject matter and medium, together under the exhibition title “Subject to Change Without Notice” is more than mere acknowledgement of the paralyzing bureaucratic inconsistency that has long characterized everyday life in India.  Rather, the indeterminate and precarious status it describes is a Cassandra-like warning issued by the artist to her fellow citizens. While India might be shining bright as it triumphantly emerges onto the world stage as a political and economic superpower, its status as such will always be tenuous until it resolves the specters that haunt it, until it acknowledges and grapples with the profound trauma that accompanied its independence and its enduring legacy of violence, and it achieves equal access to the rights and freedoms promised under the Republic’s constitution for all its citizens. Until then India might just remain beyond resolution.        \r\n\r\n<b>New York, December 2008</b>\r\n\r\n','','','inherit','open','open','','1271-revision-22','','','2010-07-08 06:14:20','2010-07-08 06:14:20','',1271,'http://www.biggventures.com/demo/artists/1483/uncat/1271-revision-22',0,'revision','',0),(1484,1,'2010-07-07 09:43:32','2010-07-07 09:43:32','<br/>\r\n<table style=\"margin-left:10px\">\r\n<tr>\r\n<td>&nbsp;</td>\r\n</tr>\r\n<tr>\r\n<td>&nbsp;</td>\r\n</tr>\r\n<tr>\r\n<td>\r\n<strong>Reena Kallat Studio</strong>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td>\r\nemail: studio@reenakallat.com\r\n</td>\r\n</tr>\r\n</table>\r\n<br/>\r\n<br/>\r\n<br/>\r\n<br/>\r\n<br/>\r\n<br/>\r\n<br/>\r\n<br/>','Contact','','inherit','open','open','','189-revision-24','','','2010-07-07 09:43:32','2010-07-07 09:43:32','',189,'http://www.biggventures.com/demo/artists/1484/uncat/189-revision-24',0,'revision','',0);
INSERT INTO `wp_posts` VALUES (1485,1,'2010-07-07 18:15:42','2010-07-07 18:15:42','<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>\r\n\r\n<!-- Start of Other Publications -->\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\r\n<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\">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><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-134','','','2010-07-07 18:15:42','2010-07-07 18:15:42','',87,'http://www.biggventures.com/demo/artists/1485/uncat/87-revision-134',0,'revision','',0),(1495,1,'2010-07-09 15:36:15','2010-07-09 15:36:15','<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>\r\n\r\n<!-- Start of Other Publications -->\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\r\n<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\">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-137','','','2010-07-09 15:36:15','2010-07-09 15:36:15','',87,'http://www.biggventures.com/demo/artists/1495/uncat/87-revision-137',0,'revision','',0),(1486,1,'2010-07-07 18:25:59','2010-07-07 18:25:59','<b style=\"color:#999999;\">ORCHARD OF HOME-GROWN SECRETS:</b>\r\n<b>Ranjit Hoskote</b>\r\n\r\nWorks by Reena Saini\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 are 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 are 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 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 no longer possible to enter the grand ruins of the temple of mythology, she assembles a mosaic of small myths instead.  It is her protect, 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 house 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\n\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 form 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, a senigimatic 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 Buddha, the diagram of the yogic body with its splendid charkas, 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 continuous 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’s 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 buy latitude and longitude.  And juxtaposed with this paining, 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 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 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-revision-5','','','2010-07-07 18:25:59','2010-07-07 18:25:59','',1477,'http://www.biggventures.com/demo/artists/1486/uncat/1477-revision-5',0,'revision','',0),(1487,1,'2010-07-07 16:42:06','2010-07-07 16:42:06','It’s 27th August, a little more than a moth before these works get publicly shown and I thought it would be useful to include my voice in the catalogue.  My general discomfort of outlining recent body of work with an artist statement pushed me to conceive this in the manner of a dialogue.  Instead of our usual informal discussions in the studio I decided to exchange observations with Jitish about the making of the exhibition and record it in this document.JK\r\n\r\n<strong>JK - </strong>Reena, lets begin with the title and the format of the show.  You’ve chosen a deceptively simple title ‘Skin’.  It doesn’t say much but seems to murmur.  How did this title come to you?\r\n\r\n<strong>RSK</strong> - The title is used to wrap up the show, to seal the recent body of work.  I first thought of it while I was working on the three dyptichs titled, ‘Transmigration (a travelogue)’, where certain objects were chosen and altered by the act of painting.  In one of the pictures with a girl wearing a hairpin, the rose shaped clip in the larger frame is enveloped in leopard skin, which I think breathes new life into an otherwise inanimate hairpin.  And that kind of sparked off the idea.  Later I decided to retain it since skin suggests both a basic protective covering as well as the more cosmetic aspect of surface appearance.  In the exhibition I work around ideas of the basics of food and shelter often contrasted with material excesses.\r\n\r\n<strong>JK</strong> - A strange collision of privations and plenty does seems to happen in ‘Bred Minar’ where an androgynous fashion freak dressed in a high fashion garment poses stupidly (although looking majestic) in front of a bread-tower candle placed like a house of cards.  The knives that frame his majesty threaten his existence but he is oblivious about it.  The bread house is an excellent metaphor for food and shelter as basic necessities of life.  When its burns like a candle we have an evocation of fuel and light.  All packed in one ‘Bred Minar’.\r\n\r\n<strong>RSK</strong> -	Yes, there is a breakdown of boundaries between the real and the unreal.  What you’re perhaps referring to is the apparent incongruity of the borrowed image from the invented one.\r\n\r\n<strong>JK </strong>-No, I was thinking about how the apparent absurdity has an underlying, almost poetic evocation.  Yet as a picture it is set in an unknown space having the quality of a set design in a surreal play.  While each image is perfectly normal they create a lot of friction when they interact within a single painting.  Is this friction a necessary agent in the creation of meaning?\r\n\r\n<strong>RSK</strong> -	 Well certainly not in the creation of all meaning.  In ‘Bred Minar’ I’m thinking of an altar in a shrine, whereas in case of the work titled ‘Bridge’ the sense of threat is heightened because of the tenuousness of the strings, The tricky placement of the bread houses becomes a reminder of the tight-roped life in the city.\r\n\r\n<strong>JK</strong> - I like the way the imagery connects with the idea of the city. ‘Bridge’ is also a space of transit.  You don’t build a house on it unless it is a makeshift refuge; the home of a gypsy whose residence is an automobile.  One thinks of the numerous squatters in the city.  The formal arrangement of ‘Bridge’ is also interesting because the two nurturing hands that bracket the house of bread at once appear handcuffed, which in turn evokes an images of confinement.\r\n\r\n<strong>RSK</strong> -	Strangely I first thought of titling it ‘Arrested development’. What came as a natural corollary to this work was the image of a person carrying bread houses on the back called ‘Gastropode mollusc’.  And this fragile house structure in motion, is then set against a landscape of solidly grounded pyramids.  You’ll see once I’ve completed it.\r\n\r\n<strong>JK</strong> - The house has anyway been a recurring motif in your last show “ Orchid of home grown secrets”.\r\n\r\n<strong>RSK</strong> - Yes, the house was most prominent there in the work called ‘Joint Family’.  It was conceived such that one large umbrella house contained within it two smaller ones, whose nucleus was marked by a pair of copulating snakes (a symbol of fertility).  Also in the show were fragile houses of painted cards, which in the recent body of work take a new dimension as the cards get replaced by slices of bread.\r\n\r\n<strong>JK</strong> - I know for sure that there isn’t a hint of autobiography in ‘Joint family’.  You never lived in one.  You’ve lived stable and comfortable life in Bombay and never had to carry your home around like ‘Gastropode Mollusc’.  How do these images come to you ? Whose ‘Joint family’ are you referring to and who is ‘Gastropode mollusc?\r\n\r\n<strong>RSK</strong> - Most of my images are conceived on a sketchbook and they are never specifically about me.  The same goes for’ Joint family’ and ‘Gastropode Mollusc’.  With Joint family I began with thoughts on a family I actually knew.  But the work just seemed to be about something else when I completed it.  If the green inside was used to mark off the domestic space, the outer walls covered with creepers hugging at it from all sides had multiple images of the outside world.  I was moving from the home, to the city, to the world.  ‘Gastropode Mollusc’ was conceived out of the image of a snail.\r\n\r\n<strong>JK</strong> - The tiny invertebrate with its soft body carries its hard shell/shelter wherever it goes, like any human being carrying his or her own little room to recede into.  The large slices of bread that frame the picture in extreme close up induce a sense of claustrophobia that then forces the eye to escape into the eerie landscape forming the centre of the picture.\r\n\r\n<strong>RSK</strong> - Similarly in the assemblage of sculptures titled ‘Tent Cities (20 Illuminated Manuals)’, encased in the centre of each hand is a backlit photograph.  I would like to make the viewer play the role of a palmist, scanning through the pyramid of ten pairs of hands.  Each pair is held together like an open book, which the viewer is then invited to read/look into.  The hands on the right carry the sequential building up of the bread houses, while the ones on the left showcase the burning down of bread slices dipped in wax.  I was thinking about the wax dolls and other objects found outside churches.  They are meant for a ritual offering to attain what one desires.  It is from the sacrificial burning of the wax house that the bread tower is resurrected.  I like to think that one gains through the experience of loss.\r\n\r\n<strong>JK</strong> - I was thinking about the key difference between ‘Tent Cities…’ and let’s say works like ‘Transmigration (a travelogue)’ or ‘Moss Garden’. There is something indescribable about seeing a rose, an archetypal symbol of love and beauty, draped in the skin of a carnivore or seeing a family portrait framed on a slice of bread within a ring of moss.  By contrast, don’t you think the logic of ‘Tent Cities….’ is tangible and very easily available?\r\n\r\n<strong>RSK</strong> - I don’t think so.  You probably say this because the work has been with me for the longest duration of time and you’ve heard the logic of its execution, more than once.  There is however, quite clearly, a good deal of difference in the way they were conceived.  ‘Tent Cities’ is more immediate because the photographs are a direct record of the bread monuments.  But they refer to life in much the same way as the paintings do.\r\n\r\n<strong>JK</strong> - What comes after this?\r\n\r\n<strong>RSK</strong> - Newer ideas are already taking shape in the sketch-book.  So I’ll just to chase and realize them.\r\n\r\nJitish Kallat is a Bombay-based artist and a freelance writer.\r\n\r\n<b>Skin 2000</b>','','','inherit','open','open','','1259-revision-8','','','2010-07-07 16:42:06','2010-07-07 16:42:06','',1259,'http://www.biggventures.com/demo/artists/1487/uncat/1259-revision-8',0,'revision','',0),(1488,1,'2010-07-09 15:29:46','2010-07-09 15:29:46','<b style=\"color:#999999\">Skin 2000</b>\r\n\r\nIt’s 27th August, a little more than a moth before these works get publicly shown and I thought it would be useful to include my voice in the catalogue.  My general discomfort of outlining recent body of work with an artist statement pushed me to conceive this in the manner of a dialogue.  Instead of our usual informal discussions in the studio I decided to exchange observations with Jitish about the making of the exhibition and record it in this document.JK\r\n\r\n<strong>JK - </strong>Reena, lets begin with the title and the format of the show.  You’ve chosen a deceptively simple title ‘Skin’.  It doesn’t say much but seems to murmur.  How did this title come to you?\r\n\r\n<strong>RSK</strong> - The title is used to wrap up the show, to seal the recent body of work.  I first thought of it while I was working on the three dyptichs titled, ‘Transmigration (a travelogue)’, where certain objects were chosen and altered by the act of painting.  In one of the pictures with a girl wearing a hairpin, the rose shaped clip in the larger frame is enveloped in leopard skin, which I think breathes new life into an otherwise inanimate hairpin.  And that kind of sparked off the idea.  Later I decided to retain it since skin suggests both a basic protective covering as well as the more cosmetic aspect of surface appearance.  In the exhibition I work around ideas of the basics of food and shelter often contrasted with material excesses.\r\n\r\n<strong>JK</strong> - A strange collision of privations and plenty does seems to happen in ‘Bred Minar’ where an androgynous fashion freak dressed in a high fashion garment poses stupidly (although looking majestic) in front of a bread-tower candle placed like a house of cards.  The knives that frame his majesty threaten his existence but he is oblivious about it.  The bread house is an excellent metaphor for food and shelter as basic necessities of life.  When its burns like a candle we have an evocation of fuel and light.  All packed in one ‘Bred Minar’.\r\n\r\n<strong>RSK</strong> -	Yes, there is a breakdown of boundaries between the real and the unreal.  What you’re perhaps referring to is the apparent incongruity of the borrowed image from the invented one.\r\n\r\n<strong>JK </strong>-No, I was thinking about how the apparent absurdity has an underlying, almost poetic evocation.  Yet as a picture it is set in an unknown space having the quality of a set design in a surreal play.  While each image is perfectly normal they create a lot of friction when they interact within a single painting.  Is this friction a necessary agent in the creation of meaning?\r\n\r\n<strong>RSK</strong> -	 Well certainly not in the creation of all meaning.  In ‘Bred Minar’ I’m thinking of an altar in a shrine, whereas in case of the work titled ‘Bridge’ the sense of threat is heightened because of the tenuousness of the strings, The tricky placement of the bread houses becomes a reminder of the tight-roped life in the city.\r\n\r\n<strong>JK</strong> - I like the way the imagery connects with the idea of the city. ‘Bridge’ is also a space of transit.  You don’t build a house on it unless it is a makeshift refuge; the home of a gypsy whose residence is an automobile.  One thinks of the numerous squatters in the city.  The formal arrangement of ‘Bridge’ is also interesting because the two nurturing hands that bracket the house of bread at once appear handcuffed, which in turn evokes an images of confinement.\r\n\r\n<strong>RSK</strong> -	Strangely I first thought of titling it ‘Arrested development’. What came as a natural corollary to this work was the image of a person carrying bread houses on the back called ‘Gastropode mollusc’.  And this fragile house structure in motion, is then set against a landscape of solidly grounded pyramids.  You’ll see once I’ve completed it.\r\n\r\n<strong>JK</strong> - The house has anyway been a recurring motif in your last show “ Orchid of home grown secrets”.\r\n\r\n<strong>RSK</strong> - Yes, the house was most prominent there in the work called ‘Joint Family’.  It was conceived such that one large umbrella house contained within it two smaller ones, whose nucleus was marked by a pair of copulating snakes (a symbol of fertility).  Also in the show were fragile houses of painted cards, which in the recent body of work take a new dimension as the cards get replaced by slices of bread.\r\n\r\n<strong>JK</strong> - I know for sure that there isn’t a hint of autobiography in ‘Joint family’.  You never lived in one.  You’ve lived stable and comfortable life in Bombay and never had to carry your home around like ‘Gastropode Mollusc’.  How do these images come to you ? Whose ‘Joint family’ are you referring to and who is ‘Gastropode mollusc?\r\n\r\n<strong>RSK</strong> - Most of my images are conceived on a sketchbook and they are never specifically about me.  The same goes for’ Joint family’ and ‘Gastropode Mollusc’.  With Joint family I began with thoughts on a family I actually knew.  But the work just seemed to be about something else when I completed it.  If the green inside was used to mark off the domestic space, the outer walls covered with creepers hugging at it from all sides had multiple images of the outside world.  I was moving from the home, to the city, to the world.  ‘Gastropode Mollusc’ was conceived out of the image of a snail.\r\n\r\n<strong>JK</strong> - The tiny invertebrate with its soft body carries its hard shell/shelter wherever it goes, like any human being carrying his or her own little room to recede into.  The large slices of bread that frame the picture in extreme close up induce a sense of claustrophobia that then forces the eye to escape into the eerie landscape forming the centre of the picture.\r\n\r\n<strong>RSK</strong> - Similarly in the assemblage of sculptures titled ‘Tent Cities (20 Illuminated Manuals)’, encased in the centre of each hand is a backlit photograph.  I would like to make the viewer play the role of a palmist, scanning through the pyramid of ten pairs of hands.  Each pair is held together like an open book, which the viewer is then invited to read/look into.  The hands on the right carry the sequential building up of the bread houses, while the ones on the left showcase the burning down of bread slices dipped in wax.  I was thinking about the wax dolls and other objects found outside churches.  They are meant for a ritual offering to attain what one desires.  It is from the sacrificial burning of the wax house that the bread tower is resurrected.  I like to think that one gains through the experience of loss.\r\n\r\n<strong>JK</strong> - I was thinking about the key difference between ‘Tent Cities…’ and let’s say works like ‘Transmigration (a travelogue)’ or ‘Moss Garden’. There is something indescribable about seeing a rose, an archetypal symbol of love and beauty, draped in the skin of a carnivore or seeing a family portrait framed on a slice of bread within a ring of moss.  By contrast, don’t you think the logic of ‘Tent Cities….’ is tangible and very easily available?\r\n\r\n<strong>RSK</strong> - I don’t think so.  You probably say this because the work has been with me for the longest duration of time and you’ve heard the logic of its execution, more than once.  There is however, quite clearly, a good deal of difference in the way they were conceived.  ‘Tent Cities’ is more immediate because the photographs are a direct record of the bread monuments.  But they refer to life in much the same way as the paintings do.\r\n\r\n<strong>JK</strong> - What comes after this?\r\n\r\n<strong>RSK</strong> - Newer ideas are already taking shape in the sketch-book.  So I’ll just to chase and realize them.\r\n\r\nJitish Kallat is a Bombay-based artist and a freelance writer.\r\n','','','inherit','open','open','','1259-revision-9','','','2010-07-09 15:29:46','2010-07-09 15:29:46','',1259,'http://www.biggventures.com/demo/artists/1488/uncat/1259-revision-9',0,'revision','',0),(1489,1,'2010-07-09 15:30:44','2010-07-09 15:30:44','<b style=\"color:#999999\">Skin</b>\r\n<b>Interview with Jitish Kallat</b>\r\n\r\nIt’s 27th August, a little more than a moth before these works get publicly shown and I thought it would be useful to include my voice in the catalogue.  My general discomfort of outlining recent body of work with an artist statement pushed me to conceive this in the manner of a dialogue.  Instead of our usual informal discussions in the studio I decided to exchange observations with Jitish about the making of the exhibition and record it in this document.JK\r\n\r\n<strong>JK - </strong>Reena, lets begin with the title and the format of the show.  You’ve chosen a deceptively simple title ‘Skin’.  It doesn’t say much but seems to murmur.  How did this title come to you?\r\n\r\n<strong>RSK</strong> - The title is used to wrap up the show, to seal the recent body of work.  I first thought of it while I was working on the three dyptichs titled, ‘Transmigration (a travelogue)’, where certain objects were chosen and altered by the act of painting.  In one of the pictures with a girl wearing a hairpin, the rose shaped clip in the larger frame is enveloped in leopard skin, which I think breathes new life into an otherwise inanimate hairpin.  And that kind of sparked off the idea.  Later I decided to retain it since skin suggests both a basic protective covering as well as the more cosmetic aspect of surface appearance.  In the exhibition I work around ideas of the basics of food and shelter often contrasted with material excesses.\r\n\r\n<strong>JK</strong> - A strange collision of privations and plenty does seems to happen in ‘Bred Minar’ where an androgynous fashion freak dressed in a high fashion garment poses stupidly (although looking majestic) in front of a bread-tower candle placed like a house of cards.  The knives that frame his majesty threaten his existence but he is oblivious about it.  The bread house is an excellent metaphor for food and shelter as basic necessities of life.  When its burns like a candle we have an evocation of fuel and light.  All packed in one ‘Bred Minar’.\r\n\r\n<strong>RSK</strong> -	Yes, there is a breakdown of boundaries between the real and the unreal.  What you’re perhaps referring to is the apparent incongruity of the borrowed image from the invented one.\r\n\r\n<strong>JK </strong>-No, I was thinking about how the apparent absurdity has an underlying, almost poetic evocation.  Yet as a picture it is set in an unknown space having the quality of a set design in a surreal play.  While each image is perfectly normal they create a lot of friction when they interact within a single painting.  Is this friction a necessary agent in the creation of meaning?\r\n\r\n<strong>RSK</strong> -	 Well certainly not in the creation of all meaning.  In ‘Bred Minar’ I’m thinking of an altar in a shrine, whereas in case of the work titled ‘Bridge’ the sense of threat is heightened because of the tenuousness of the strings, The tricky placement of the bread houses becomes a reminder of the tight-roped life in the city.\r\n\r\n<strong>JK</strong> - I like the way the imagery connects with the idea of the city. ‘Bridge’ is also a space of transit.  You don’t build a house on it unless it is a makeshift refuge; the home of a gypsy whose residence is an automobile.  One thinks of the numerous squatters in the city.  The formal arrangement of ‘Bridge’ is also interesting because the two nurturing hands that bracket the house of bread at once appear handcuffed, which in turn evokes an images of confinement.\r\n\r\n<strong>RSK</strong> -	Strangely I first thought of titling it ‘Arrested development’. What came as a natural corollary to this work was the image of a person carrying bread houses on the back called ‘Gastropode mollusc’.  And this fragile house structure in motion, is then set against a landscape of solidly grounded pyramids.  You’ll see once I’ve completed it.\r\n\r\n<strong>JK</strong> - The house has anyway been a recurring motif in your last show “ Orchid of home grown secrets”.\r\n\r\n<strong>RSK</strong> - Yes, the house was most prominent there in the work called ‘Joint Family’.  It was conceived such that one large umbrella house contained within it two smaller ones, whose nucleus was marked by a pair of copulating snakes (a symbol of fertility).  Also in the show were fragile houses of painted cards, which in the recent body of work take a new dimension as the cards get replaced by slices of bread.\r\n\r\n<strong>JK</strong> - I know for sure that there isn’t a hint of autobiography in ‘Joint family’.  You never lived in one.  You’ve lived stable and comfortable life in Bombay and never had to carry your home around like ‘Gastropode Mollusc’.  How do these images come to you ? Whose ‘Joint family’ are you referring to and who is ‘Gastropode mollusc?\r\n\r\n<strong>RSK</strong> - Most of my images are conceived on a sketchbook and they are never specifically about me.  The same goes for’ Joint family’ and ‘Gastropode Mollusc’.  With Joint family I began with thoughts on a family I actually knew.  But the work just seemed to be about something else when I completed it.  If the green inside was used to mark off the domestic space, the outer walls covered with creepers hugging at it from all sides had multiple images of the outside world.  I was moving from the home, to the city, to the world.  ‘Gastropode Mollusc’ was conceived out of the image of a snail.\r\n\r\n<strong>JK</strong> - The tiny invertebrate with its soft body carries its hard shell/shelter wherever it goes, like any human being carrying his or her own little room to recede into.  The large slices of bread that frame the picture in extreme close up induce a sense of claustrophobia that then forces the eye to escape into the eerie landscape forming the centre of the picture.\r\n\r\n<strong>RSK</strong> - Similarly in the assemblage of sculptures titled ‘Tent Cities (20 Illuminated Manuals)’, encased in the centre of each hand is a backlit photograph.  I would like to make the viewer play the role of a palmist, scanning through the pyramid of ten pairs of hands.  Each pair is held together like an open book, which the viewer is then invited to read/look into.  The hands on the right carry the sequential building up of the bread houses, while the ones on the left showcase the burning down of bread slices dipped in wax.  I was thinking about the wax dolls and other objects found outside churches.  They are meant for a ritual offering to attain what one desires.  It is from the sacrificial burning of the wax house that the bread tower is resurrected.  I like to think that one gains through the experience of loss.\r\n\r\n<strong>JK</strong> - I was thinking about the key difference between ‘Tent Cities…’ and let’s say works like ‘Transmigration (a travelogue)’ or ‘Moss Garden’. There is something indescribable about seeing a rose, an archetypal symbol of love and beauty, draped in the skin of a carnivore or seeing a family portrait framed on a slice of bread within a ring of moss.  By contrast, don’t you think the logic of ‘Tent Cities….’ is tangible and very easily available?\r\n\r\n<strong>RSK</strong> - I don’t think so.  You probably say this because the work has been with me for the longest duration of time and you’ve heard the logic of its execution, more than once.  There is however, quite clearly, a good deal of difference in the way they were conceived.  ‘Tent Cities’ is more immediate because the photographs are a direct record of the bread monuments.  But they refer to life in much the same way as the paintings do.\r\n\r\n<strong>JK</strong> - What comes after this?\r\n\r\n<strong>RSK</strong> - Newer ideas are already taking shape in the sketch-book.  So I’ll just to chase and realize them.\r\n\r\nJitish Kallat is a Bombay-based artist and a freelance writer.\r\n<b>Skin 2000</b>','','','inherit','open','open','','1259-revision-10','','','2010-07-09 15:30:44','2010-07-09 15:30:44','',1259,'http://www.biggventures.com/demo/artists/1489/uncat/1259-revision-10',0,'revision','',0),(1490,1,'2010-07-09 15:31:14','2010-07-09 15:31:14','<b style=\"color:#999999\">Skin</b>\r\n<b>Interview with Jitish Kallat</b>\r\n\r\nIt’s 27th August, a little more than a moth before these works get publicly shown and I thought it would be useful to include my voice in the catalogue.  My general discomfort of outlining recent body of work with an artist statement pushed me to conceive this in the manner of a dialogue.  Instead of our usual informal discussions in the studio I decided to exchange observations with Jitish about the making of the exhibition and record it in this document.JK\r\n\r\n<strong>JK - </strong>Reena, lets begin with the title and the format of the show.  You’ve chosen a deceptively simple title ‘Skin’.  It doesn’t say much but seems to murmur.  How did this title come to you?\r\n\r\n<strong>RSK</strong> - The title is used to wrap up the show, to seal the recent body of work.  I first thought of it while I was working on the three dyptichs titled, ‘Transmigration (a travelogue)’, where certain objects were chosen and altered by the act of painting.  In one of the pictures with a girl wearing a hairpin, the rose shaped clip in the larger frame is enveloped in leopard skin, which I think breathes new life into an otherwise inanimate hairpin.  And that kind of sparked off the idea.  Later I decided to retain it since skin suggests both a basic protective covering as well as the more cosmetic aspect of surface appearance.  In the exhibition I work around ideas of the basics of food and shelter often contrasted with material excesses.\r\n\r\n<strong>JK</strong> - A strange collision of privations and plenty does seems to happen in ‘Bred Minar’ where an androgynous fashion freak dressed in a high fashion garment poses stupidly (although looking majestic) in front of a bread-tower candle placed like a house of cards.  The knives that frame his majesty threaten his existence but he is oblivious about it.  The bread house is an excellent metaphor for food and shelter as basic necessities of life.  When its burns like a candle we have an evocation of fuel and light.  All packed in one ‘Bred Minar’.\r\n\r\n<strong>RSK</strong> -	Yes, there is a breakdown of boundaries between the real and the unreal.  What you’re perhaps referring to is the apparent incongruity of the borrowed image from the invented one.\r\n\r\n<strong>JK </strong>-No, I was thinking about how the apparent absurdity has an underlying, almost poetic evocation.  Yet as a picture it is set in an unknown space having the quality of a set design in a surreal play.  While each image is perfectly normal they create a lot of friction when they interact within a single painting.  Is this friction a necessary agent in the creation of meaning?\r\n\r\n<strong>RSK</strong> -	 Well certainly not in the creation of all meaning.  In ‘Bred Minar’ I’m thinking of an altar in a shrine, whereas in case of the work titled ‘Bridge’ the sense of threat is heightened because of the tenuousness of the strings, The tricky placement of the bread houses becomes a reminder of the tight-roped life in the city.\r\n\r\n<strong>JK</strong> - I like the way the imagery connects with the idea of the city. ‘Bridge’ is also a space of transit.  You don’t build a house on it unless it is a makeshift refuge; the home of a gypsy whose residence is an automobile.  One thinks of the numerous squatters in the city.  The formal arrangement of ‘Bridge’ is also interesting because the two nurturing hands that bracket the house of bread at once appear handcuffed, which in turn evokes an images of confinement.\r\n\r\n<strong>RSK</strong> -	Strangely I first thought of titling it ‘Arrested development’. What came as a natural corollary to this work was the image of a person carrying bread houses on the back called ‘Gastropode mollusc’.  And this fragile house structure in motion, is then set against a landscape of solidly grounded pyramids.  You’ll see once I’ve completed it.\r\n\r\n<strong>JK</strong> - The house has anyway been a recurring motif in your last show “ Orchid of home grown secrets”.\r\n\r\n<strong>RSK</strong> - Yes, the house was most prominent there in the work called ‘Joint Family’.  It was conceived such that one large umbrella house contained within it two smaller ones, whose nucleus was marked by a pair of copulating snakes (a symbol of fertility).  Also in the show were fragile houses of painted cards, which in the recent body of work take a new dimension as the cards get replaced by slices of bread.\r\n\r\n<strong>JK</strong> - I know for sure that there isn’t a hint of autobiography in ‘Joint family’.  You never lived in one.  You’ve lived stable and comfortable life in Bombay and never had to carry your home around like ‘Gastropode Mollusc’.  How do these images come to you ? Whose ‘Joint family’ are you referring to and who is ‘Gastropode mollusc?\r\n\r\n<strong>RSK</strong> - Most of my images are conceived on a sketchbook and they are never specifically about me.  The same goes for’ Joint family’ and ‘Gastropode Mollusc’.  With Joint family I began with thoughts on a family I actually knew.  But the work just seemed to be about something else when I completed it.  If the green inside was used to mark off the domestic space, the outer walls covered with creepers hugging at it from all sides had multiple images of the outside world.  I was moving from the home, to the city, to the world.  ‘Gastropode Mollusc’ was conceived out of the image of a snail.\r\n\r\n<strong>JK</strong> - The tiny invertebrate with its soft body carries its hard shell/shelter wherever it goes, like any human being carrying his or her own little room to recede into.  The large slices of bread that frame the picture in extreme close up induce a sense of claustrophobia that then forces the eye to escape into the eerie landscape forming the centre of the picture.\r\n\r\n<strong>RSK</strong> - Similarly in the assemblage of sculptures titled ‘Tent Cities (20 Illuminated Manuals)’, encased in the centre of each hand is a backlit photograph.  I would like to make the viewer play the role of a palmist, scanning through the pyramid of ten pairs of hands.  Each pair is held together like an open book, which the viewer is then invited to read/look into.  The hands on the right carry the sequential building up of the bread houses, while the ones on the left showcase the burning down of bread slices dipped in wax.  I was thinking about the wax dolls and other objects found outside churches.  They are meant for a ritual offering to attain what one desires.  It is from the sacrificial burning of the wax house that the bread tower is resurrected.  I like to think that one gains through the experience of loss.\r\n\r\n<strong>JK</strong> - I was thinking about the key difference between ‘Tent Cities…’ and let’s say works like ‘Transmigration (a travelogue)’ or ‘Moss Garden’. There is something indescribable about seeing a rose, an archetypal symbol of love and beauty, draped in the skin of a carnivore or seeing a family portrait framed on a slice of bread within a ring of moss.  By contrast, don’t you think the logic of ‘Tent Cities….’ is tangible and very easily available?\r\n\r\n<strong>RSK</strong> - I don’t think so.  You probably say this because the work has been with me for the longest duration of time and you’ve heard the logic of its execution, more than once.  There is however, quite clearly, a good deal of difference in the way they were conceived.  ‘Tent Cities’ is more immediate because the photographs are a direct record of the bread monuments.  But they refer to life in much the same way as the paintings do.\r\n\r\n<strong>JK</strong> - What comes after this?\r\n\r\n<strong>RSK</strong> - Newer ideas are already taking shape in the sketch-book.  So I’ll just to chase and realize them.\r\n\r\nJitish Kallat is a Bombay-based artist and a freelance writer.\r\n<b>2000</b>','','','inherit','open','open','','1259-revision-11','','','2010-07-09 15:31:14','2010-07-09 15:31:14','',1259,'http://www.biggventures.com/demo/artists/1490/uncat/1259-revision-11',0,'revision','',0),(1491,1,'2010-07-09 15:31:41','2010-07-09 15:31:41','<b style=\"color:#999999\">Skin</b>\r\n<b>Interview with Jitish Kallat</b>\r\n\r\nIt’s 27th August, a little more than a moth before these works get publicly shown and I thought it would be useful to include my voice in the catalogue.  My general discomfort of outlining recent body of work with an artist statement pushed me to conceive this in the manner of a dialogue.  Instead of our usual informal discussions in the studio I decided to exchange observations with Jitish about the making of the exhibition and record it in this document.JK\r\n\r\n<strong>JK - </strong>Reena, lets begin with the title and the format of the show.  You’ve chosen a deceptively simple title ‘Skin’.  It doesn’t say much but seems to murmur.  How did this title come to you?\r\n\r\n<strong>RSK</strong> - The title is used to wrap up the show, to seal the recent body of work.  I first thought of it while I was working on the three dyptichs titled, ‘Transmigration (a travelogue)’, where certain objects were chosen and altered by the act of painting.  In one of the pictures with a girl wearing a hairpin, the rose shaped clip in the larger frame is enveloped in leopard skin, which I think breathes new life into an otherwise inanimate hairpin.  And that kind of sparked off the idea.  Later I decided to retain it since skin suggests both a basic protective covering as well as the more cosmetic aspect of surface appearance.  In the exhibition I work around ideas of the basics of food and shelter often contrasted with material excesses.\r\n\r\n<strong>JK</strong> - A strange collision of privations and plenty does seems to happen in ‘Bred Minar’ where an androgynous fashion freak dressed in a high fashion garment poses stupidly (although looking majestic) in front of a bread-tower candle placed like a house of cards.  The knives that frame his majesty threaten his existence but he is oblivious about it.  The bread house is an excellent metaphor for food and shelter as basic necessities of life.  When its burns like a candle we have an evocation of fuel and light.  All packed in one ‘Bred Minar’.\r\n\r\n<strong>RSK</strong> -	Yes, there is a breakdown of boundaries between the real and the unreal.  What you’re perhaps referring to is the apparent incongruity of the borrowed image from the invented one.\r\n\r\n<strong>JK </strong>-No, I was thinking about how the apparent absurdity has an underlying, almost poetic evocation.  Yet as a picture it is set in an unknown space having the quality of a set design in a surreal play.  While each image is perfectly normal they create a lot of friction when they interact within a single painting.  Is this friction a necessary agent in the creation of meaning?\r\n\r\n<strong>RSK</strong> -	 Well certainly not in the creation of all meaning.  In ‘Bred Minar’ I’m thinking of an altar in a shrine, whereas in case of the work titled ‘Bridge’ the sense of threat is heightened because of the tenuousness of the strings, The tricky placement of the bread houses becomes a reminder of the tight-roped life in the city.\r\n\r\n<strong>JK</strong> - I like the way the imagery connects with the idea of the city. ‘Bridge’ is also a space of transit.  You don’t build a house on it unless it is a makeshift refuge; the home of a gypsy whose residence is an automobile.  One thinks of the numerous squatters in the city.  The formal arrangement of ‘Bridge’ is also interesting because the two nurturing hands that bracket the house of bread at once appear handcuffed, which in turn evokes an images of confinement.\r\n\r\n<strong>RSK</strong> -	Strangely I first thought of titling it ‘Arrested development’. What came as a natural corollary to this work was the image of a person carrying bread houses on the back called ‘Gastropode mollusc’.  And this fragile house structure in motion, is then set against a landscape of solidly grounded pyramids.  You’ll see once I’ve completed it.\r\n\r\n<strong>JK</strong> - The house has anyway been a recurring motif in your last show “ Orchid of home grown secrets”.\r\n\r\n<strong>RSK</strong> - Yes, the house was most prominent there in the work called ‘Joint Family’.  It was conceived such that one large umbrella house contained within it two smaller ones, whose nucleus was marked by a pair of copulating snakes (a symbol of fertility).  Also in the show were fragile houses of painted cards, which in the recent body of work take a new dimension as the cards get replaced by slices of bread.\r\n\r\n<strong>JK</strong> - I know for sure that there isn’t a hint of autobiography in ‘Joint family’.  You never lived in one.  You’ve lived stable and comfortable life in Bombay and never had to carry your home around like ‘Gastropode Mollusc’.  How do these images come to you ? Whose ‘Joint family’ are you referring to and who is ‘Gastropode mollusc?\r\n\r\n<strong>RSK</strong> - Most of my images are conceived on a sketchbook and they are never specifically about me.  The same goes for’ Joint family’ and ‘Gastropode Mollusc’.  With Joint family I began with thoughts on a family I actually knew.  But the work just seemed to be about something else when I completed it.  If the green inside was used to mark off the domestic space, the outer walls covered with creepers hugging at it from all sides had multiple images of the outside world.  I was moving from the home, to the city, to the world.  ‘Gastropode Mollusc’ was conceived out of the image of a snail.\r\n\r\n<strong>JK</strong> - The tiny invertebrate with its soft body carries its hard shell/shelter wherever it goes, like any human being carrying his or her own little room to recede into.  The large slices of bread that frame the picture in extreme close up induce a sense of claustrophobia that then forces the eye to escape into the eerie landscape forming the centre of the picture.\r\n\r\n<strong>RSK</strong> - Similarly in the assemblage of sculptures titled ‘Tent Cities (20 Illuminated Manuals)’, encased in the centre of each hand is a backlit photograph.  I would like to make the viewer play the role of a palmist, scanning through the pyramid of ten pairs of hands.  Each pair is held together like an open book, which the viewer is then invited to read/look into.  The hands on the right carry the sequential building up of the bread houses, while the ones on the left showcase the burning down of bread slices dipped in wax.  I was thinking about the wax dolls and other objects found outside churches.  They are meant for a ritual offering to attain what one desires.  It is from the sacrificial burning of the wax house that the bread tower is resurrected.  I like to think that one gains through the experience of loss.\r\n\r\n<strong>JK</strong> - I was thinking about the key difference between ‘Tent Cities…’ and let’s say works like ‘Transmigration (a travelogue)’ or ‘Moss Garden’. There is something indescribable about seeing a rose, an archetypal symbol of love and beauty, draped in the skin of a carnivore or seeing a family portrait framed on a slice of bread within a ring of moss.  By contrast, don’t you think the logic of ‘Tent Cities….’ is tangible and very easily available?\r\n\r\n<strong>RSK</strong> - I don’t think so.  You probably say this because the work has been with me for the longest duration of time and you’ve heard the logic of its execution, more than once.  There is however, quite clearly, a good deal of difference in the way they were conceived.  ‘Tent Cities’ is more immediate because the photographs are a direct record of the bread monuments.  But they refer to life in much the same way as the paintings do.\r\n\r\n<strong>JK</strong> - What comes after this?\r\n\r\n<strong>RSK</strong> - Newer ideas are already taking shape in the sketch-book.  So I’ll just to chase and realize them.\r\n\r\nJitish Kallat is a Bombay-based artist and a freelance writer.\r\n\r\n<b>2000</b>','','','inherit','open','open','','1259-revision-12','','','2010-07-09 15:31:41','2010-07-09 15:31:41','',1259,'http://www.biggventures.com/demo/artists/1491/uncat/1259-revision-12',0,'revision','',0),(1492,1,'2010-07-09 15:25:48','2010-07-09 15:25:48','<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>\r\n\r\n<!-- Start of Other Publications -->\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\r\n<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\">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-135','','','2010-07-09 15:25:48','2010-07-09 15:25:48','',87,'http://www.biggventures.com/demo/artists/1492/uncat/87-revision-135',0,'revision','',0),(1493,1,'2010-07-09 15:32:39','2010-07-09 15:32:39','<b style=\"color:#999999\">Skin</b>\r\n<b>Interview with Jitish Kallat</b>\r\n\r\nIt’s 27th August, a little more than a month before these works get publicly shown and I thought it would be useful to include my voice in the catalogue.  My general discomfort of outlining recent body of work with an artist statement pushed me to conceive this in the manner of a dialogue.  Instead of our usual informal discussions in the studio I decided to exchange observations with Jitish about the making of the exhibition and record it in this document.JK\r\n\r\n<strong>JK - </strong>Reena, lets begin with the title and the format of the show.  You’ve chosen a deceptively simple title ‘Skin’.  It doesn’t say much but seems to murmur.  How did this title come to you?\r\n\r\n<strong>RSK</strong> - The title is used to wrap up the show, to seal the recent body of work.  I first thought of it while I was working on the three dyptichs titled, ‘Transmigration (a travelogue)’, where certain objects were chosen and altered by the act of painting.  In one of the pictures with a girl wearing a hairpin, the rose shaped clip in the larger frame is enveloped in leopard skin, which I think breathes new life into an otherwise inanimate hairpin.  And that kind of sparked off the idea.  Later I decided to retain it since skin suggests both a basic protective covering as well as the more cosmetic aspect of surface appearance.  In the exhibition I work around ideas of the basics of food and shelter often contrasted with material excesses.\r\n\r\n<strong>JK</strong> - A strange collision of privations and plenty does seems to happen in ‘Bred Minar’ where an androgynous fashion freak dressed in a high fashion garment poses stupidly (although looking majestic) in front of a bread-tower candle placed like a house of cards.  The knives that frame his majesty threaten his existence but he is oblivious about it.  The bread house is an excellent metaphor for food and shelter as basic necessities of life.  When its burns like a candle we have an evocation of fuel and light.  All packed in one ‘Bred Minar’.\r\n\r\n<strong>RSK</strong> -	Yes, there is a breakdown of boundaries between the real and the unreal.  What you’re perhaps referring to is the apparent incongruity of the borrowed image from the invented one.\r\n\r\n<strong>JK </strong>-No, I was thinking about how the apparent absurdity has an underlying, almost poetic evocation.  Yet as a picture it is set in an unknown space having the quality of a set design in a surreal play.  While each image is perfectly normal they create a lot of friction when they interact within a single painting.  Is this friction a necessary agent in the creation of meaning?\r\n\r\n<strong>RSK</strong> -	 Well certainly not in the creation of all meaning.  In ‘Bred Minar’ I’m thinking of an altar in a shrine, whereas in case of the work titled ‘Bridge’ the sense of threat is heightened because of the tenuousness of the strings, The tricky placement of the bread houses becomes a reminder of the tight-roped life in the city.\r\n\r\n<strong>JK</strong> - I like the way the imagery connects with the idea of the city. ‘Bridge’ is also a space of transit.  You don’t build a house on it unless it is a makeshift refuge; the home of a gypsy whose residence is an automobile.  One thinks of the numerous squatters in the city.  The formal arrangement of ‘Bridge’ is also interesting because the two nurturing hands that bracket the house of bread at once appear handcuffed, which in turn evokes an images of confinement.\r\n\r\n<strong>RSK</strong> -	Strangely I first thought of titling it ‘Arrested development’. What came as a natural corollary to this work was the image of a person carrying bread houses on the back called ‘Gastropode mollusc’.  And this fragile house structure in motion, is then set against a landscape of solidly grounded pyramids.  You’ll see once I’ve completed it.\r\n\r\n<strong>JK</strong> - The house has anyway been a recurring motif in your last show “ Orchid of home grown secrets”.\r\n\r\n<strong>RSK</strong> - Yes, the house was most prominent there in the work called ‘Joint Family’.  It was conceived such that one large umbrella house contained within it two smaller ones, whose nucleus was marked by a pair of copulating snakes (a symbol of fertility).  Also in the show were fragile houses of painted cards, which in the recent body of work take a new dimension as the cards get replaced by slices of bread.\r\n\r\n<strong>JK</strong> - I know for sure that there isn’t a hint of autobiography in ‘Joint family’.  You never lived in one.  You’ve lived stable and comfortable life in Bombay and never had to carry your home around like ‘Gastropode Mollusc’.  How do these images come to you ? Whose ‘Joint family’ are you referring to and who is ‘Gastropode mollusc?\r\n\r\n<strong>RSK</strong> - Most of my images are conceived on a sketchbook and they are never specifically about me.  The same goes for’ Joint family’ and ‘Gastropode Mollusc’.  With Joint family I began with thoughts on a family I actually knew.  But the work just seemed to be about something else when I completed it.  If the green inside was used to mark off the domestic space, the outer walls covered with creepers hugging at it from all sides had multiple images of the outside world.  I was moving from the home, to the city, to the world.  ‘Gastropode Mollusc’ was conceived out of the image of a snail.\r\n\r\n<strong>JK</strong> - The tiny invertebrate with its soft body carries its hard shell/shelter wherever it goes, like any human being carrying his or her own little room to recede into.  The large slices of bread that frame the picture in extreme close up induce a sense of claustrophobia that then forces the eye to escape into the eerie landscape forming the centre of the picture.\r\n\r\n<strong>RSK</strong> - Similarly in the assemblage of sculptures titled ‘Tent Cities (20 Illuminated Manuals)’, encased in the centre of each hand is a backlit photograph.  I would like to make the viewer play the role of a palmist, scanning through the pyramid of ten pairs of hands.  Each pair is held together like an open book, which the viewer is then invited to read/look into.  The hands on the right carry the sequential building up of the bread houses, while the ones on the left showcase the burning down of bread slices dipped in wax.  I was thinking about the wax dolls and other objects found outside churches.  They are meant for a ritual offering to attain what one desires.  It is from the sacrificial burning of the wax house that the bread tower is resurrected.  I like to think that one gains through the experience of loss.\r\n\r\n<strong>JK</strong> - I was thinking about the key difference between ‘Tent Cities…’ and let’s say works like ‘Transmigration (a travelogue)’ or ‘Moss Garden’. There is something indescribable about seeing a rose, an archetypal symbol of love and beauty, draped in the skin of a carnivore or seeing a family portrait framed on a slice of bread within a ring of moss.  By contrast, don’t you think the logic of ‘Tent Cities….’ is tangible and very easily available?\r\n\r\n<strong>RSK</strong> - I don’t think so.  You probably say this because the work has been with me for the longest duration of time and you’ve heard the logic of its execution, more than once.  There is however, quite clearly, a good deal of difference in the way they were conceived.  ‘Tent Cities’ is more immediate because the photographs are a direct record of the bread monuments.  But they refer to life in much the same way as the paintings do.\r\n\r\n<strong>JK</strong> - What comes after this?\r\n\r\n<strong>RSK</strong> - Newer ideas are already taking shape in the sketch-book.  So I’ll just to chase and realize them.\r\n\r\nJitish Kallat is a Bombay-based artist and a freelance writer.\r\n\r\n<b>2000</b>','','','inherit','open','open','','1259-revision-13','','','2010-07-09 15:32:39','2010-07-09 15:32:39','',1259,'http://www.biggventures.com/demo/artists/1493/uncat/1259-revision-13',0,'revision','',0),(1494,1,'2010-07-09 15:32:59','2010-07-09 15:32:59','<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>\r\n\r\n<!-- Start of Other Publications -->\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\r\n<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\">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-136','','','2010-07-09 15:32:59','2010-07-09 15:32:59','',87,'http://www.biggventures.com/demo/artists/1494/uncat/87-revision-136',0,'revision','',0),(1496,1,'2010-07-09 15:37:18','2010-07-09 15:37:18','<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 -->\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\r\n<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\">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-138','','','2010-07-09 15:37:18','2010-07-09 15:37:18','',87,'http://www.biggventures.com/demo/artists/1496/uncat/87-revision-138',0,'revision','',0),(1497,1,'2010-07-09 15:38:36','2010-07-09 15:38:36','<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\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n\r\n<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\">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-139','','','2010-07-09 15:38:36','2010-07-09 15:38:36','',87,'http://www.biggventures.com/demo/artists/1497/uncat/87-revision-139',0,'revision','',0),(1498,1,'2010-07-09 15:33:24','2010-07-09 15:33:24','<b style=\"color:#999999\">SKIN</b>\r\n<b>Interview with Jitish Kallat</b>\r\n\r\nIt’s 27th August, a little more than a month before these works get publicly shown and I thought it would be useful to include my voice in the catalogue.  My general discomfort of outlining recent body of work with an artist statement pushed me to conceive this in the manner of a dialogue.  Instead of our usual informal discussions in the studio I decided to exchange observations with Jitish about the making of the exhibition and record it in this document.JK\r\n\r\n<strong>JK - </strong>Reena, lets begin with the title and the format of the show.  You’ve chosen a deceptively simple title ‘Skin’.  It doesn’t say much but seems to murmur.  How did this title come to you?\r\n\r\n<strong>RSK</strong> - The title is used to wrap up the show, to seal the recent body of work.  I first thought of it while I was working on the three dyptichs titled, ‘Transmigration (a travelogue)’, where certain objects were chosen and altered by the act of painting.  In one of the pictures with a girl wearing a hairpin, the rose shaped clip in the larger frame is enveloped in leopard skin, which I think breathes new life into an otherwise inanimate hairpin.  And that kind of sparked off the idea.  Later I decided to retain it since skin suggests both a basic protective covering as well as the more cosmetic aspect of surface appearance.  In the exhibition I work around ideas of the basics of food and shelter often contrasted with material excesses.\r\n\r\n<strong>JK</strong> - A strange collision of privations and plenty does seems to happen in ‘Bred Minar’ where an androgynous fashion freak dressed in a high fashion garment poses stupidly (although looking majestic) in front of a bread-tower candle placed like a house of cards.  The knives that frame his majesty threaten his existence but he is oblivious about it.  The bread house is an excellent metaphor for food and shelter as basic necessities of life.  When its burns like a candle we have an evocation of fuel and light.  All packed in one ‘Bred Minar’.\r\n\r\n<strong>RSK</strong> -	Yes, there is a breakdown of boundaries between the real and the unreal.  What you’re perhaps referring to is the apparent incongruity of the borrowed image from the invented one.\r\n\r\n<strong>JK </strong>-No, I was thinking about how the apparent absurdity has an underlying, almost poetic evocation.  Yet as a picture it is set in an unknown space having the quality of a set design in a surreal play.  While each image is perfectly normal they create a lot of friction when they interact within a single painting.  Is this friction a necessary agent in the creation of meaning?\r\n\r\n<strong>RSK</strong> -	 Well certainly not in the creation of all meaning.  In ‘Bred Minar’ I’m thinking of an altar in a shrine, whereas in case of the work titled ‘Bridge’ the sense of threat is heightened because of the tenuousness of the strings, The tricky placement of the bread houses becomes a reminder of the tight-roped life in the city.\r\n\r\n<strong>JK</strong> - I like the way the imagery connects with the idea of the city. ‘Bridge’ is also a space of transit.  You don’t build a house on it unless it is a makeshift refuge; the home of a gypsy whose residence is an automobile.  One thinks of the numerous squatters in the city.  The formal arrangement of ‘Bridge’ is also interesting because the two nurturing hands that bracket the house of bread at once appear handcuffed, which in turn evokes an images of confinement.\r\n\r\n<strong>RSK</strong> -	Strangely I first thought of titling it ‘Arrested development’. What came as a natural corollary to this work was the image of a person carrying bread houses on the back called ‘Gastropode mollusc’.  And this fragile house structure in motion, is then set against a landscape of solidly grounded pyramids.  You’ll see once I’ve completed it.\r\n\r\n<strong>JK</strong> - The house has anyway been a recurring motif in your last show “ Orchid of home grown secrets”.\r\n\r\n<strong>RSK</strong> - Yes, the house was most prominent there in the work called ‘Joint Family’.  It was conceived such that one large umbrella house contained within it two smaller ones, whose nucleus was marked by a pair of copulating snakes (a symbol of fertility).  Also in the show were fragile houses of painted cards, which in the recent body of work take a new dimension as the cards get replaced by slices of bread.\r\n\r\n<strong>JK</strong> - I know for sure that there isn’t a hint of autobiography in ‘Joint family’.  You never lived in one.  You’ve lived stable and comfortable life in Bombay and never had to carry your home around like ‘Gastropode Mollusc’.  How do these images come to you ? Whose ‘Joint family’ are you referring to and who is ‘Gastropode mollusc?\r\n\r\n<strong>RSK</strong> - Most of my images are conceived on a sketchbook and they are never specifically about me.  The same goes for’ Joint family’ and ‘Gastropode Mollusc’.  With Joint family I began with thoughts on a family I actually knew.  But the work just seemed to be about something else when I completed it.  If the green inside was used to mark off the domestic space, the outer walls covered with creepers hugging at it from all sides had multiple images of the outside world.  I was moving from the home, to the city, to the world.  ‘Gastropode Mollusc’ was conceived out of the image of a snail.\r\n\r\n<strong>JK</strong> - The tiny invertebrate with its soft body carries its hard shell/shelter wherever it goes, like any human being carrying his or her own little room to recede into.  The large slices of bread that frame the picture in extreme close up induce a sense of claustrophobia that then forces the eye to escape into the eerie landscape forming the centre of the picture.\r\n\r\n<strong>RSK</strong> - Similarly in the assemblage of sculptures titled ‘Tent Cities (20 Illuminated Manuals)’, encased in the centre of each hand is a backlit photograph.  I would like to make the viewer play the role of a palmist, scanning through the pyramid of ten pairs of hands.  Each pair is held together like an open book, which the viewer is then invited to read/look into.  The hands on the right carry the sequential building up of the bread houses, while the ones on the left showcase the burning down of bread slices dipped in wax.  I was thinking about the wax dolls and other objects found outside churches.  They are meant for a ritual offering to attain what one desires.  It is from the sacrificial burning of the wax house that the bread tower is resurrected.  I like to think that one gains through the experience of loss.\r\n\r\n<strong>JK</strong> - I was thinking about the key difference between ‘Tent Cities…’ and let’s say works like ‘Transmigration (a travelogue)’ or ‘Moss Garden’. There is something indescribable about seeing a rose, an archetypal symbol of love and beauty, draped in the skin of a carnivore or seeing a family portrait framed on a slice of bread within a ring of moss.  By contrast, don’t you think the logic of ‘Tent Cities….’ is tangible and very easily available?\r\n\r\n<strong>RSK</strong> - I don’t think so.  You probably say this because the work has been with me for the longest duration of time and you’ve heard the logic of its execution, more than once.  There is however, quite clearly, a good deal of difference in the way they were conceived.  ‘Tent Cities’ is more immediate because the photographs are a direct record of the bread monuments.  But they refer to life in much the same way as the paintings do.\r\n\r\n<strong>JK</strong> - What comes after this?\r\n\r\n<strong>RSK</strong> - Newer ideas are already taking shape in the sketch-book.  So I’ll just to chase and realize them.\r\n\r\nJitish Kallat is a Bombay-based artist and a freelance writer.\r\n\r\n<b>2000</b>','','','inherit','open','open','','1259-revision-14','','','2010-07-09 15:33:24','2010-07-09 15:33:24','',1259,'http://www.biggventures.com/demo/artists/1498/uncat/1259-revision-14',0,'revision','',0),(1499,1,'2010-07-09 15:38:54','2010-07-09 15:38:54','<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\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n\r\n<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\">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-140','','','2010-07-09 15:38:54','2010-07-09 15:38:54','',87,'http://www.biggventures.com/demo/artists/1499/uncat/87-revision-140',0,'revision','',0),(1500,1,'2010-07-09 15:59:08','2010-07-09 15:59:08','<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\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n\r\n<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\">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-141','','','2010-07-09 15:59:08','2010-07-09 15:59:08','',87,'http://www.biggventures.com/demo/artists/1500/uncat/87-revision-141',0,'revision','',0),(1501,1,'2010-07-09 16:02:34','2010-07-09 16:02:34','<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-142','','','2010-07-09 16:02:34','2010-07-09 16:02:34','',87,'http://www.biggventures.com/demo/artists/1501/uncat/87-revision-142',0,'revision','',0),(1510,1,'2010-07-09 16:09:59','2010-07-09 16:09:59','<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-147','','','2010-07-09 16:09:59','2010-07-09 16:09:59','',87,'http://www.biggventures.com/demo/artists/1510/uncat/87-revision-147',0,'revision','',0),(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),