(1420,1,'2010-07-06 17:22:31','2010-07-06 17:22:31','<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\"><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: 8px; padding-top: 2px;\"><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\"><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: 8px; padding-top: 2px;\"><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\"><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: 8px; padding-top: 2px;\"><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\"><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\" height=\"214\" /></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: 8px; padding-top: 2px;\"><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\"><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\" height=\"214\" /></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: 8px; padding-top: 2px;\"><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\"><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\" height=\"214\" /></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: 8px; padding-top: 2px;\"><a href=\"http://www.reenakallat.com/orchard-of-home-grown-screts\" 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 Intrirue</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-113','','','2010-07-06 17:22:31','2010-07-06 17:22:31','',87,'http://www.biggventures.com/demo/artists/1420/uncat/87-revision-113',0,'revision','',0),(1421,1,'2010-07-06 17:23:44','2010-07-06 17:23:44','<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\"><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: 5px; padding-top: 2px;\"><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\"><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: 5px; padding-top: 2px;\"><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\"><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: 5px; padding-top: 2px;\"><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\"><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\" height=\"214\" /></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: 5px; padding-top: 2px;\"><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\"><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\" height=\"214\" /></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: 5px; padding-top: 2px;\"><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\"><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\" height=\"214\" /></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: 5px; padding-top: 2px;\"><a href=\"http://www.reenakallat.com/orchard-of-home-grown-screts\" 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 Intrirue</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-114','','','2010-07-06 17:23:44','2010-07-06 17:23:44','',87,'http://www.biggventures.com/demo/artists/1421/uncat/87-revision-114',0,'revision','',0),(1422,1,'2010-07-06 17:41:29','2010-07-06 17:41:29','<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: 5px; padding-top: 2px;\"><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: 5px; padding-top: 2px;\"><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: 5px; padding-top: 2px;\"><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\" height=\"214\" /></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: 5px; padding-top: 2px;\"><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\" height=\"214\" /></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: 5px; padding-top: 2px;\"><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\" height=\"214\" /></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: 5px; padding-top: 2px;\"><a href=\"http://www.reenakallat.com/orchard-of-home-grown-screts\" 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 Intrirue</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-115','','','2010-07-06 17:41:29','2010-07-06 17:41:29','',87,'http://www.biggventures.com/demo/artists/1422/uncat/87-revision-115',0,'revision','',0),(1423,1,'2010-07-06 17:41:53','2010-07-06 17:41:53','<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: 5px; padding-top: 2px;\"><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: 5px; padding-top: 2px;\"><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: 5px; padding-top: 2px;\"><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\" height=\"214\" /></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: 5px; padding-top: 2px;\"><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\" height=\"214\" /></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: 5px; padding-top: 2px;\"><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\" height=\"214\" /></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: 5px; padding-top: 2px;\"><a href=\"http://www.reenakallat.com/orchard-of-home-grown-screts\" 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 Intrirue</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-116','','','2010-07-06 17:41:53','2010-07-06 17:41:53','',87,'http://www.biggventures.com/demo/artists/1423/uncat/87-revision-116',0,'revision','',0),(1424,1,'2010-07-06 17:53:50','2010-07-06 17:53:50','<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: 5px; padding-top: 2px;\"><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: 5px; padding-top: 2px;\"><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: 5px; padding-top: 2px;\"><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: 5px; padding-top: 2px;\"><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: 5px; padding-top: 2px;\"><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: 5px; padding-top: 2px;\"><a href=\"http://www.reenakallat.com/orchard-of-home-grown-screts\" 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 Intrirue</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-117','','','2010-07-06 17:53:50','2010-07-06 17:53:50','',87,'http://www.biggventures.com/demo/artists/1424/uncat/87-revision-117',0,'revision','',0),(1425,1,'2010-07-06 17:58:30','2010-07-06 17:58:30','<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-of-home-grown-screts\" 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 Intrirue</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-118','','','2010-07-06 17:58:30','2010-07-06 17:58:30','',87,'http://www.biggventures.com/demo/artists/1425/uncat/87-revision-118',0,'revision','',0),(1426,1,'2010-07-06 17:59:36','2010-07-06 17:59:36','<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: 8px; 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-of-home-grown-screts\" 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 Intrirue</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-119','','','2010-07-06 17:59:36','2010-07-06 17:59:36','',87,'http://www.biggventures.com/demo/artists/1426/uncat/87-revision-119',0,'revision','',0),(1427,1,'2010-07-06 18:00:08','2010-07-06 18:00:08','<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-of-home-grown-screts\" 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 Intrirue</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-120','','','2010-07-06 18:00:08','2010-07-06 18:00:08','',87,'http://www.biggventures.com/demo/artists/1427/uncat/87-revision-120',0,'revision','',0),(1428,1,'2010-07-06 18:00:40','2010-07-06 18:00:40','<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: 9px; 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-of-home-grown-screts\" 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 Intrirue</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-121','','','2010-07-06 18:00:40','2010-07-06 18:00:40','',87,'http://www.biggventures.com/demo/artists/1428/uncat/87-revision-121',0,'revision','',0),(1429,1,'2010-07-06 18:01:12','2010-07-06 18:01:12','<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-of-home-grown-screts\" 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 Intrirue</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-122','','','2010-07-06 18:01:12','2010-07-06 18:01:12','',87,'http://www.biggventures.com/demo/artists/1429/uncat/87-revision-122',0,'revision','',0),(1430,1,'2010-07-04 15:16:10','2010-07-04 15:16:10','<br/>\r\n<table style=\"margin-left:10px\">\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>','Contact','','inherit','open','open','','189-revision-16','','','2010-07-04 15:16:10','2010-07-04 15:16:10','',189,'http://www.biggventures.com/demo/artists/1430/uncat/189-revision-16',0,'revision','',0),(1431,1,'2010-07-07 07:55:40','2010-07-07 07:55:40','<br/>\r\n<table style=\"margin-left:10px\">\r\n<tr>\r\n<td>\r\n</tr>\r\n</td>\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>','Contact','','inherit','open','open','','189-revision-17','','','2010-07-07 07:55:40','2010-07-07 07:55:40','',189,'http://www.biggventures.com/demo/artists/1431/uncat/189-revision-17',0,'revision','',0),(1432,1,'2010-07-07 07:58:06','2010-07-07 07:58:06','<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>\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>','Contact','','inherit','open','open','','189-revision-18','','','2010-07-07 07:58:06','2010-07-07 07:58:06','',189,'http://www.biggventures.com/demo/artists/1432/uncat/189-revision-18',0,'revision','',0),(1433,1,'2010-07-07 07:59:15','2010-07-07 07:59:15','<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>\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>','Contact','','inherit','open','open','','189-revision-19','','','2010-07-07 07:59:15','2010-07-07 07:59:15','',189,'http://www.biggventures.com/demo/artists/1433/uncat/189-revision-19',0,'revision','',0),(1434,1,'2010-07-07 08:54:06','2010-07-07 08:54:06','<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/>\r\n<br/>\r\n<br/>\r\n<br/>\r\n<br/>\r\n<br/>','Contact','','inherit','open','open','','189-revision-20','','','2010-07-07 08:54:06','2010-07-07 08:54:06','',189,'http://www.biggventures.com/demo/artists/1434/uncat/189-revision-20',0,'revision','',0),(1435,1,'2010-07-07 09:34:55','2010-07-07 09:34:55','<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/>\r\n<br/>\r\n<br/>\r\n<br/>','Contact','','inherit','open','open','','189-revision-21','','','2010-07-07 09:34:55','2010-07-07 09:34:55','',189,'http://www.biggventures.com/demo/artists/1435/uncat/189-revision-21',0,'revision','',0),(1436,1,'2010-07-07 09:38:38','2010-07-07 09:38:38','<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/>\r\n<br/>\r\n<br/>\r\n<br/>','Contact','','inherit','open','open','','189-revision-22','','','2010-07-07 09:38:38','2010-07-07 09:38:38','',189,'http://www.biggventures.com/demo/artists/1436/uncat/189-revision-22',0,'revision','',0),(1437,1,'2010-07-07 09:40:54','2010-07-07 09:40:54','<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-23','','','2010-07-07 09:40:54','2010-07-07 09:40:54','',189,'http://www.biggventures.com/demo/artists/1437/uncat/189-revision-23',0,'revision','',0),(1442,1,'2010-07-07 16:10:22','2010-07-07 16:10:22','<b>SCREEN OF DEMONOLOGY</b>\r\n<b>Nancy Adajania</b>\r\n\r\nThe mediatic image is like a siren: it dies even as it raises an alarm.  The central problem facing painters who employ mediatic images in their art, therefore, is how do you resurrect an image that has such a brief half-life, how do you render significant an image that holds the attention for not more than the blink of an eye? In an economy of images that has reduced every human being to a banal cipher, how can the artist return a sense of significance and dignity to the human subject, re-connecting the image –fragmented individual to the larger texts of the contemporary? In her recent work, Reena Saini Kallat embeds these questions in portrait-narratives that function between the realms of ceremonial time and the accidents of history.\r\n\r\nFrom the flux of mediatic ephemera, Reena extracts images of anonymous people belonging to varied social milieux and political contexts; she invests them with symbolic resonance by the apparently simple act of selection and isolation with the specificities of their icon cropped away.  I would say that Reena’s figures are neither recognisable individual (in the sense that we cannot name them, even when we identify their locale from internal evidence) nor are they simply identitarian stereotypes (in that, although they are coded with national, religious or ethnic characteristics, the pictorial emphasis is on their human vulnerability, as people going about their lives, rather than as incarnations of identity).  In Reena’s treatment, these anonymous people become portraits residing in an unstable semiotic space intermediate between individual and type: she is thus able to employ them as markers of everyday heroism.\r\n\r\n\r\nThe faces that state at us from Reena’s columns are those of ordinary people, archived from the random memory of a computer; a Kashmiri woman in a festive dress, a street-child whose face wears an anxiety of lack, a man in characteristically African Muslim headgear, an anaemic migrant labourer, a taxi- or a rickshaw-driver, or perhaps one of the unemployed millions.  We are comforted by their familiar presence; we meet them daily in newspaper, on the TV screen, or on the Net.  They may come across as stereotypes at first glance, but the vulnerability of their situation summons from us an empathy that gives them a dimension of reality.  For, as the viewing eye travels below the portrait, it encounters a circus of mythic demons, flashing swords and lotus- charkas.\r\n\r\n\r\nThses figures take their place in a conspicuously ceremonial form that celebrates the everyday: Reena has chosen to install her portraits in wooden frames shaped and presented like columns; each portrait has below it, several panel that act as strata of visual inscription.  These columns may give the gallery-viewer a sense of having entered a space defined by ritual circumstances.  their form reminds the present writer of the stele, the archetypal memorial column for a hero in the ancient world, which used images to narrate his deeds to gods and humans.  But, of course the people we meet in Reena’s contemporary memorials are not legendary heroes they are day-to-day survivors.\r\n\r\n\r\nThese portraits seem structured to act like a screening procedure, as though the subjects were being passed through the beam of scrutiny.  Below the portrait’s face, what we thought were rows of visual inscriptions may be read as scans of a revealed anatomy, the interior of a body racked by the demons of poverty, state oppression and religious discrimination.  I use the term “screening procedure” to allude to the larger context of security paranoia where all individuals are demonised and reduced to types, guilty of belonging to whatever group identity that happens to be perceived as the threat of the moment.  I would choose to read the current exhibition as an attempt to address the dissonance between the personhood of the individual and the institutional tendency of states and corporations to depersonalise the individual into a type.  This show could also be seen as addressing the rampant trend towards demonising the other in every conflict at all levels, which forces us to perceive the world through screens if demonology.\r\n\r\n\r\nIn Reena’s columns, the demons are largely drawn from the representation of asuras in the Kangra miniatures.  Here they appear as machines of caricature and callisthenics, rather than as things of blood.  Their traditional role in mythology was to wreck the sacred sacrifice, the yagna and wreak havoc on figures of power and authority.  In Reena’s interpretation, however the demons impede the migrant labourer from fulfilling his desire to play Shravan and take his parents on a pilgrimage to the sacred sites of Hinduism, or the Muslim man from concentrating on his prayers, or the lotus- charkas of energy nosed within her body.  The sword, an intricately decorated prop which may imply the aestheticisation of violence in popular culture, recurs in each column, to mow down the demons.\r\n\r\n\r\nThe presence of these demons in these contemporary memorials has larger resonances.  Subaltern histories reveal how lower-caste communities and tribal populations  were represented as demons in our myths, how their land was captured and their resources usurped.  Labelled as demons, they became outsiders in their own land .  This subtly points to our construction of people as demons or our internalisation of demonologies without paying heed to the subterranean layers of history and folklore.  Sometimes, it becomes possible to see the demonisers as themselves being the demons: such reversals of perception are probed here.  This is significant in an age when George Bush launches\r\na brutal war of occupation in the name of containing jehad;  The Hindutva fundamentalists organise pogroms in revenge for events that are alleged to have taken place a thousand years ago; and the Israeli state engages in daily rites of slaughter to defend a homeland secured by the expropriation of territory and the expulsion of its people.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nIt is instructive that Reena breaks the solemnity of her portraits by inserting them within a comic-strip narrative of violence and retribution.  The drama unfolds through energetic play between the demons and the invading swords: black blood, a splatter of entrails, a missing leg.  This sense of comic play is minored in a portfolio of small acrylic works, which Reena has composed as a gallery of rogues based on comic characters from Italian baroque theatre.  The status quo is lampooned a bunch of knives breaks out of a  bespectacled face ,legs grow roots of knives.  Reena sees these figures as symbolic of our Indian politicians who juggle the citizens’ fate, driving their knives magically into the body polity without drawing any blood.\r\n\r\n\r\nBut all demons are not displayed as weapons of mass destruction.  In one of the columns, a demon with pointed tusks and sharpclawed hooves grows larger than life and swoops away with the monuments around which religious contention has been waged.  Above, we see the portrait of an elderly citizen with clouded spectacles.  He waits for change a respite from everyday violence.  Echoing his hope, in another column we witness the blade of a sword faintly disappearing.  The column ends with a spring-cloud,  a shade lighter  than the nocturnal blue dupatta of a child shielding herself from the biting cold .  Perhaps this is why, these columns have been titled, Sword –Swallowers, to emphasise that today ordinary people have to perform extraordinary feats to survive demons of all shapes and colurs.  Our everyday heroes have the skill of the juggler and the spiritual resilience of the fakir.  They survive the blade of the sword that cuts through their vocal cords and the demon that bites their entrails.\r\n\r\n\r\nDemons have fluid identities, they demonise, are demonised in turn .  But even cycles of violence have to end the spring-cloud returns and stain us with hope. Post script: Reena’s works, whether paintings or assemblages or photo-based installations have always dealt with the fragility of human existence and with the susceptibility of the human body that could easily crash like a pack of cards that was never meant to last its composure.  Body-parts, especially hands, recur in her art, sometimes they open up an existing wound, at other times, they rehearse the coming of grace.  The hands symbolise the constant tension in Reena’s art between the hap-hazardness (pun intended) of faith and the enduring lines of fate.\r\n\r\n\r\nTwo earlier works have been judiciously added to this current suite of paintings.  Both of which in their own distinct way deal with tattooed body-parts: the former (Seven Degrees of Vapour for the Vitreous Trousseau) and the latter (Wave and Blue-print: Birthmarks and Tattoos).  \r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n \r\n\r\n\r\nSeven Degrees… follows the cumulative growth of natural cycles, which are beset with the inexplicable.  On a three-week Residency at the Boreal Art/Nature Centre in the Laurentian Mountains of Quebec, Canada, Reena was given a brief to socialise with nature to reduce the gap between the binaries of culture and nature.  Since the cultural/nature binary is a given today, it would be more useful to find out what kind of interfaces are possible between culture and nature.  Away from the humid, sound-percolating city of Bombay, Reena chose to meditate uninvasively on the tranquillity of the Laurentian Mountains.  She did not resort to quasi-anthropological heroics that most artists in such a situation would have performed inevitably; no ground-clearing or hunter-gathering for her.  She framed the landscape with an already existing frame, the windowpane in her room, a façade of sheer glass entranced her.\r\n\r\n\r\nBy making the glass window with a henna drawing of open palms, Reena was subconsciously consecrating the window, an aperture of elsewhereness, with this auspicious paste from her home country.  It is as if Reena had visited the Laurentian Mountains in the spirit of a bridesmaid, only the palms on which she drew her henna designs were not those of a bride, bit window waiting to be dressed as one.  I have deliberately read this as a ritual of consecration rather than a naturalistic framing of a landscape.  Look at her gestures, every two days she offered drawings of fruits and herbs catalogued from a nearby greenhouse to the framed landscape by drilling a hole in the ground, she transformed the window her own.  The frame outside changed with the weather, the bare mountains were covered with a green garments as bald trees grew leaves.  Reena recorded these changes with her camera to make 21 photo-prints.  the resulting images did not need digital manipulation, no burn, lasso or crop(note the phallocentric terminology).  Rather they were a slow unfolding exposure of the mountains superimposed with signs of abundance and nurture.\r\n\r\nWave and Blue-print: Birthmarks and Tattoos, were not a private notation like Seven Degrees …., but a political inscription of the body with tattoos of discrimination.\r\n\r\n\r\nThe notion of play as lucid intervention phrased in the political context permeated this sculpture and photo-installation.  Reena led viewers into a familiar recreational field of reference, then pulled the rug from under their feet.  She made an inviting swing, its seat covered with a quilt of diverse scripts.  But the viewer could not sit or lie on it.  Covered by upturned rubber stamps bearing the names of people belonging to different communities, its seat seemed to signal “Inconvenience Regretted”! Reena felt an obsessive need to inscribe the names of India’s citizens in the colours of the national flag: it was her way of renewing the original contract of inclusiveness that the nation signed with its citizens in 1947, at Independence.  Today, some citizens fear a de-notification, while others claim special citizenship, and some are still not recognised as full-fledged citizens.  Subject to the mood-swings of electoral politics, citizen oscillate, their political identities polled into existence and defaced thereafter.  Reena made an identikit of photographic details, comprising branded body parts, to from the backdrop to the swing, amplifying the tattoos and taboos of a dismembered nation.\r\n\r\n<b>Bombay, January 2005</b>','','','inherit','open','open','','1264-revision-3','','','2010-07-07 16:10:22','2010-07-07 16:10:22','',1264,'http://www.biggventures.com/demo/artists/1442/uncat/1264-revision-3',0,'revision','',0),(1443,1,'2010-07-07 16:10:52','2010-07-07 16:10:52','<b>SCREEN OF DEMONOLOGY</b>\r\n<b>Nancy Adajania</b>\r\n\r\nThe mediatic image is like a siren: it dies even as it raises an alarm.  The central problem facing painters who employ mediatic images in their art, therefore, is how do you resurrect an image that has such a brief half-life, how do you render significant an image that holds the attention for not more than the blink of an eye? In an economy of images that has reduced every human being to a banal cipher, how can the artist return a sense of significance and dignity to the human subject, re-connecting the image –fragmented individual to the larger texts of the contemporary? In her recent work, Reena Saini Kallat embeds these questions in portrait-narratives that function between the realms of ceremonial time and the accidents of history.\r\n\r\nFrom the flux of mediatic ephemera, Reena extracts images of anonymous people belonging to varied social milieux and political contexts; she invests them with symbolic resonance by the apparently simple act of selection and isolation with the specificities of their icon cropped away.  I would say that Reena’s figures are neither recognisable individual (in the sense that we cannot name them, even when we identify their locale from internal evidence) nor are they simply identitarian stereotypes (in that, although they are coded with national, religious or ethnic characteristics, the pictorial emphasis is on their human vulnerability, as people going about their lives, rather than as incarnations of identity).  In Reena’s treatment, these anonymous people become portraits residing in an unstable semiotic space intermediate between individual and type: she is thus able to employ them as markers of everyday heroism.\r\n\r\n\r\nThe faces that state at us from Reena’s columns are those of ordinary people, archived from the random memory of a computer; a Kashmiri woman in a festive dress, a street-child whose face wears an anxiety of lack, a man in characteristically African Muslim headgear, an anaemic migrant labourer, a taxi- or a rickshaw-driver, or perhaps one of the unemployed millions.  We are comforted by their familiar presence; we meet them daily in newspaper, on the TV screen, or on the Net.  They may come across as stereotypes at first glance, but the vulnerability of their situation summons from us an empathy that gives them a dimension of reality.  For, as the viewing eye travels below the portrait, it encounters a circus of mythic demons, flashing swords and lotus- charkas.\r\n\r\n\r\nThses figures take their place in a conspicuously ceremonial form that celebrates the everyday: Reena has chosen to install her portraits in wooden frames shaped and presented like columns; each portrait has below it, several panel that act as strata of visual inscription.  These columns may give the gallery-viewer a sense of having entered a space defined by ritual circumstances.  their form reminds the present writer of the stele, the archetypal memorial column for a hero in the ancient world, which used images to narrate his deeds to gods and humans.  But, of course the people we meet in Reena’s contemporary memorials are not legendary heroes they are day-to-day survivors.\r\n\r\n\r\nThese portraits seem structured to act like a screening procedure, as though the subjects were being passed through the beam of scrutiny.  Below the portrait’s face, what we thought were rows of visual inscriptions may be read as scans of a revealed anatomy, the interior of a body racked by the demons of poverty, state oppression and religious discrimination.  I use the term “screening procedure” to allude to the larger context of security paranoia where all individuals are demonised and reduced to types, guilty of belonging to whatever group identity that happens to be perceived as the threat of the moment.  I would choose to read the current exhibition as an attempt to address the dissonance between the personhood of the individual and the institutional tendency of states and corporations to depersonalise the individual into a type.  This show could also be seen as addressing the rampant trend towards demonising the other in every conflict at all levels, which forces us to perceive the world through screens if demonology.\r\n\r\n\r\nIn Reena’s columns, the demons are largely drawn from the representation of asuras in the Kangra miniatures.  Here they appear as machines of caricature and callisthenics, rather than as things of blood.  Their traditional role in mythology was to wreck the sacred sacrifice, the yagna and wreak havoc on figures of power and authority.  In Reena’s interpretation, however the demons impede the migrant labourer from fulfilling his desire to play Shravan and take his parents on a pilgrimage to the sacred sites of Hinduism, or the Muslim man from concentrating on his prayers, or the lotus- charkas of energy nosed within her body.  The sword, an intricately decorated prop which may imply the aestheticisation of violence in popular culture, recurs in each column, to mow down the demons.\r\n\r\n\r\nThe presence of these demons in these contemporary memorials has larger resonances.  Subaltern histories reveal how lower-caste communities and tribal populations  were represented as demons in our myths, how their land was captured and their resources usurped.  Labelled as demons, they became outsiders in their own land .  This subtly points to our construction of people as demons or our internalisation of demonologies without paying heed to the subterranean layers of history and folklore.  Sometimes, it becomes possible to see the demonisers as themselves being the demons: such reversals of perception are probed here.  This is significant in an age when George Bush launches a brutal war of occupation in the name of containing jehad;  The Hindutva fundamentalists organise pogroms in revenge for events that are alleged to have taken place a thousand years ago; and the Israeli state engages in daily rites of slaughter to defend a homeland secured by the expropriation of territory and the expulsion of its people.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nIt is instructive that Reena breaks the solemnity of her portraits by inserting them within a comic-strip narrative of violence and retribution.  The drama unfolds through energetic play between the demons and the invading swords: black blood, a splatter of entrails, a missing leg.  This sense of comic play is minored in a portfolio of small acrylic works, which Reena has composed as a gallery of rogues based on comic characters from Italian baroque theatre.  The status quo is lampooned a bunch of knives breaks out of a  bespectacled face ,legs grow roots of knives.  Reena sees these figures as symbolic of our Indian politicians who juggle the citizens’ fate, driving their knives magically into the body polity without drawing any blood.\r\n\r\n\r\nBut all demons are not displayed as weapons of mass destruction.  In one of the columns, a demon with pointed tusks and sharpclawed hooves grows larger than life and swoops away with the monuments around which religious contention has been waged.  Above, we see the portrait of an elderly citizen with clouded spectacles.  He waits for change a respite from everyday violence.  Echoing his hope, in another column we witness the blade of a sword faintly disappearing.  The column ends with a spring-cloud,  a shade lighter  than the nocturnal blue dupatta of a child shielding herself from the biting cold .  Perhaps this is why, these columns have been titled, Sword –Swallowers, to emphasise that today ordinary people have to perform extraordinary feats to survive demons of all shapes and colurs.  Our everyday heroes have the skill of the juggler and the spiritual resilience of the fakir.  They survive the blade of the sword that cuts through their vocal cords and the demon that bites their entrails.\r\n\r\n\r\nDemons have fluid identities, they demonise, are demonised in turn .  But even cycles of violence have to end the spring-cloud returns and stain us with hope. Post script: Reena’s works, whether paintings or assemblages or photo-based installations have always dealt with the fragility of human existence and with the susceptibility of the human body that could easily crash like a pack of cards that was never meant to last its composure.  Body-parts, especially hands, recur in her art, sometimes they open up an existing wound, at other times, they rehearse the coming of grace.  The hands symbolise the constant tension in Reena’s art between the hap-hazardness (pun intended) of faith and the enduring lines of fate.\r\n\r\n\r\nTwo earlier works have been judiciously added to this current suite of paintings.  Both of which in their own distinct way deal with tattooed body-parts: the former (Seven Degrees of Vapour for the Vitreous Trousseau) and the latter (Wave and Blue-print: Birthmarks and Tattoos).  \r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n \r\n\r\n\r\nSeven Degrees… follows the cumulative growth of natural cycles, which are beset with the inexplicable.  On a three-week Residency at the Boreal Art/Nature Centre in the Laurentian Mountains of Quebec, Canada, Reena was given a brief to socialise with nature to reduce the gap between the binaries of culture and nature.  Since the cultural/nature binary is a given today, it would be more useful to find out what kind of interfaces are possible between culture and nature.  Away from the humid, sound-percolating city of Bombay, Reena chose to meditate uninvasively on the tranquillity of the Laurentian Mountains.  She did not resort to quasi-anthropological heroics that most artists in such a situation would have performed inevitably; no ground-clearing or hunter-gathering for her.  She framed the landscape with an already existing frame, the windowpane in her room, a façade of sheer glass entranced her.\r\n\r\n\r\nBy making the glass window with a henna drawing of open palms, Reena was subconsciously consecrating the window, an aperture of elsewhereness, with this auspicious paste from her home country.  It is as if Reena had visited the Laurentian Mountains in the spirit of a bridesmaid, only the palms on which she drew her henna designs were not those of a bride, bit window waiting to be dressed as one.  I have deliberately read this as a ritual of consecration rather than a naturalistic framing of a landscape.  Look at her gestures, every two days she offered drawings of fruits and herbs catalogued from a nearby greenhouse to the framed landscape by drilling a hole in the ground, she transformed the window her own.  The frame outside changed with the weather, the bare mountains were covered with a green garments as bald trees grew leaves.  Reena recorded these changes with her camera to make 21 photo-prints.  the resulting images did not need digital manipulation, no burn, lasso or crop(note the phallocentric terminology).  Rather they were a slow unfolding exposure of the mountains superimposed with signs of abundance and nurture.\r\n\r\nWave and Blue-print: Birthmarks and Tattoos, were not a private notation like Seven Degrees …., but a political inscription of the body with tattoos of discrimination.\r\n\r\n\r\nThe notion of play as lucid intervention phrased in the political context permeated this sculpture and photo-installation.  Reena led viewers into a familiar recreational field of reference, then pulled the rug from under their feet.  She made an inviting swing, its seat covered with a quilt of diverse scripts.  But the viewer could not sit or lie on it.  Covered by upturned rubber stamps bearing the names of people belonging to different communities, its seat seemed to signal “Inconvenience Regretted”! Reena felt an obsessive need to inscribe the names of India’s citizens in the colours of the national flag: it was her way of renewing the original contract of inclusiveness that the nation signed with its citizens in 1947, at Independence.  Today, some citizens fear a de-notification, while others claim special citizenship, and some are still not recognised as full-fledged citizens.  Subject to the mood-swings of electoral politics, citizen oscillate, their political identities polled into existence and defaced thereafter.  Reena made an identikit of photographic details, comprising branded body parts, to from the backdrop to the swing, amplifying the tattoos and taboos of a dismembered nation.\r\n\r\n<b>Bombay, January 2005</b>','','','inherit','open','open','','1264-revision-4','','','2010-07-07 16:10:52','2010-07-07 16:10:52','',1264,'http://www.biggventures.com/demo/artists/1443/uncat/1264-revision-4',0,'revision','',0),(1444,1,'2010-06-18 08:14:20','2010-06-18 08:14:20','<strong>Re-manufacturing Symbols: Recent Paintings by Reena Saini Kallat</strong>\r\n\r\nI propose to read Reena Saini Kallat’s recent paintings, which are overtly political, as a conversation between the visualities of fate and faith.  The tension between these two interrelated concepts has been dramatised most strongly in the Indian public sphere after independence.  From the 1950s through the 1980s, the citizens of post-colonial India harboured the hope that they could erase the lines of fate (inheritance by birth, caste, religion and regional location) and replace them with the power of faith in the secular icons of Progress, Technology and the Nation-state.  However, by the 1990s, various political and economic upheavals produced a new political configuration, under which this secular faith was eroded and substituted with a fate determined by religion and ethnicity, and articulated through processes of exclusion and discrimination.\r\n\r\n\r\nTwo visual tropes, those of the hand and the flag, recur in Saini’s works.  The hand appears both a delta of fate-lines as well as an instrument of labour that could overcome those lines.  The tricolour is portrayed as a mnemonic of the nation which once stood for sacrifice, peace and fertility, and also as a nation fragmented today by divisive political and religious forces.  In the paintings, the flag assumes various forms, floating across and tri-colouring a range of symbolic objects that stand for the nation.  It hues a diseased branch operated on a surgeon’s table, or dyes a nation-tree thirsting for water, or tints the landscape across which a dhobi carries his bundle of soiled clothes.\r\n\r\n\r\nIn Braiding the Line, Saini tries to reclaim the tricolour from ceremonialism.  Instead of an avaricious politician, she chooses a subaltern figure, a fisherman to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji, Maulana Azad and Vinobha Bhave are held together in this net of succulent vines.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with Kalki, the tenth and future avatar of the god Vishnu (the preserver of cosmic order and righteousness), which is placed as a pictorial notation in the corner of the painting.  This icon with a white horse’s head, which looks like a folkloric toy stands for a utopian future where disorder will be replaced with order.  Saini knits this narrative with a poetics of time.  Three layers of temporality co-exist in this triptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nThe artist’s formal treatment complements her construction of contemporary mythologies.  She uses decoration deliberately, as a contextual strategy and artistic choice to compose her pictorial space.  Here decoration does not remain mere surface ornamentation, but becomes an integral part of the image-making vocabulary.  For example, the net of vines, which is the central image of Braiding the Line. Forms an arabesque.  On examination, it reveals a coded significance, uniting the worlds of animals, birds, humans and demigods, proposing itself as an image of the universe.  Also, the underlayer of cement primer makes the ochre-gold acrylic surface look gritty and holds the tendency towards the decorative in counterpoint.  Thus, Saini’s critical approach saves the paintings from looking like a simulacrum of kitsch.  She manages to avoid this danger by rendering some of her forms with intentional crudity and even defacing them, so that, in her hands, kitsch becomes an active ingredient and not merely a fashionable form that appeals to current taste in the art world.\r\n\r\n\r\nAnother strategy, which Saini employs successfully, is that of jumbling seemingly different contexts, as in PULSE 30, where folkloric representations of the Dasha-avatar iconography (the ten avatars of Vishnu) are commingled with images from natural history and also with various portrayals of subaltern occupational types.  This is an unexpected move, because we can establish a correspondence between the pattern of the incarnations and the graphs of the evolution of life on earth (consider, for example, the parallel between the Matsya-avatar, Vishnu as Cosmic Fish, and the image of aquatic species).  But there is no such easy correspondence between subaltern artisans such as the\r\nknife-grinder and the carpenter, and their neighbour in Saini’s grid, Vishnu as the prince Rama.  There is a certain friction between the images at these points.\r\n\r\n  \r\nThis device of jumbling the iconic with the subaltern echoes a cultural phenomenon that we could call the haphazard democracy of street culture, where heroes of all kinds, film actors and actresses, politicians, gods, goddesses and pop gurus co-exist.  The difference is that Saini introduces the excluded and marginalised inhabitant of the street, the itinerant artisan or the daily-wage labourer, into the picture.  By adding the subaltern artisans to this pantheon of heroes, Saini produces a new democratic order, one in which the artisan is elevated to iconic status and portrayed with the same kind of valency as the god-king.  But we are not allowed to forget that the discriminating powers of fate still operate.  We find that this work of 30 small-sized paintings is framed by the images of two open palms, their fate-lines pulsating like naked wounds.  And yet are these not the hands that can make a revolution?\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nAppropriately, on looking closer, we find that images of the subaltern heroes are framed  by candles.  And although the figures look layered and even blurred at times, they exert a compelling presence.  Saini surrounds their defaced bodies with a halo, provoking a dialogue between the ordinary and the auratic.  The carpenter is made to look like a saint with a liquid yellow halo and the avatar of Parashuram, the fierce axe-warrior, is domesticated, given the look of an everyday guardian deity of the household.\r\n\r\n\r\n\r\nThis play between the ordinary and auratic is most strongly dramatised in the paintings Sleeping River- Inhale and Sleeping River-Exhale, which show a soft-porn image of a woman (sourced from the Net) and an icon of the mother goddess from the popular cultic material.  In the former painting, the woman is shown as an epic figure in a deep sleep, her vagina wounded; streams of blood camouflaged as red vines gush over her open thighs.  Against this profane image is juxtaposed the sacred figure of the cosmic woman (sourced from an 18th century illuminated manuscript concerning the cosmic process of dissolution and reabsorption, pralaya). The cosmic woman contains within herself the trinity of Brahma,Vishnu and Shiva, the creator, preserver and destroyer of the universe.  Again, an arabesque of vines is used to connect these two disparate elements.  And in this net of vines float offering of dismembered parts of the human body made of wax.\r\n\r\n\r\nIn Sleeping River-Exhale, the woman is shown as pile of flesh on offer.  Since her head is cut by the top of the frame, we only see a part of her eyes and are not sure whether she is looking at, or away from, the angry image of Kali as it manifests itself.  Saini’s representation of the female body takes many forms in both these paintings: as commodity in pornography, as a votive wax offering made to show gratitude for healed afflictions, and as an icons.  To create a strong visual impact, Saini counterposes the inevitable crudity of the pornographic figures with the more stylised beauty of the sacred icons and symbols of fertility.\r\n\r\nI would suggest that as an artist, Saini’s primary concern is the status of the symbol in a charged political environment, where it is the discourse of the symbol rather than the discourse of the text that determines the fate of individuals, parties and ideologies.  She draws our attention to the manufactured nature of these symbols by exposing their machinery, through her representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.  The forces ranged against an individual artist’s project such as this one are vast, but Reena Saini Kallat is determined to keep a window of awareness open.  The impulse of her work will surely achieve its full maturity in the years to come.\r\n\r\nNancy Adajania\r\nBombay,2002  \r\n','','','inherit','open','open','','1267-revision-2','','','2010-06-18 08:14:20','2010-06-18 08:14:20','',1267,'http://www.biggventures.com/demo/artists/1444/uncat/1267-revision-2',0,'revision','',0),(1445,1,'2010-07-07 16:13:24','2010-07-07 16:13:24','<b>RE-MANUFACTURING SYMBOLS: RECENT PAINTINGS BY REENA SAINI KALLAT</b>\r\n<b>Nancy Adajania</b>\r\n\r\nI propose to read Reena Saini Kallat’s recent paintings, which are overtly political, as a conversation between the visualities of fate and faith.  The tension between these two interrelated concepts has been dramatised most strongly in the Indian public sphere after independence.  From the 1950s through the 1980s, the citizens of post-colonial India harboured the hope that they could erase the lines of fate (inheritance by birth, caste, religion and regional location) and replace them with the power of faith in the secular icons of Progress, Technology and the Nation-state.  However, by the 1990s, various political and economic upheavals produced a new political configuration, under which this secular faith was eroded and substituted with a fate determined by religion and ethnicity, and articulated through processes of exclusion and discrimination.\r\n\r\n\r\nTwo visual tropes, those of the hand and the flag, recur in Saini’s works.  The hand appears both a delta of fate-lines as well as an instrument of labour that could overcome those lines.  The tricolour is portrayed as a mnemonic of the nation which once stood for sacrifice, peace and fertility, and also as a nation fragmented today by divisive political and religious forces.  In the paintings, the flag assumes various forms, floating across and tri-colouring a range of symbolic objects that stand for the nation.  It hues a diseased branch operated on a surgeon’s table, or dyes a nation-tree thirsting for water, or tints the landscape across which a dhobi carries his bundle of soiled clothes.\r\n\r\n\r\nIn Braiding the Line, Saini tries to reclaim the tricolour from ceremonialism.  Instead of an avaricious politician, she chooses a subaltern figure, a fisherman to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji, Maulana Azad and Vinobha Bhave are held together in this net of succulent vines.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with Kalki, the tenth and future avatar of the god Vishnu (the preserver of cosmic order and righteousness), which is placed as a pictorial notation in the corner of the painting.  This icon with a white horse’s head, which looks like a folkloric toy stands for a utopian future where disorder will be replaced with order.  Saini knits this narrative with a poetics of time.  Three layers of temporality co-exist in this triptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nThe artist’s formal treatment complements her construction of contemporary mythologies.  She uses decoration deliberately, as a contextual strategy and artistic choice to compose her pictorial space.  Here decoration does not remain mere surface ornamentation, but becomes an integral part of the image-making vocabulary.  For example, the net of vines, which is the central image of Braiding the Line. Forms an arabesque.  On examination, it reveals a coded significance, uniting the worlds of animals, birds, humans and demigods, proposing itself as an image of the universe.  Also, the underlayer of cement primer makes the ochre-gold acrylic surface look gritty and holds the tendency towards the decorative in counterpoint.  Thus, Saini’s critical approach saves the paintings from looking like a simulacrum of kitsch.  She manages to avoid this danger by rendering some of her forms with intentional crudity and even defacing them, so that, in her hands, kitsch becomes an active ingredient and not merely a fashionable form that appeals to current taste in the art world.\r\n\r\n\r\nAnother strategy, which Saini employs successfully, is that of jumbling seemingly different contexts, as in PULSE 30, where folkloric representations of the Dasha-avatar iconography (the ten avatars of Vishnu) are commingled with images from natural history and also with various portrayals of subaltern occupational types.  This is an unexpected move, because we can establish a correspondence between the pattern of the incarnations and the graphs of the evolution of life on earth (consider, for example, the parallel between the Matsya-avatar, Vishnu as Cosmic Fish, and the image of aquatic species).  But there is no such easy correspondence between subaltern artisans such as the knife-grinder and the carpenter, and their neighbour in Saini’s grid, Vishnu as the prince Rama.  There is a certain friction between the images at these points.\r\n\r\n  \r\nThis device of jumbling the iconic with the subaltern echoes a cultural phenomenon that we could call the haphazard democracy of street culture, where heroes of all kinds, film actors and actresses, politicians, gods, goddesses and pop gurus co-exist.  The difference is that Saini introduces the excluded and marginalised inhabitant of the street, the itinerant artisan or the daily-wage labourer, into the picture.  By adding the subaltern artisans to this pantheon of heroes, Saini produces a new democratic order, one in which the artisan is elevated to iconic status and portrayed with the same kind of valency as the god-king.  But we are not allowed to forget that the discriminating powers of fate still operate.  We find that this work of 30 small-sized paintings is framed by the images of two open palms, their fate-lines pulsating like naked wounds.  And yet are these not the hands that can make a revolution?\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nAppropriately, on looking closer, we find that images of the subaltern heroes are framed  by candles.  And although the figures look layered and even blurred at times, they exert a compelling presence.  Saini surrounds their defaced bodies with a halo, provoking a dialogue between the ordinary and the auratic.  The carpenter is made to look like a saint with a liquid yellow halo and the avatar of Parashuram, the fierce axe-warrior, is domesticated, given the look of an everyday guardian deity of the household.\r\n\r\n\r\n\r\nThis play between the ordinary and auratic is most strongly dramatised in the paintings Sleeping River- Inhale and Sleeping River-Exhale, which show a soft-porn image of a woman (sourced from the Net) and an icon of the mother goddess from the popular cultic material.  In the former painting, the woman is shown as an epic figure in a deep sleep, her vagina wounded; streams of blood camouflaged as red vines gush over her open thighs.  Against this profane image is juxtaposed the sacred figure of the cosmic woman (sourced from an 18th century illuminated manuscript concerning the cosmic process of dissolution and reabsorption, pralaya). The cosmic woman contains within herself the trinity of Brahma,Vishnu and Shiva, the creator, preserver and destroyer of the universe.  Again, an arabesque of vines is used to connect these two disparate elements.  And in this net of vines float offering of dismembered parts of the human body made of wax.\r\n\r\n\r\nIn Sleeping River-Exhale, the woman is shown as pile of flesh on offer.  Since her head is cut by the top of the frame, we only see a part of her eyes and are not sure whether she is looking at, or away from, the angry image of Kali as it manifests itself.  Saini’s representation of the female body takes many forms in both these paintings: as commodity in pornography, as a votive wax offering made to show gratitude for healed afflictions, and as an icons.  To create a strong visual impact, Saini counterposes the inevitable crudity of the pornographic figures with the more stylised beauty of the sacred icons and symbols of fertility.\r\n\r\nI would suggest that as an artist, Saini’s primary concern is the status of the symbol in a charged political environment, where it is the discourse of the symbol rather than the discourse of the text that determines the fate of individuals, parties and ideologies.  She draws our attention to the manufactured nature of these symbols by exposing their machinery, through her representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.  The forces ranged against an individual artist’s project such as this one are vast, but Reena Saini Kallat is determined to keep a window of awareness open.  The impulse of her work will surely achieve its full maturity in the years to come.\r\n\r\nNancy Adajania\r\nBombay,2002  \r\n','','','inherit','open','open','','1267-revision-3','','','2010-07-07 16:13:24','2010-07-07 16:13:24','',1267,'http://www.biggventures.com/demo/artists/1445/uncat/1267-revision-3',0,'revision','',0),(1446,1,'2010-07-07 16:14:07','2010-07-07 16:14:07','<b>RE-MANUFACTURING SYMBOLS: RECENT PAINTINGS BY REENA SAINI KALLAT</b>\r\n<b>Nancy Adajania</b>\r\n\r\nI propose to read Reena Saini Kallat’s recent paintings, which are overtly political, as a conversation between the visualities of fate and faith.  The tension between these two interrelated concepts has been dramatised most strongly in the Indian public sphere after independence.  From the 1950s through the 1980s, the citizens of post-colonial India harboured the hope that they could erase the lines of fate (inheritance by birth, caste, religion and regional location) and replace them with the power of faith in the secular icons of Progress, Technology and the Nation-state.  However, by the 1990s, various political and economic upheavals produced a new political configuration, under which this secular faith was eroded and substituted with a fate determined by religion and ethnicity, and articulated through processes of exclusion and discrimination.\r\n\r\n\r\nTwo visual tropes, those of the hand and the flag, recur in Saini’s works.  The hand appears both a delta of fate-lines as well as an instrument of labour that could overcome those lines.  The tricolour is portrayed as a mnemonic of the nation which once stood for sacrifice, peace and fertility, and also as a nation fragmented today by divisive political and religious forces.  In the paintings, the flag assumes various forms, floating across and tri-colouring a range of symbolic objects that stand for the nation.  It hues a diseased branch operated on a surgeon’s table, or dyes a nation-tree thirsting for water, or tints the landscape across which a dhobi carries his bundle of soiled clothes.\r\n\r\n\r\nIn Braiding the Line, Saini tries to reclaim the tricolour from ceremonialism.  Instead of an avaricious politician, she chooses a subaltern figure, a fisherman to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji, Maulana Azad and Vinobha Bhave are held together in this net of succulent vines.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with Kalki, the tenth and future avatar of the god Vishnu (the preserver of cosmic order and righteousness), which is placed as a pictorial notation in the corner of the painting.  This icon with a white horse’s head, which looks like a folkloric toy stands for a utopian future where disorder will be replaced with order.  Saini knits this narrative with a poetics of time.  Three layers of temporality co-exist in this triptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nThe artist’s formal treatment complements her construction of contemporary mythologies.  She uses decoration deliberately, as a contextual strategy and artistic choice to compose her pictorial space.  Here decoration does not remain mere surface ornamentation, but becomes an integral part of the image-making vocabulary.  For example, the net of vines, which is the central image of Braiding the Line. Forms an arabesque.  On examination, it reveals a coded significance, uniting the worlds of animals, birds, humans and demigods, proposing itself as an image of the universe.  Also, the underlayer of cement primer makes the ochre-gold acrylic surface look gritty and holds the tendency towards the decorative in counterpoint.  Thus, Saini’s critical approach saves the paintings from looking like a simulacrum of kitsch.  She manages to avoid this danger by rendering some of her forms with intentional crudity and even defacing them, so that, in her hands, kitsch becomes an active ingredient and not merely a fashionable form that appeals to current taste in the art world.\r\n\r\n\r\nAnother strategy, which Saini employs successfully, is that of jumbling seemingly different contexts, as in PULSE 30, where folkloric representations of the Dasha-avatar iconography (the ten avatars of Vishnu) are commingled with images from natural history and also with various portrayals of subaltern occupational types.  This is an unexpected move, because we can establish a correspondence between the pattern of the incarnations and the graphs of the evolution of life on earth (consider, for example, the parallel between the Matsya-avatar, Vishnu as Cosmic Fish, and the image of aquatic species).  But there is no such easy correspondence between subaltern artisans such as the knife-grinder and the carpenter, and their neighbour in Saini’s grid, Vishnu as the prince Rama.  There is a certain friction between the images at these points.\r\n\r\n  \r\nThis device of jumbling the iconic with the subaltern echoes a cultural phenomenon that we could call the haphazard democracy of street culture, where heroes of all kinds, film actors and actresses, politicians, gods, goddesses and pop gurus co-exist.  The difference is that Saini introduces the excluded and marginalised inhabitant of the street, the itinerant artisan or the daily-wage labourer, into the picture.  By adding the subaltern artisans to this pantheon of heroes, Saini produces a new democratic order, one in which the artisan is elevated to iconic status and portrayed with the same kind of valency as the god-king.  But we are not allowed to forget that the discriminating powers of fate still operate.  We find that this work of 30 small-sized paintings is framed by the images of two open palms, their fate-lines pulsating like naked wounds.  And yet are these not the hands that can make a revolution?\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nAppropriately, on looking closer, we find that images of the subaltern heroes are framed  by candles.  And although the figures look layered and even blurred at times, they exert a compelling presence.  Saini surrounds their defaced bodies with a halo, provoking a dialogue between the ordinary and the auratic.  The carpenter is made to look like a saint with a liquid yellow halo and the avatar of Parashuram, the fierce axe-warrior, is domesticated, given the look of an everyday guardian deity of the household.\r\n\r\n\r\n\r\nThis play between the ordinary and auratic is most strongly dramatised in the paintings Sleeping River- Inhale and Sleeping River-Exhale, which show a soft-porn image of a woman (sourced from the Net) and an icon of the mother goddess from the popular cultic material.  In the former painting, the woman is shown as an epic figure in a deep sleep, her vagina wounded; streams of blood camouflaged as red vines gush over her open thighs.  Against this profane image is juxtaposed the sacred figure of the cosmic woman (sourced from an 18th century illuminated manuscript concerning the cosmic process of dissolution and reabsorption, pralaya). The cosmic woman contains within herself the trinity of Brahma,Vishnu and Shiva, the creator, preserver and destroyer of the universe.  Again, an arabesque of vines is used to connect these two disparate elements.  And in this net of vines float offering of dismembered parts of the human body made of wax.\r\n\r\n\r\nIn Sleeping River-Exhale, the woman is shown as pile of flesh on offer.  Since her head is cut by the top of the frame, we only see a part of her eyes and are not sure whether she is looking at, or away from, the angry image of Kali as it manifests itself.  Saini’s representation of the female body takes many forms in both these paintings: as commodity in pornography, as a votive wax offering made to show gratitude for healed afflictions, and as an icons.  To create a strong visual impact, Saini counterposes the inevitable crudity of the pornographic figures with the more stylised beauty of the sacred icons and symbols of fertility.\r\n\r\nI would suggest that as an artist, Saini’s primary concern is the status of the symbol in a charged political environment, where it is the discourse of the symbol rather than the discourse of the text that determines the fate of individuals, parties and ideologies.  She draws our attention to the manufactured nature of these symbols by exposing their machinery, through her representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.  The forces ranged against an individual artist’s project such as this one are vast, but Reena Saini Kallat is determined to keep a window of awareness open.  The impulse of her work will surely achieve its full maturity in the years to come.\r\n\r\n<b>Bombay,2002</b>  \r\n','','','inherit','open','open','','1267-revision-4','','','2010-07-07 16:14:07','2010-07-07 16:14:07','',1267,'http://www.biggventures.com/demo/artists/1446/uncat/1267-revision-4',0,'revision','',0),(1447,1,'2010-07-07 16:17:03','2010-07-07 16:17:03','\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\n\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?\n\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.\n\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’.\n\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.\n\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?\n\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.\n\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.\n\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.\n\n<strong>JK</strong> - The house has anyway been a recurring motif in your last show “ Orchid of home grown secrets”.\n\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.\n\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?\n\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.\n\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.\n\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.\n\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?\n\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.\n\n<strong>JK</strong> - What comes after this?\n\n<strong>RSK</strong> - Newer ideas are already taking shape in the sketch-book.  So I’ll just to chase and realize them.\n\nJitish Kallat is a Bombay-based artist and a freelance writer.\n\n<b>Skin 2002</b>','','','inherit','open','open','','1259-autosave','','','2010-07-07 16:17:03','2010-07-07 16:17:03','',1259,'http://www.biggventures.com/demo/artists/1447/uncat/1259-autosave',0,'revision','',0),(1448,1,'2010-06-18 08:08:25','2010-06-18 08:08:25','<h3>Skin (2000)</h3>\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.','','','inherit','open','open','','1259-revision-5','','','2010-06-18 08:08:25','2010-06-18 08:08:25','',1259,'http://www.biggventures.com/demo/artists/1448/uncat/1259-revision-5',0,'revision','',0),(1449,1,'2010-07-07 16:17:09','2010-07-07 16:17:09','\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>Skin 2000</b>','','','inherit','open','open','','1259-revision-6','','','2010-07-07 16:17:09','2010-07-07 16:17:09','',1259,'http://www.biggventures.com/demo/artists/1449/uncat/1259-revision-6',0,'revision','',0),(1450,1,'2010-07-07 16:23:24','2010-07-07 16:23:24','<b>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\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\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\n\r\n\r\n\r\n\r\n\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\n\r\n\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\n\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\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\n\r\n\r\n\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\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\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\n\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\n\r\n\r\n\r\n\r\n\r\n\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 Summer 1998         ','','','publish','open','open','','orchard-publication','','','2010-07-07 18:12:28','2010-07-07 18:12:28','',0,'http://www.biggventures.com/demo/artists/1450/uncat/1450',0,'post','',0),(1451,1,'2010-07-07 18:12:51','0000-00-00 00:00:00','<b>ORCHARD OF HOME-GROWN SECRETS:</b>\n<b>Ranjit Hoskote</b>\n\nWorks by Reena Saini\n\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.\n\n\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.\n\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?\n\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?\n\n\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.\n\n\n\n\n\n\n\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.\n\n\n\n\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.\n\n\n\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?\n\n\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?\n\n\n\n\n\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. \n\n\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.\n\n\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.\n\n\n\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.\n\n\n\n\n\n\n\n\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.\n\n Summer 1998','','','draft','open','open','','orchard-publication','','','2010-07-07 18:12:51','2010-07-07 18:12:51','',0,'http://www.biggventures.com/demo/artists/?p=1451',0,'post','',0),(1452,1,'2010-07-06 18:05:14','2010-07-06 18:05:14','<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-of-home-grown-screts\" 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 Intrirue</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-123','','','2010-07-06 18:05:14','2010-07-06 18:05:14','',87,'http://www.biggventures.com/demo/artists/1452/uncat/87-revision-123',0,'revision','',0),(1453,1,'2010-07-07 16:29:20','2010-07-07 16:29:20','<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/1451/uncat/1451\" 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 Intrirue</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-124','','','2010-07-07 16:29:20','2010-07-07 16:29:20','',87,'http://www.biggventures.com/demo/artists/1453/uncat/87-revision-124',0,'revision','',0),(1454,1,'2010-07-07 16:32:04','2010-07-07 16:32:04','<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/1451/uncat/1451\" 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-125','','','2010-07-07 16:32:04','2010-07-07 16:32:04','',87,'http://www.biggventures.com/demo/artists/1454/uncat/87-revision-125',0,'revision','',0),(1455,1,'2010-07-07 15:58:57','2010-07-07 15:58:57',' <b>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>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-19','','','2010-07-07 15:58:57','2010-07-07 15:58:57','',1271,'http://www.biggventures.com/demo/artists/1455/uncat/1271-revision-19',0,'revision','',0),(1456,1,'2010-07-07 16:07:53','2010-07-07 16:07:53','<b>BELONGING IS A NECKLACE OF EXCLUSIONS</b>\r\n<b>Nancy Adajania</b>\r\n\r\n‘Threads around the patient trunk of a peepul denote\r\nDivinity of sorts, a spirit to be worshipped.\r\n\r\nThread around the arm can mean love or luck,\r\nCan be a hope upraised to ward off the evil eye….’\r\n\r\n-Tabish Kahir, ‘Rope’ (1)\r\n\r\nReena Saini Kallat has increasingly emerged, in her art, as a maker of talismans, a caster of protective spells.  Her paintings and sculpture-installations portray the human body, and by extension the body politic, under perennial siege, wracked by mythic demons and unknown viruses that strike at it from all sides.  To fend off such relentless acts of invasion occupation and possession, Reena draws or shapes objects in the form of auspicious offerings: lush foliage, fruits, flowers.  She places wishing candles on rangolis, ritual floor patterns that she shapes into uterine islands.  Or she distributes threads of peace to people who will knot them into plaits of healing like the wishes knotted through a dargah’s filigreed screens.  Or she carves toy weapons that function more as lucky charms than as museal emblems of systemic violence.  The artist’s actions reveal an obsessive need to consecrate and sanctify contested a sites, to ward off forces of conflict and chaos.  I would say that hers is an apotropaic art: she externalizes her fears and anxieties about the human condition, and hopes to contain or neutralize them, by creating talismanic objects.\r\n\r\nIn my earlier readings of Reena’s art, I have analyzed her practice by reference to the framework of macro-political narratives.  I had implied that her art was confrontational, like those of her contemporaries who operate in a post-national space where conflicts of identitarian politics are enacted in the arena of lapsed citizenship.  I had spoken of how “Saini’s primary concern is the status of the symbol in a charged political environment… She draws our attention to the manufactured nature of these symbols by exposing their machinery through their representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/ knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.” (2)\r\n\r\nAfter reflecting on almost a decade of Reena’s practice, I would amplify my earlier reading by observing that the emotional drive feeding her ‘counter-symbologies’- political symbols married to sacral imagery or traditional miniature folios –emerges, not only from grand political narratives, but from her yearning to generate an apotropaism intended to resolve conflicts of perception, location and identity at various levels.  For instance, in her recent exhibition, Rainbow of Refuse’, she makes an amulet of toy weapons or tattoos a contested political site with rubber stamps inscribed with the names of Indian citizens. Here, the macro-politics of structural oppression is threaded through with the intimate and particular details of being: political narratives related to forbidden utterance, political rhetoric, territoriality and aggression are sought to be controlled through the powers of healing and magic.\r\n\r\n… Threads around the wrist of a man recall\r\nThe knots of duty, the danger of forgetting.\r\n\r\nThreads over the shoulder proves one’s caste,\r\nThat belonging is a necklace of exclusions...\r\n\r\n‘Penumbra Passage (Canine Cases)’, a 2006 installation composed from painted portraits and museal cases mimics the stance of historical exhibit.  Reena anoints the portraits of ordinary citizens- a turbaned man from the North-West Frontier or a woman with an eastern Vaishnava mark on her forehead, sourced from the Net –framed like royality in glided silver.  Below the portraits, a red velvet case of toy weapons is laid out like a set of canines.  You look up to find the portraits seemingly foaming at the mouth, with a smear of colour.  Could this cloud of incontinence be a forbidden territory or a prohibited zone that is choking the body politic, demanding release and threatening death by poison if choked down? Indeed it does have a recognizable shape: that of the contested territory of Pak-occupied Kashmir.\r\n\r\nWith no political solution in sight to its contested status, Kashmir continues to be ravaged by low-intensity warfare.  The weapons of destruction lie in Reena’s installation like relics, ruins of a freedom that is hard to achieve.  They are carved into beautiful objects, their handles exquisitely ornate: precious to the touch, they caress the senses.  Nevertheless they have invisible teeth.  They are placed in an oval formation that represents the mouth but equally carries the menace of the vagina dentata.  I would read the weapon-mouth as an amulet, a taveez made by Reena to protect herself and her follow citizens from never-ending conflict and terror, to help them pass through the penumbral passage of a contemporary history coloured by greed, guilt and nostalgia.\r\n\r\nThe trope of the contested territory re-emerges in ‘Penumbra’, 2006, a steel cradle that is dead-cold to the touch.  This time it is made up of rubber stamps bearing the names of India’s citizens.  It lies ominously, like a dormant tumour in the cradle.  The rubber stamp recurs as an important motif in Reena’s work.  It signifies her need to secure for every Indian citizen the basic freedoms and entitlements that are guaranteed by the Constitution of the Republic.  She first used them in ‘Kiosk’, 2003, where she had suspended rubber stamps arranged in the colurs of the Indian flag on a stand.  By mingling the colours of the flag she was stamping out the various religious and ethnic differences that have caused fissures in the Republic.  For this work, Reena also produced a mock MOU (Memorandum of Understanding), an agreement between the Indian State and its citizens to restore and renew the original contract of inclusiveness that the nation signed with its citizens in 1950.Today, millions of citizen live in fear of a de-notification notice that can part them from land and livelihood, while others claim the immunity of privileged citizenship and yet are not recognised as full-fledged citizens by reason of ethnicity or poverty.\r\n\r\n‘Kiosk’ was reborn in another avatar as ‘Wave’, 2004, where the rubber stamps were placed in a swing to connote the mood-swings of electoral politics and the oscillation of political identities, polled into existence and later defaced.  An identikit of photographic details, comprising body-parts stamped with names of people belonging to different religious communities, forms the backdrop to the swing (‘Blueprint: Birthmarks and Tattoos’).  The tattooed names on the body-parts gives them an adopted identity, as against the restricted one with which they are born: so that belonging does not become what the poet Tabish Khair calls “ a necklace of exclusions”.  This photographic work is cast like a spell against the buri nazar, the evil eye that threatens the country with schism.\r\n\r\nAs an artist-citizen who cannot regard the nation as a hospitable site of belonging for all its denizens,  Reena has over the years stained various paintings and objects with the tricolour: she portrays it as a mnemonic of the ideal nation of India’s Gandhian liberation struggle, which stood for sacrifice and peace, and which is fragmented today by divisive political and religious forces.  In the painting ‘Braiding the Line’and the floor installation ‘Pollen Patterns’ (both made in 2002), the tricolour seeps into a sick political ecology, blessing it with nature’s bounty.  Thus, Reena salvages the Indian flag from fossil ceremonialism.  In ‘Braiding the Line’, she chooses a subaltern figure, a fisherman, to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji and Vinoba Bhave are held together in this net of succulent vines.\r\n\r\nThe fisherman, a black-and-white figure salvaged from mediatic debris, takes on the aura of an archetype.  He flags the universe as if he were hauling in Indra’s net.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with the icon of Kalki, the tenth and future avatar of Vishnu (the preserver of cosmic order and righteousness in Hindu religious thought)’ which occurs as an auspicious pictorial notation.  This icon, rendered like a folk toy, stands for a utopian future where disorder will be replaced with order.  Reena knits the narrative with the poetics of time.  Three layers of temporality co-exist in this wtriptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\nIn ‘Pollen Patterns’, made at the Khoj International Artists’ Workshop, Bangalore, local artisans wove tricoloured bamboo strips into uterine floor mats and toys depicting bird, animal and aquatic life, as well as religious and political symbols.  While the toys were strewn about the floor mats, a charkha symbolizing Gandhiji’s call for swaraj, freedom and svavalamban, self-empowerment, was placed at the centre of one of the mats, recalling the early symbolism of the Indian flag.  The charkha underlines\r\nReena’s preoccupation with the notion of work, kaam.  Work is often portrayed as an act of grace (bandagi) performed through a pantomime of hands.  The open palm, painted or rendered in fibreglass, is invariably shown in gesture of seeking, of prayer and thanksgiving.  Faith in a better future, which exists literally in our own hands, is shown to be in constant conflict with the lines of fate- inheritance by birth, caste, religion and religious location- that course through our hands, mandating exclusion and discrimination.\r\n\r\nWhen Reena was invited to participate in a residency located in the Laurentian Mountians of Quebec, Canada, she made an imprint of open hands with mehndi on the windowpane of her studio: ‘Seven Degrees of Vapour for the Vitreous Trousseau’, 2002.  The artist had subconsciously consecrated the window, an aperture of elsewhereness, with this auspicious paste from her home country.  Every second day, she would make offerings of herbs and fruits catalogued from a nearby greenhouse to the framed landscape.  This gesture, which enacts a consecration ritual, could be seen as Reena’s need to adorn and decorate a site in the votive mode of shrangar, as well as her need to sanctify it with a mandala or rangoli, an image of cosmic wholeness.  Reena deliberately uses decoration as a contextual strategy and artistic choice to compose her pictorial space.  In her hands, decoration does not remain mere surface ornamentation, but becomes an integral part of the image vocabulary.  Reena holds the decorative in counterpoint by investing the act of decoration with a belief in the auspicious, in nature’s abundance and its power of renewal.  Thus the devices of the shrangar and the mandala often recur together in her work: her arabesques of vines and tender creatures are bound by a shraddha, an indwelling faith in the forces of the divine.\r\n\r\n..It is thus we thread the eye of time, trying\r\nIt down with strings which web from one life\r\n\r\nTo another. Who knows what all these threads hold ?\r\nWho knows what will cease to be when they unravel?…\r\n\r\nAlongside the flag and hands, Reena deploys the uterus as a recurrent symbol: a site of fertility and plenty.  Made from bio-degradable materials like sand, flowers and clay lamps.  ‘Beautiful People of the Rainbow-\r\n\r\nThe Sea is Salty Everywhere’ 2001, is laid out like a rangoli.  Boats with wishing candles float around these islands like so many desires waiting to reach their shores.  Like a traditional rangoli, this floor installation is painstakingly made with intricate details and then effaced at the end of the show, to be remade at another site.  This gesture of creating an art-work only to erase it subverts the idea of producing a finished commodity, solid and permanent.  Instead, the qualities of provisionality and fluidity, as well as the hope of replenishing, are privileged.  The ceremonial acts of performing shrangar and mandala reach their logical conclusion in the act of visarjan, the immersion or dissolution with the expressed hope of recurrence.  In the Indic tradition of worship, the clay idols that preside over annual festivals are ceremonially immersed in a river or the sea, at the conclusion of the festive period.  Similarly, in Quebec, Reena produced a uterine island by filling a wire-mesh with leaves from fallen trees, pine cones and driftwood, and then set it afloat in the river.\r\n\r\nThe decorative assumes another nuance in Reena’s work when she examines the seductive nature of violence.  For a while now, she has injected cantankerous demons- who wield primitive weaponry borrowed from the Pahari miniatures and the Razmnama (3) -  into the anatomies of unsuspecting anonymous citizens.  These quirky, caricatural creatures have infiltrated Reena’s paintings like untameable viruses that mutate to avoid detection.  They are prodded and sliced by swords and daggers with ornamental handles and heads.  Reena has explored the manner in which violence can be legitimized by aestheticising the tools of destruction, citing the decorative nature of primitive, colonial or postcolonical weaponry and heraldry.\r\n\r\nIn a suite of paintings structured like memorial columns ‘Sword-swallowers,’ 2004, Reena opened out portraits of everyday heroes into ‘screens of demonlogy’ (4), revealing anatomies racked by the demons of poverty, State oppression and religious discrimination.  In current paintings, such as ‘Xylophone I &amp; II’, 2005-2006, body parts have hardened into weaponry, ribs are fashioned from swords and guns, and demons are injected into the bloodstream like slow poison.  They twist the organs, branching into trees of death.  Or in ‘Rainbow of Refuse,’ 2005-2006, organs toughen into armour, as demons are flung at them encased in an abstract ornamental script – demonic spells?  Is this a new calligraphy of terror, undecipherable even on list –serves or by the most advanced search engines?  The sense organs are arranged together like a wall of resistance, and the dark outline of the contested site is hurled at them like a garland-bomb, seemingly proving right our worst fears and speculations.\r\n\r\n‘Birds of Steel’, 2006 is a set of diptychs juxtaposing fighter planes and colonial-period Indian heraldry.  As Bernard S.Cohn has demonstrated in a landmark essay, this system of heraldry was initiated by the British in the 1870s, as a symbolic expression of the consolidation of their power, while they acknowledged the allegiance of the native rulers (5).  Heraldry was one of the manifestations of colonial power; the other was the invention of an imperial British durbar that amplified the native form of royal audience to the point of public spectacle.  These decorative emblems and occasions were manufactured by the British colonial regime to maintain a visible sense of hierarchy among their vassals, while also compensating in pomp for the complete absence of power that these princes could exercise.\r\n\r\nIn Reena’s paintings, the quaint and exotic coats of arms of princely states such as Baroda, Jaipur; Kishangarh etc, remind us of the power of invention by which a symbol-making elite uses pre-existing cultural materials to suit current political expediencies.  The ornaments on the arms comprise various chimeras apart from the sententious motto.  We encounter the elephant-headed tiger (yaali) and the sacred eagle (Garuda)  beloved of Hindu iconography, as well as the fish and the horse, associated with auspiciousness and potency, and even a chapatti- included in the armorial bearings of a kingdom as an amulet.  Some armorial bearings are confluential and weave together Hindu and Islamic elements; others enshrine quirky origin and triumphal myths.  For instance, the Dutch scholar Theo Van der Zaln explains, on a website, the interesting tale that the Hyderabad coat of arms tells: “ On the eve of a war a holy man brought the forefather of the prince of Haiderabad (sic) a luck-bringing ‘chapati’…. as an amulet.  Since the victorious battle, it’s the emblem of the princely family.”\r\n\r\nThe juxtaposition between martial aircraft streaking through an ever-nocturnal sky and the symbolic code of heraldry is sharpened when we note the abstract calligraphy of demons swirling dangerously close to the coat of arms.  Armorial bearings are the codified expression of power.  But how do we decipher power that remains raw and beyond the range of symbols: power that is not articulated through codes or by positions of precedence at a durbar, but manifests itself through inchoate, as yet uncodified, forms? As against the matte acrylic, colourful, fresco-like surface of these paintings, Reena has chosen to install a larger-than-life mock-model of the crown of the United Kingdom: it resembles a giant cream-cake, its pristine monochromatic surface embossed with the impression of inlaid jewels, decked with fur trimming.\r\n\r\nOn closer look, through, ‘Memoria Corona’, 2006, memorializes the contributions- both meritorious and lethal- made by political thinkers of all shades from the colonial and postcolonial periods, and even by provincial leaders who were influential in the first decades of independence.  Here is a crown studded with names from an all-inclusive pantheon, devas as well as asuras, liberals and conservatives, secularists and fundamentalists, mystics and rationalists, self-sacrificing saints and corrupt public figures.  These metal name-slugs denote competing visions for a newborn nation, rival strategies for an emerging power, alternative directions for a Republic in mid-passage.  Each figure wanted a share of the cake, and the crown passed from head to head.  The ghosts of history do not return to haunt us, because they have never gone away.\r\n\r\nFor there is no one who has followed the thrown\r\nBall of string of our palimpsest past to its loose\r\n\r\nEnd, and returned to tell the tale.  No wonder we cut\r\nshort lengths of threads and strings: just enough\r\n\r\nTo circle neck or tree, not enough to circumambulate Life.\r\nRope around the neck means death.\r\n\r\nReena’s miniature weapons, monumental crowns and pervasive demons reflect the nightmares of a child-woman who sits in a nursery of perennial stimulations.  In this twilight zone, toys are wound up by unseen forces; they come alive like shrill warriors raised from the dead.  She must cast a hex on them to seize control.  The artist’s very first show was built around toys and games, and candles waiting to flare up.  In ‘Joint Family’, 1998, a larger-than-life-size house made of corrugated paper had a large key stuck into its back, as though demanding to be wound up.  This rather precarious toy house was covered with a large network of peepal leaves holding symbols from everyday life.  She decorated the house with a light bulb and a yogi whose physique was marked with charkas, foci of energy; also, with the lines on a hand that threw up a blueprint of a fairytale castle, a flowerpot and the sudarshan chakra, Vishnu’s radiant discus, ready to spin into action and cut-off the heads of evil-doers.  Elsewhere in this exhibition, Reena installed a collapsible pyramid of playing cards, with two hands trying to seize a house that always floats higher than their reach (‘Orchard of Home-grown Secrets I-A’,1998).   And in ‘Recital from the City-garden’, 1998, Reena had dolls clutching onto paper houses, burning eerily in slow motions on back-lit translates.  Is this sympathetic magic? Is it a memory of sati from another life?\r\n\r\nAre these evidence of something more than a horror unleashed from the unconscious? Perhaps it is.  Amidst this nursery of life-like toys and trip-up games lies the fragile floating home whose lock has been changed.  The desire for the ‘Joint-Family’ persists for the conjoining light and dark hands are the hands of twins separated at birth, searching for one another and their common home.  Reena was born to a Punjabi family that suffered the horror of the Partition that brought independent India into being.  The Partition created two nations and left them with mutual suspicion flaming into hate, but also a forlorn desire for peace, and the indelible memory of an undivided home.\r\n\r\nThe artist was raised on stories related to the partition Her father; brought up in Lahore in West Punjab, had moved to East Punjab two years before the actual event, but other members of his family followed in the tide of refugees in 1947.  He remembers the horror; but also the risk and courage with which people hid their friends in their homes, defending them against their own co-religionists.  And so, at the core of her being, Reena finds the macro-political interwoven, inextricably, with the intimately personal.  She has attempted to fight these demons of the mind with the powers of magic.  By scaling up a mandala, pouring sand into a rangoli, she proposes a balance between the trauma of contested political sites and genocide, and the promise of an unscarred future.  But those who work with fragile threads also know that the ‘rope around the neck means death.’  And yet, it is equally true that the short threads of dua, of blessing and hope, can heal the deepest of wounds.\r\n\r\nNotes:\r\n<ol>\r\n	<li> Tabish Khair, When Parallel Lines Meet (NewDelhi: Viking/Penguin, 2000).</li>\r\n	<li>Nancy Adajania, ‘Remanufacturing Symbols: Recent paintings by Reena Saini Kallat’, exhibition catalogue essay for ‘The Battlefield is the Mind’ (Sakshi Gallery, Bangalore, 2003)</li>\r\n	<li>The Razmnama is a Mughal folio painted in the atelier of the Emperor Akbar, and illustrates the Persian translation of the great Hindu epic, the Mahabharta.</li>\r\n	<li>Nancy Adajania, ‘Screens of Demonology’, essay in the exhibition catalogue, ‘Black Flute (And Other Stories)’ (Gallery Chemould, Mumbai and Nature Morte, New Delhi, 2005)</li>\r\n	<li>See Bernard S.Cohn, ‘Representing Authority in Victorian India’, in Eric Hobsbawm and Terence Ranger eds., The Invention of Tradition (Cambridge: Cambridge University Press, 1983; rpt 1995).</li>\r\n</ol>\r\nNancy Adajania is a Mumbai based cultural theorist, art critic and independent curator.','','','inherit','open','open','','1269-revision-4','','','2010-07-07 16:07:53','2010-07-07 16:07:53','',1269,'http://www.biggventures.com/demo/artists/1456/uncat/1269-revision-4',0,'revision','',0),(1457,1,'2010-07-07 16:12:39','2010-07-07 16:12:39','<b>SCREEN OF DEMONOLOGY</b>\r\n<b>Nancy Adajania</b>\r\n\r\nThe mediatic image is like a siren: it dies even as it raises an alarm.  The central problem facing painters who employ mediatic images in their art, therefore, is how do you resurrect an image that has such a brief half-life, how do you render significant an image that holds the attention for not more than the blink of an eye? In an economy of images that has reduced every human being to a banal cipher, how can the artist return a sense of significance and dignity to the human subject, re-connecting the image –fragmented individual to the larger texts of the contemporary? In her recent work, Reena Saini Kallat embeds these questions in portrait-narratives that function between the realms of ceremonial time and the accidents of history.\r\n\r\nFrom the flux of mediatic ephemera, Reena extracts images of anonymous people belonging to varied social milieux and political contexts; she invests them with symbolic resonance by the apparently simple act of selection and isolation with the specificities of their icon cropped away.  I would say that Reena’s figures are neither recognisable individual (in the sense that we cannot name them, even when we identify their locale from internal evidence) nor are they simply identitarian stereotypes (in that, although they are coded with national, religious or ethnic characteristics, the pictorial emphasis is on their human vulnerability, as people going about their lives, rather than as incarnations of identity).  In Reena’s treatment, these anonymous people become portraits residing in an unstable semiotic space intermediate between individual and type: she is thus able to employ them as markers of everyday heroism.\r\n\r\n\r\nThe faces that state at us from Reena’s columns are those of ordinary people, archived from the random memory of a computer; a Kashmiri woman in a festive dress, a street-child whose face wears an anxiety of lack, a man in characteristically African Muslim headgear, an anaemic migrant labourer, a taxi- or a rickshaw-driver, or perhaps one of the unemployed millions.  We are comforted by their familiar presence; we meet them daily in newspaper, on the TV screen, or on the Net.  They may come across as stereotypes at first glance, but the vulnerability of their situation summons from us an empathy that gives them a dimension of reality.  For, as the viewing eye travels below the portrait, it encounters a circus of mythic demons, flashing swords and lotus- charkas.\r\n\r\n\r\nThses figures take their place in a conspicuously ceremonial form that celebrates the everyday: Reena has chosen to install her portraits in wooden frames shaped and presented like columns; each portrait has below it, several panel that act as strata of visual inscription.  These columns may give the gallery-viewer a sense of having entered a space defined by ritual circumstances.  their form reminds the present writer of the stele, the archetypal memorial column for a hero in the ancient world, which used images to narrate his deeds to gods and humans.  But, of course the people we meet in Reena’s contemporary memorials are not legendary heroes they are day-to-day survivors.\r\n\r\n\r\nThese portraits seem structured to act like a screening procedure, as though the subjects were being passed through the beam of scrutiny.  Below the portrait’s face, what we thought were rows of visual inscriptions may be read as scans of a revealed anatomy, the interior of a body racked by the demons of poverty, state oppression and religious discrimination.  I use the term “screening procedure” to allude to the larger context of security paranoia where all individuals are demonised and reduced to types, guilty of belonging to whatever group identity that happens to be perceived as the threat of the moment.  I would choose to read the current exhibition as an attempt to address the dissonance between the personhood of the individual and the institutional tendency of states and corporations to depersonalise the individual into a type.  This show could also be seen as addressing the rampant trend towards demonising the other in every conflict at all levels, which forces us to perceive the world through screens if demonology.\r\n\r\n\r\nIn Reena’s columns, the demons are largely drawn from the representation of asuras in the Kangra miniatures.  Here they appear as machines of caricature and callisthenics, rather than as things of blood.  Their traditional role in mythology was to wreck the sacred sacrifice, the yagna and wreak havoc on figures of power and authority.  In Reena’s interpretation, however the demons impede the migrant labourer from fulfilling his desire to play Shravan and take his parents on a pilgrimage to the sacred sites of Hinduism, or the Muslim man from concentrating on his prayers, or the lotus- charkas of energy nosed within her body.  The sword, an intricately decorated prop which may imply the aestheticisation of violence in popular culture, recurs in each column, to mow down the demons.\r\n\r\n\r\nThe presence of these demons in these contemporary memorials has larger resonances.  Subaltern histories reveal how lower-caste communities and tribal populations  were represented as demons in our myths, how their land was captured and their resources usurped.  Labelled as demons, they became outsiders in their own land .  This subtly points to our construction of people as demons or our internalisation of demonologies without paying heed to the subterranean layers of history and folklore.  Sometimes, it becomes possible to see the demonisers as themselves being the demons: such reversals of perception are probed here.  This is significant in an age when George Bush launches a brutal war of occupation in the name of containing jehad;  The Hindutva fundamentalists organise pogroms in revenge for events that are alleged to have taken place a thousand years ago; and the Israeli state engages in daily rites of slaughter to defend a homeland secured by the expropriation of territory and the expulsion of its people.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nIt is instructive that Reena breaks the solemnity of her portraits by inserting them within a comic-strip narrative of violence and retribution.  The drama unfolds through energetic play between the demons and the invading swords: black blood, a splatter of entrails, a missing leg.  This sense of comic play is minored in a portfolio of small acrylic works, which Reena has composed as a gallery of rogues based on comic characters from Italian baroque theatre.  The status quo is lampooned a bunch of knives breaks out of a  bespectacled face ,legs grow roots of knives.  Reena sees these figures as symbolic of our Indian politicians who juggle the citizens’ fate, driving their knives magically into the body polity without drawing any blood.\r\n\r\n\r\nBut all demons are not displayed as weapons of mass destruction.  In one of the columns, a demon with pointed tusks and sharpclawed hooves grows larger than life and swoops away with the monuments around which religious contention has been waged.  Above, we see the portrait of an elderly citizen with clouded spectacles.  He waits for change a respite from everyday violence.  Echoing his hope, in another column we witness the blade of a sword faintly disappearing.  The column ends with a spring-cloud,  a shade lighter  than the nocturnal blue dupatta of a child shielding herself from the biting cold .  Perhaps this is why, these columns have been titled, Sword –Swallowers, to emphasise that today ordinary people have to perform extraordinary feats to survive demons of all shapes and colurs.  Our everyday heroes have the skill of the juggler and the spiritual resilience of the fakir.  They survive the blade of the sword that cuts through their vocal cords and the demon that bites their entrails.\r\n\r\n\r\nDemons have fluid identities, they demonise, are demonised in turn .  But even cycles of violence have to end the spring-cloud returns and stain us with hope. Post script: Reena’s works, whether paintings or assemblages or photo-based installations have always dealt with the fragility of human existence and with the susceptibility of the human body that could easily crash like a pack of cards that was never meant to last its composure.  Body-parts, especially hands, recur in her art, sometimes they open up an existing wound, at other times, they rehearse the coming of grace.  The hands symbolise the constant tension in Reena’s art between the hap-hazardness (pun intended) of faith and the enduring lines of fate.\r\n\r\n\r\nTwo earlier works have been judiciously added to this current suite of paintings.  Both of which in their own distinct way deal with tattooed body-parts: the former (Seven Degrees of Vapour for the Vitreous Trousseau) and the latter (Wave and Blue-print: Birthmarks and Tattoos).  \r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n \r\n\r\n\r\nSeven Degrees… follows the cumulative growth of natural cycles, which are beset with the inexplicable.  On a three-week Residency at the Boreal Art/Nature Centre in the Laurentian Mountains of Quebec, Canada, Reena was given a brief to socialise with nature to reduce the gap between the binaries of culture and nature.  Since the cultural/nature binary is a given today, it would be more useful to find out what kind of interfaces are possible between culture and nature.  Away from the humid, sound-percolating city of Bombay, Reena chose to meditate uninvasively on the tranquillity of the Laurentian Mountains.  She did not resort to quasi-anthropological heroics that most artists in such a situation would have performed inevitably; no ground-clearing or hunter-gathering for her.  She framed the landscape with an already existing frame, the windowpane in her room, a façade of sheer glass entranced her.\r\n\r\n\r\nBy making the glass window with a henna drawing of open palms, Reena was subconsciously consecrating the window, an aperture of elsewhereness, with this auspicious paste from her home country.  It is as if Reena had visited the Laurentian Mountains in the spirit of a bridesmaid, only the palms on which she drew her henna designs were not those of a bride, bit window waiting to be dressed as one.  I have deliberately read this as a ritual of consecration rather than a naturalistic framing of a landscape.  Look at her gestures, every two days she offered drawings of fruits and herbs catalogued from a nearby greenhouse to the framed landscape by drilling a hole in the ground, she transformed the window her own.  The frame outside changed with the weather, the bare mountains were covered with a green garments as bald trees grew leaves.  Reena recorded these changes with her camera to make 21 photo-prints.  the resulting images did not need digital manipulation, no burn, lasso or crop(note the phallocentric terminology).  Rather they were a slow unfolding exposure of the mountains superimposed with signs of abundance and nurture.\r\n\r\nWave and Blue-print: Birthmarks and Tattoos, were not a private notation like Seven Degrees …., but a political inscription of the body with tattoos of discrimination.\r\n\r\n\r\nThe notion of play as lucid intervention phrased in the political context permeated this sculpture and photo-installation.  Reena led viewers into a familiar recreational field of reference, then pulled the rug from under their feet.  She made an inviting swing, its seat covered with a quilt of diverse scripts.  But the viewer could not sit or lie on it.  Covered by upturned rubber stamps bearing the names of people belonging to different communities, its seat seemed to signal “Inconvenience Regretted”! Reena felt an obsessive need to inscribe the names of India’s citizens in the colours of the national flag: it was her way of renewing the original contract of inclusiveness that the nation signed with its citizens in 1947, at Independence.  Today, some citizens fear a de-notification, while others claim special citizenship, and some are still not recognised as full-fledged citizens.  Subject to the mood-swings of electoral politics, citizen oscillate, their political identities polled into existence and defaced thereafter.  Reena made an identikit of photographic details, comprising branded body parts, to from the backdrop to the swing, amplifying the tattoos and taboos of a dismembered nation.\r\n\r\n<b>Bombay, January 2005</b>','','','inherit','open','open','','1264-revision-5','','','2010-07-07 16:12:39','2010-07-07 16:12:39','',1264,'http://www.biggventures.com/demo/artists/1457/uncat/1264-revision-5',0,'revision','',0),(1458,1,'2010-07-07 16:15:37','2010-07-07 16:15:37','<b>RE-MANUFACTURING SYMBOLS: RECENT PAINTINGS BY REENA SAINI KALLAT</b>\r\n<b>Nancy Adajania</b>\r\n\r\nI propose to read Reena Saini Kallat’s recent paintings, which are overtly political, as a conversation between the visualities of fate and faith.  The tension between these two interrelated concepts has been dramatised most strongly in the Indian public sphere after independence.  From the 1950s through the 1980s, the citizens of post-colonial India harboured the hope that they could erase the lines of fate (inheritance by birth, caste, religion and regional location) and replace them with the power of faith in the secular icons of Progress, Technology and the Nation-state.  However, by the 1990s, various political and economic upheavals produced a new political configuration, under which this secular faith was eroded and substituted with a fate determined by religion and ethnicity, and articulated through processes of exclusion and discrimination.\r\n\r\n\r\nTwo visual tropes, those of the hand and the flag, recur in Saini’s works.  The hand appears both a delta of fate-lines as well as an instrument of labour that could overcome those lines.  The tricolour is portrayed as a mnemonic of the nation which once stood for sacrifice, peace and fertility, and also as a nation fragmented today by divisive political and religious forces.  In the paintings, the flag assumes various forms, floating across and tri-colouring a range of symbolic objects that stand for the nation.  It hues a diseased branch operated on a surgeon’s table, or dyes a nation-tree thirsting for water, or tints the landscape across which a dhobi carries his bundle of soiled clothes.\r\n\r\n\r\nIn Braiding the Line, Saini tries to reclaim the tricolour from ceremonialism.  Instead of an avaricious politician, she chooses a subaltern figure, a fisherman to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji, Maulana Azad and Vinobha Bhave are held together in this net of succulent vines.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with Kalki, the tenth and future avatar of the god Vishnu (the preserver of cosmic order and righteousness), which is placed as a pictorial notation in the corner of the painting.  This icon with a white horse’s head, which looks like a folkloric toy stands for a utopian future where disorder will be replaced with order.  Saini knits this narrative with a poetics of time.  Three layers of temporality co-exist in this triptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nThe artist’s formal treatment complements her construction of contemporary mythologies.  She uses decoration deliberately, as a contextual strategy and artistic choice to compose her pictorial space.  Here decoration does not remain mere surface ornamentation, but becomes an integral part of the image-making vocabulary.  For example, the net of vines, which is the central image of Braiding the Line. Forms an arabesque.  On examination, it reveals a coded significance, uniting the worlds of animals, birds, humans and demigods, proposing itself as an image of the universe.  Also, the underlayer of cement primer makes the ochre-gold acrylic surface look gritty and holds the tendency towards the decorative in counterpoint.  Thus, Saini’s critical approach saves the paintings from looking like a simulacrum of kitsch.  She manages to avoid this danger by rendering some of her forms with intentional crudity and even defacing them, so that, in her hands, kitsch becomes an active ingredient and not merely a fashionable form that appeals to current taste in the art world.\r\n\r\n\r\nAnother strategy, which Saini employs successfully, is that of jumbling seemingly different contexts, as in PULSE 30, where folkloric representations of the Dasha-avatar iconography (the ten avatars of Vishnu) are commingled with images from natural history and also with various portrayals of subaltern occupational types.  This is an unexpected move, because we can establish a correspondence between the pattern of the incarnations and the graphs of the evolution of life on earth (consider, for example, the parallel between the Matsya-avatar, Vishnu as Cosmic Fish, and the image of aquatic species).  But there is no such easy correspondence between subaltern artisans such as the knife-grinder and the carpenter, and their neighbour in Saini’s grid, Vishnu as the prince Rama.  There is a certain friction between the images at these points.\r\n\r\n  \r\nThis device of jumbling the iconic with the subaltern echoes a cultural phenomenon that we could call the haphazard democracy of street culture, where heroes of all kinds, film actors and actresses, politicians, gods, goddesses and pop gurus co-exist.  The difference is that Saini introduces the excluded and marginalised inhabitant of the street, the itinerant artisan or the daily-wage labourer, into the picture.  By adding the subaltern artisans to this pantheon of heroes, Saini produces a new democratic order, one in which the artisan is elevated to iconic status and portrayed with the same kind of valency as the god-king.  But we are not allowed to forget that the discriminating powers of fate still operate.  We find that this work of 30 small-sized paintings is framed by the images of two open palms, their fate-lines pulsating like naked wounds.  And yet are these not the hands that can make a revolution?\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nAppropriately, on looking closer, we find that images of the subaltern heroes are framed  by candles.  And although the figures look layered and even blurred at times, they exert a compelling presence.  Saini surrounds their defaced bodies with a halo, provoking a dialogue between the ordinary and the auratic.  The carpenter is made to look like a saint with a liquid yellow halo and the avatar of Parashuram, the fierce axe-warrior, is domesticated, given the look of an everyday guardian deity of the household.\r\n\r\n\r\n\r\nThis play between the ordinary and auratic is most strongly dramatised in the paintings Sleeping River- Inhale and Sleeping River-Exhale, which show a soft-porn image of a woman (sourced from the Net) and an icon of the mother goddess from the popular cultic material.  In the former painting, the woman is shown as an epic figure in a deep sleep, her vagina wounded; streams of blood camouflaged as red vines gush over her open thighs.  Against this profane image is juxtaposed the sacred figure of the cosmic woman (sourced from an 18th century illuminated manuscript concerning the cosmic process of dissolution and reabsorption, pralaya). The cosmic woman contains within herself the trinity of Brahma,Vishnu and Shiva, the creator, preserver and destroyer of the universe.  Again, an arabesque of vines is used to connect these two disparate elements.  And in this net of vines float offering of dismembered parts of the human body made of wax.\r\n\r\n\r\nIn Sleeping River-Exhale, the woman is shown as pile of flesh on offer.  Since her head is cut by the top of the frame, we only see a part of her eyes and are not sure whether she is looking at, or away from, the angry image of Kali as it manifests itself.  Saini’s representation of the female body takes many forms in both these paintings: as commodity in pornography, as a votive wax offering made to show gratitude for healed afflictions, and as an icons.  To create a strong visual impact, Saini counterposes the inevitable crudity of the pornographic figures with the more stylised beauty of the sacred icons and symbols of fertility.\r\n\r\nI would suggest that as an artist, Saini’s primary concern is the status of the symbol in a charged political environment, where it is the discourse of the symbol rather than the discourse of the text that determines the fate of individuals, parties and ideologies.  She draws our attention to the manufactured nature of these symbols by exposing their machinery, through her representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.  The forces ranged against an individual artist’s project such as this one are vast, but Reena Saini Kallat is determined to keep a window of awareness open.  The impulse of her work will surely achieve its full maturity in the years to come.\r\n\r\n<b>Bombay,2002</b>  \r\n','','','inherit','open','open','','1267-revision-5','','','2010-07-07 16:15:37','2010-07-07 16:15:37','',1267,'http://www.biggventures.com/demo/artists/1458/uncat/1267-revision-5',0,'revision','',0),(1459,1,'2010-07-07 16:18:04','2010-07-07 16:18:04','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-7','','','2010-07-07 16:18:04','2010-07-07 16:18:04','',1259,'http://www.biggventures.com/demo/artists/1459/uncat/1259-revision-7',0,'revision','',0),(1460,1,'2012-06-28 09:23:49','2012-06-28 09:23:49','<strong style=\"color: #999999;\">RE-MANUFACTURING SYMBOLS: RECENT PAINTINGS BY REENA SAINI KALLAT</strong>\r\n<strong>© Nancy Adajania</strong>\r\n\r\nI propose to read Reena Saini Kallat’s recent paintings, which are overtly political, as a conversation between the visualities of fate and faith.  The tension between these two interrelated concepts has been dramatised most strongly in the Indian public sphere after independence.  From the 1950s through the 1980s, the citizens of post-colonial India harboured the hope that they could erase the lines of fate (inheritance by birth, caste, religion and regional location) and replace them with the power of faith in the secular icons of Progress, Technology and the Nation-state.  However, by the 1990s, various political and economic upheavals produced a new political configuration, under which this secular faith was eroded and substituted with a fate determined by religion and ethnicity, and articulated through processes of exclusion and discrimination.\r\n\r\nTwo visual tropes, those of the hand and the flag, recur in Saini’s works.  The hand appears both a delta of fate-lines as well as an instrument of labour that could overcome those lines.  The tricolour is portrayed as a mnemonic of the nation which once stood for sacrifice, peace and fertility, and also as a nation fragmented today by divisive political and religious forces.  In the paintings, the flag assumes various forms, floating across and tri-colouring a range of symbolic objects that stand for the nation.  It hues a diseased branch operated on a surgeon’s table, or dyes a nation-tree thirsting for water, or tints the landscape across which a dhobi carries his bundle of soiled clothes.\r\n\r\nIn Braiding the Line, Saini tries to reclaim the tricolour from ceremonialism.  Instead of an avaricious politician, she chooses a subaltern figure, a fisherman to weave a tricolour with his robust hands: elephants and peacocks, Gandhiji, Maulana Azad and Vinobha Bhave are held together in this net of succulent vines.  The most intriguing detail in this painting is a large watch on the fisherman’s wrist, counterposed with Kalki, the tenth and future avatar of the god Vishnu (the preserver of cosmic order and righteousness), which is placed as a pictorial notation in the corner of the painting.  This icon with a white horse’s head, which looks like a folkloric toy stands for a utopian future where disorder will be replaced with order.  Saini knits this narrative with a poetics of time.  Three layers of temporality co-exist in this triptych: chronological time symbolised by the watch, natural time reflected by the flora and fauna in the net, and mythological time by the popular political and social icons of the past, the whole dominated by the cosmic and cyclical scheme represented by the avatar of Kalki.\r\n\r\nThe artist’s formal treatment complements her construction of contemporary mythologies.  She uses decoration deliberately, as a contextual strategy and artistic choice to compose her pictorial space.  Here decoration does not remain mere surface ornamentation, but becomes an integral part of the image-making vocabulary.  For example, the net of vines, which is the central image of Braiding the Line. Forms an arabesque.  On examination, it reveals a coded significance, uniting the worlds of animals, birds, humans and demigods, proposing itself as an image of the universe.  Also, the underlayer of cement primer makes the ochre-gold acrylic surface look gritty and holds the tendency towards the decorative in counterpoint.  Thus, Saini’s critical approach saves the paintings from looking like a simulacrum of kitsch.  She manages to avoid this danger by rendering some of her forms with intentional crudity and even defacing them, so that, in her hands, kitsch becomes an active ingredient and not merely a fashionable form that appeals to current taste in the art world.\r\n\r\nAnother strategy, which Saini employs successfully, is that of jumbling seemingly different contexts, as in PULSE 30, where folkloric representations of the Dasha-avatar iconography (the ten avatars of Vishnu) are commingled with images from natural history and also with various portrayals of subaltern occupational types.  This is an unexpected move, because we can establish a correspondence between the pattern of the incarnations and the graphs of the evolution of life on earth (consider, for example, the parallel between the Matsya-avatar, Vishnu as Cosmic Fish, and the image of aquatic species).  But there is no such easy correspondence between subaltern artisans such as the knife-grinder and the carpenter, and their neighbour in Saini’s grid, Vishnu as the prince Rama.  There is a certain friction between the images at these points.\r\n\r\nThis device of jumbling the iconic with the subaltern echoes a cultural phenomenon that we could call the haphazard democracy of street culture, where heroes of all kinds, film actors and actresses, politicians, gods, goddesses and pop gurus co-exist.  The difference is that Saini introduces the excluded and marginalised inhabitant of the street, the itinerant artisan or the daily-wage labourer, into the picture.  By adding the subaltern artisans to this pantheon of heroes, Saini produces a new democratic order, one in which the artisan is elevated to iconic status and portrayed with the same kind of valency as the god-king.  But we are not allowed to forget that the discriminating powers of fate still operate.  We find that this work of 30 small-sized paintings is framed by the images of two open palms, their fate-lines pulsating like naked wounds.  And yet are these not the hands that can make a revolution?\r\n\r\nAppropriately, on looking closer, we find that images of the subaltern heroes are framed  by candles.  And although the figures look layered and even blurred at times, they exert a compelling presence.  Saini surrounds their defaced bodies with a halo, provoking a dialogue between the ordinary and the auratic.  The carpenter is made to look like a saint with a liquid yellow halo and the avatar of Parashuram, the fierce axe-warrior, is domesticated, given the look of an everyday guardian deity of the household.\r\n\r\nThis play between the ordinary and auratic is most strongly dramatised in the paintings Sleeping River- Inhale and Sleeping River-Exhale, which show a soft-porn image of a woman (sourced from the Net) and an icon of the mother goddess from the popular cultic material.  In the former painting, the woman is shown as an epic figure in a deep sleep, her vagina wounded; streams of blood camouflaged as red vines gush over her open thighs.  Against this profane image is juxtaposed the sacred figure of the cosmic woman (sourced from an 18th century illuminated manuscript concerning the cosmic process of dissolution and reabsorption, pralaya). The cosmic woman contains within herself the trinity of Brahma,Vishnu and Shiva, the creator, preserver and destroyer of the universe.  Again, an arabesque of vines is used to connect these two disparate elements.  And in this net of vines float offering of dismembered parts of the human body made of wax.\r\n\r\nIn Sleeping River-Exhale, the woman is shown as pile of flesh on offer.  Since her head is cut by the top of the frame, we only see a part of her eyes and are not sure whether she is looking at, or away from, the angry image of Kali as it manifests itself.  Saini’s representation of the female body takes many forms in both these paintings: as commodity in pornography, as a votive wax offering made to show gratitude for healed afflictions, and as an icons.  To create a strong visual impact, Saini counterposes the inevitable crudity of the pornographic figures with the more stylised beauty of the sacred icons and symbols of fertility.\r\n\r\nI would suggest that as an artist, Saini’s primary concern is the status of the symbol in a charged political environment, where it is the discourse of the symbol rather than the discourse of the text that determines the fate of individuals, parties and ideologies.  She draws our attention to the manufactured nature of these symbols by exposing their machinery, through her representation of the differentiated forms of the female body, the nation and the competing narratives of cosmic order and chaos.  Thus, in Saini’s works, the symbols does not appear as an instrument of false consciousness, but instead, is unmasked as a key device in the dominant narratives of power/knowledge.  It appears, from her work, that she has tried to propose a counter-symbology to the symbolic transactions of mountebanks, self-styled religious gurus and criminalised politicians who grapple for control over India’s public sphere today.  The forces ranged against an individual artist’s project such as this one are vast, but Reena Saini Kallat is determined to keep a window of awareness open.  The impulse of her work will surely achieve its full maturity in the years to come.\r\n\r\n<strong>Bombay,2002</strong>','','','inherit','open','open','','1267-autosave','','','2012-06-28 09:23:49','2012-06-28 09:23:49','',1267,'http://www.biggventures.com/demo/artists/1460/uncat/1267-autosave',0,'revision','',0),(1461,1,'2010-07-07 16:36:02','2010-07-07 16:36:02','<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/1451/uncat/1451\" 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-126','','','2010-07-07 16:36:02','2010-07-07 16:36:02','',87,'http://www.biggventures.com/demo/artists/1461/uncat/87-revision-126',0,'revision','',0),(1463,1,'2010-07-07 17:38:10','2010-07-07 17:38:10','<strong>ORCHARD OF HOME-GROWN SECRETS:</strong>\n\nWorks by Reena Saini\n\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.\n\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.\n\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?\n\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?\n\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.\n\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.\n\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.\n\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?\n\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?\n\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.\n\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.\n\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.\n\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.\n\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.\n\nRanjit Hoskote, Summer 1998','','','inherit','open','open','','1274-autosave','','','2010-07-07 17:38:10','2010-07-07 17:38:10','',1274,'http://www.biggventures.com/demo/artists/1463/uncat/1274-autosave',0,'revision','',0),(1464,1,'2010-07-07 17:38:03','2010-07-07 17:38:03','<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/1274\" 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-128','','','2010-07-07 17:38:03','2010-07-07 17:38:03','',87,'http://www.biggventures.com/demo/artists/1464/uncat/87-revision-128',0,'revision','',0),(1465,1,'2010-07-07 17:41:01','2010-07-07 17:41:01','<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-of-home-grown-secrets\" 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-129','','','2010-07-07 17:41:01','2010-07-07 17:41:01','',87,'http://www.biggventures.com/demo/artists/1465/uncat/87-revision-129',0,'revision','',0),(1471,1,'2010-07-07 18:22:25','2010-07-07 18:22:25','<b>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\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\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\n\r\n\r\n\r\n\r\n\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\n\r\n\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\n\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\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\n\r\n\r\n\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\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\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\n\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\n\r\n\r\n\r\n\r\n\r\n\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 Summer 1998         ','','','inherit','open','open','','1450-autosave','','','2010-07-07 18:22:25','2010-07-07 18:22:25','',1450,'http://www.biggventures.com/demo/artists/1471/uncat/1450-autosave',0,'revision','',0),