(2913,1,'2010-11-25 18:00:30','2010-11-25 18:00:30','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-1024x605.jpg\" alt=\"Crease- Crevice- Contour\" title=\"Crease- Crevice- Contour\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a>\r\n</td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Crease Crevice Contour\r\n</span>2008\r\npigment print on Hahnemuhle Museum etching \r\narchival paper\r\n40 x 50 in. I 101 x 127 cm each (set of 10 prints)\r\nedition 10+AP</td></tr></tr><tr><td>&nbsp;</td></tr></tbody></table><table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-detail.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\n‘Crease/ Crevice/ Contour’, a collection of 10 photographs, traces the changing L.O.C. (Line Of Control) between India and Pakistan, from October 1947 to December 1948. It refers to the first of the four wars fought among the two newly independent nations over the region of Kashmir.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\n‘Crease/ Crevice/ Contour’, a collection of 10 photographs, traces the changing L.O.C. (Line Of Control) between India and Pakistan, from October 1947 to December 1948. It refers to the first of the four wars fought among the two newly independent nations over the region of Kashmir. The result of the war, still affects the geo-politics of both the countries to this day, leaving behind a deep sense of mistrust and many psychological scars.\r\nThe photo-piece comprises names of those who’ve signed the peace petition between India and Pakistan. Within my work the L.O.C. appears recurrently not just as a political demarcation but metaphorically as a sociological barrier amongst the people on both sides.  \r\nThe work maps the movement of the LOC, showcasing 10 stages of the war through a diagrammatic sketch of the shifting border, finally leading up to the historical ceasefire. The photonever graphs are close details of the back of a body stamped with names using rubber-stamps; the collective cluster of names forming the shifting territory between the two countries, appears like a residual scar of the ending dispute.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-4.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-5.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-6.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-3.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a><span style=\"font-size:11px;\"><i>internet reference material</i></span></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','348-revision-39','','','2010-11-25 18:00:30','2010-11-25 18:00:30','',348,'http://www.reenakallat.com/2913/uncat/348-revision-39',0,'revision','',0),(2914,1,'2012-04-23 18:16:02','2012-04-23 18:16:02','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Silt-of-Seasons-1-1024x682.jpg\" alt=\"Silt of Seasons-1\" title=\"Silt of Seasons-1\" width=\"600\" class=\"alignnone size-large wp-image-420\" /></a>\r\n</td>\r\n<td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Silt of Seasons-1\r\n</span>2008 \r\nsingle channel video projection on sand\r\nduration 59 min 30 s, dimension variable\r\nedition: 5+AP\r\n<a href=\"http://www.youtube.com/watch?v=s760crcG7gw\" target=\"_blank\"><span style=\"color: #888888;\">view video >></span></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Silt-of-Seasons-1-detail-1024x682.jpg\" alt=\"Silt of Seasons-1-details\" title=\"Silt of Seasons-1-details\" width=\"600\" class=\"alignnone size-large wp-image-425\" /></a></td>\r\n<td width=\"300\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe work titled “Silt of Seasons” is a video projection on sand, shaped in the form of the disputed territory that lies between India and Pakistan, also called P.O.K. (Pakistan Occupied Kashmir).<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe work titled “Silt of Seasons” is a video projection on sand, shaped in the form of the disputed territory that lies between India and Pakistan, also called P.O.K. (Pakistan Occupied Kashmir). The map of this conflicted terrain recurs in several of my works as a symbol of human inanity.\r\nNames of those from across the world who’ve signed the peace petition in 2004, addressed to General Pervez Musharraf and to the Indian Prime Minister Dr. Manmohan Singh appear spelt out in letters formed with sand. Each name is made visible only momentarily and seems to slowly get blown away or effaced, much like the repeated attempts at peace that often get sabotaged by extremist forces or political opportunism. And yet each erased name is replaced by another one, transporting the optimism in the piece through the renewed hope and commitment towards peace in the region. <a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888\">...hide</a>\r\n</div></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table><table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody><tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Silt-of-Seasons-1_detail-1024x682.jpg\" alt=\"Silt of Seasons-1_detail\" title=\"Silt of Seasons-1_detail\" width=\"600\" class=\"alignnone size-large wp-image-423\" /></a>\r\n</td></tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody>\r\n<tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Silt-of-Seasons-1-details-1024x682.jpg\" alt=\"Silt of Seasons-1-detail\" title=\"Silt of Seasons-1-detail\" width=\"600\" class=\"alignnone size-large wp-image-424\" /></a>\r\n</td></tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody>\r\n<tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/slit-of-season-image-5.jpg\" alt=\"Silt of Seasons-1-detail\" title=\"Silt of Seasons-1-detail\" width=\"600\" class=\"alignnone size-large wp-image-424\" /></a><span style=\"font-size:11px;\"><i>internet reference material</i></span>\r\n</td></tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody>\r\n<tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/slit-of-season-image-6.jpg\" alt=\"Silt of Seasons-1-detail\" title=\"Silt of Seasons-1-detail\" width=\"600\" class=\"alignnone size-large wp-image-424\" /></a><span style=\"font-size:11px;\"><i>process shots</i></span></td></tr><tr><td><span style=\"font-size:11px; line-height:15px;\"><i>Acknowledgement:</i> \r\nCamera: Ajay Noronha\r\nEditing: Diksha Sharma\r\n</span>\r\n</td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','419-revision-20','','','2012-04-23 18:16:02','2012-04-23 18:16:02','',419,'http://www.reenakallat.com/2914/uncat/419-revision-20',0,'revision','',0),(2915,1,'2014-01-10 23:50:00','2014-01-10 23:50:00','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Silt-of-Seasons-1-1024x682.jpg\" alt=\"Silt of Seasons-1\" title=\"Silt of Seasons-1\" width=\"600\" class=\"alignnone size-large wp-image-420\" /></a>\r\n</td>\r\n<td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Silt of Seasons-1\r\n</span>2008 \r\nsingle channel video projection on sand\r\nduration 59 min 30 s, dimension variable\r\nedition: 5+AP\r\n<a href=\"http://www.youtube.com/watch?v=s760crcG7gw\" target=\"_blank\"><span style=\"color: #888888;\">view video >></span></a>\r\n</td>\r\n</tr>\r\n<tr><td><span style=\"font-size:11px;\"><i>Installation view</i> , Chemould Prescott Rd, Mumbai</span></td>\r\n<td>&nbsp;</td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Silt-of-Seasons-1-detail-1024x682.jpg\" alt=\"Silt of Seasons-1-details\" title=\"Silt of Seasons-1-details\" width=\"600\" class=\"alignnone size-large wp-image-425\" /></a></td>\r\n<td width=\"300\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe work titled “Silt of Seasons” is a video projection on sand, shaped in the form of the disputed territory that lies between India and Pakistan, also called P.O.K. (Pakistan Occupied Kashmir).<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe work titled “Silt of Seasons” is a video projection on sand, shaped in the form of the disputed territory that lies between India and Pakistan, also called P.O.K. (Pakistan Occupied Kashmir). The map of this conflicted terrain recurs in several of my works as a symbol of human inanity.\r\nNames of those from across the world who’ve signed the peace petition in 2004, addressed to General Pervez Musharraf and to the Indian Prime Minister Dr. Manmohan Singh appear spelt out in letters formed with sand. Each name is made visible only momentarily and seems to slowly get blown away or effaced, much like the repeated attempts at peace that often get sabotaged by extremist forces or political opportunism. And yet each erased name is replaced by another one, transporting the optimism in the piece through the renewed hope and commitment towards peace in the region. <a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888\">...hide</a>\r\n</div></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table><table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody><tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Silt-of-Seasons-1_detail-1024x682.jpg\" alt=\"Silt of Seasons-1_detail\" title=\"Silt of Seasons-1_detail\" width=\"600\" class=\"alignnone size-large wp-image-423\" /></a>\r\n</td></tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody>\r\n<tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Silt-of-Seasons-1-details-1024x682.jpg\" alt=\"Silt of Seasons-1-detail\" title=\"Silt of Seasons-1-detail\" width=\"600\" class=\"alignnone size-large wp-image-424\" /></a>\r\n</td></tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody>\r\n<tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/slit-of-season-image-5.jpg\" alt=\"Silt of Seasons-1-detail\" title=\"Silt of Seasons-1-detail\" width=\"600\" class=\"alignnone size-large wp-image-424\" /></a><span style=\"font-size:11px;\"><i>internet reference material</i></span>\r\n</td></tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody>\r\n<tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/slit-of-season-image-6.jpg\" alt=\"Silt of Seasons-1-detail\" title=\"Silt of Seasons-1-detail\" width=\"600\" class=\"alignnone size-large wp-image-424\" /></a><span style=\"font-size:11px;\"><i>process shots</i></span></td></tr><tr><td><span style=\"font-size:11px; line-height:15px;\"><i>Acknowledgement:</i> \r\nCamera: Ajay Noronha\r\nEditing: Diksha Sharma\r\n</span>\r\n</td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','419-revision-21','','','2014-01-10 23:50:00','2014-01-10 23:50:00','',419,'http://www.reenakallat.com/2915/uncat/419-revision-21',0,'revision','',0),(2916,1,'2011-04-28 09:27:37','2011-04-28 09:27:37','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style>h3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}</style><table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\"><tbody><tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"aligntop size-large wp-image-495\" title=\"Saline\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Saline-1024x631.jpg\" alt=\"saline\" width=\"600\" /></a></td><td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Saline</span>\r\n2007\r\nbonded marble, wood, fabric\r\n13 ft I 156 in. diameter</td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-large wp-image-498\" title=\"Saline_detail1\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Saline_detail1-1024x646.jpg\" alt=\"Saline_detail1\" width=\"600\" /></a></td>\r\n<td style=\"font-size: 11px;\" width=\"300\" align=\"justify\" valign=\"top\">\r\n<div id=\"uniquename1\" style=\"display: block;\">The work takes off from an episode in the Hindu Puranas (religious text) called Samudra Manthan. Samudra means ‘the ocean’ and Manthan means ‘to churn’.<a style=\"color: #888888;\" onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\">...more</a></div>\r\n<div id=\"uniquename\" style=\"display: none;\">The work takes off from an episode in the Hindu Puranas (religious text) called Samudra Manthan. Samudra means ‘the ocean’ and Manthan means ‘to churn’.\r\nIn this particular episode, the Gods lose their powers due to an instance of arrogance and need the assistance of demons in order to churn the ocean to obtain nectar that would empower them again. A number of herbs were cast into the ocean and the churning produced several objects and beings that were symbolic and served as offerings to please demi-gods. It is believed that to keep the nectar away from the hands of the demons, the gods had to hide it in four different places on earth. These places are since believed to have acquired mystical power and are celebrated as sites of worship.\r\nSALINE re-constructs imagery from the myths of the past as well as their re-incarnations in the historical present. The formation of the demon is a sculptural translation of drawings from the Razmnama (illustrated translations of the Hindu epic, Mahabharat into Persian).\r\nArtistically speaking, this demon form rendered by Persian illustrators of a Hindu endeavor becomes an interesting secular by-product of the religious cross-pollination of the Hindu epic in the Islamic world.\r\nWater has always been seen as the source of all creation. Just like salt is easily missible in water, India is traditionally eulogised for its secular fabric wherein the boundaries of Hinduism, Islam, Christianity, Buddhism, Jainism, Sikhism and several other religious traditions are said to dissolve. I have set out to make the sculptural installation ‘Saline’\r\nat a time when this fabric is stained by the recurrence of communal conflict.\r\nI see ‘Saline’ as a call of hope; the fluid figment of my imagination churned out of contemporary conflicts to symbolically drop nectar in a poisonous ocean, reclaim the spaces of religious worship from the demons of fanaticism and intravenously inject organisms with the rejuvenating and hydrating powers of saline in the endless confrontation between good and evil.<a style=\"color: #888888;\" onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\">...hide</a></div></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignleft size-large wp-image-499\" title=\"Saline-detail2\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Saline-detail2-1024x652.jpg\" alt=\"Saline-detail\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr></tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignleft size-large wp-image-500\" title=\"Saline_detail3\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Saline_detail3-1024x696.jpg\" alt=\"Saline_detail\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr><td><span style=\"font-size:11px; line-height:3px;\"><i>Acknowledgement:</i> Sadashiv Kuncolienker</span></td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','496-revision-44','','','2011-04-28 09:27:37','2011-04-28 09:27:37','',496,'http://www.reenakallat.com/2916/uncat/496-revision-44',0,'revision','',0),(2917,1,'2012-05-29 16:03:42','2012-05-29 16:03:42','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Memoria-Corona-Gallery-view.jpg\" alt=\"Memoria Corona\" title=\"Memoria Corona\" width=\"600\"  class=\"alignnone size-large wp-image-876\" /></a></td>\r\n<td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Memoria Corona\r\n</span>2006\r\nivory duco paint on FRP\r\n47 x 38 in. I 119 x 97 cm (diameter)\r\nedition of 3+AP\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody></table><table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\"><tbody><tr><td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-large wp-image-510\" title=\"Memoria Corona_detail\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Memoria-Corona-1.jpg\" alt=\"Memoria Corona\" width=\"600\" /></a></td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe crown, usually belonging to the royalty is reflective of power and seen as a mark of honour. The sculpture ‘Memoria Corona’ is modeled on the crown of Queen Elizabeth II of England, on which rests the precious Kohinoor diamond, that India lost to the Empire. <a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe crown, usually belonging to the royalty is reflective of power and seen as a mark of honour. The sculpture ‘Memoria Corona’ is modeled on the crown of Queen Elizabeth II of England, on which rests the precious Kohinoor diamond, that India lost to the Empire. The surface of this all white sculpture is completely covered with names of freedom fighters almost like a `memorial` to those who fought the Indian freedom stuggle. I wanted the crown to bear the weight of the other precious treasures, the human lives that were lost to the British Empire.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"600\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img class=\"alignnone size-large wp-image-513\" title=\"Memoria Corona-detail\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Memoria-Corona-2.jpg\" alt=\"Memoria Corona\" width=\"600\"  /></a></td>\r\n</tr><tr><td><span style=\"font-size:11px; line-height:3px;\"><i>Acknowledgement:</i> Sadashiv Kuncolienker</span></td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','507-revision-17','','','2012-05-29 16:03:42','2012-05-29 16:03:42','',507,'http://www.reenakallat.com/2917/uncat/507-revision-17',0,'revision','',0),(2918,1,'2014-01-10 23:56:05','2014-01-10 23:56:05','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Memoria-Corona-Gallery-view.jpg\" alt=\"Memoria Corona\" title=\"Memoria Corona\" width=\"600\"  class=\"alignnone size-large wp-image-876\" /></a></td>\r\n<td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Memoria Corona\r\n</span>2006\r\nivory duco paint on FRP\r\n47 x 38 in. I 119 x 97 cm (diameter)\r\nedition of 3+AP\r\n</td>\r\n</tr>\r\n<tr><td><span style=\"font-size:11px;\"><i>Installation view</i>, Bodhi Art Gallery, Mumbai</span></td>\r\n<td>&nbsp;</td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody></table><table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\"><tbody><tr><td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-large wp-image-510\" title=\"Memoria Corona_detail\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Memoria-Corona-1.jpg\" alt=\"Memoria Corona\" width=\"600\" /></a></td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe crown, usually belonging to the royalty is reflective of power and seen as a mark of honour. The sculpture ‘Memoria Corona’ is modeled on the crown of Queen Elizabeth II of England, on which rests the precious Kohinoor diamond, that India lost to the Empire. <a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe crown, usually belonging to the royalty is reflective of power and seen as a mark of honour. The sculpture ‘Memoria Corona’ is modeled on the crown of Queen Elizabeth II of England, on which rests the precious Kohinoor diamond, that India lost to the Empire. The surface of this all white sculpture is completely covered with names of freedom fighters almost like a `memorial` to those who fought the Indian freedom stuggle. I wanted the crown to bear the weight of the other precious treasures, the human lives that were lost to the British Empire.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"600\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img class=\"alignnone size-large wp-image-513\" title=\"Memoria Corona-detail\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Memoria-Corona-2.jpg\" alt=\"Memoria Corona\" width=\"600\"  /></a></td>\r\n</tr><tr><td><span style=\"font-size:11px; line-height:3px;\"><i>Acknowledgement:</i> Sadashiv Kuncolienker</span></td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','507-revision-18','','','2014-01-10 23:56:05','2014-01-10 23:56:05','',507,'http://www.reenakallat.com/2918/uncat/507-revision-18',0,'revision','',0),(2919,1,'2012-04-25 18:35:55','2012-04-25 18:35:55','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style>h3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\">\r\n<tbody><tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Penumbra.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Penumbra.jpg\" alt=\"Penumbra\" title=\"Penumbra\" width=\"600\" height=\"400\" class=\"alignnone size-full wp-image-381\" /></a>\r\n</td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Penumbra\r\n</span>2006\r\nstainless steel, acrylic sheet, paint, rubber stamps \r\n60 x 74 x 42 in. I 152 x 188 x 107 cm\r\nedition of 3+AP\r\n</td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/penumbra1.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/penumbra1.jpg\" alt=\"penumbra\" title=\"penumbra1\" width=\"600\" class=\"alignnone size-full wp-image-1006\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block;\">\r\nThe sculptural work titled ‘Penumbra’ takes the form of a cradle. Unlike the  cradle, which is meant to support and comfort, this stainless steel sculpture is cold and unsettling. It rocks the disputed territorial form of (P.O.K) Pakistan Occupied Kashmir, which remains the nucleus of the conflict between India and Pakistan for several decades.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;width:270px;\" >The sculptural work titled ‘Penumbra’ takes the form of a cradle. Unlike the  cradle, which is meant to support and comfort, this stainless steel sculpture is cold and unsettling. It rocks the disputed territorial form of (P.O.K) Pakistan Occupied Kashmir, which remains the nucleus of the conflict between India and Pakistan for several decades. \r\nThe cradle formed by rubberstamps carrying names of freedom fighters lies in a state of limbo, much like the fate of it’s people, held in suspense. This piece of land rests like a wound of that separation, rocked back and forth by political agendas and myopic policies.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"600\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/penumbra2.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/penumbra2.jpg\" alt=\"penumbra\" title=\"penumbra2\" width=\"600\" class=\"alignnone size-full wp-image-1007\" /></a><span style=\"font-size:11px;\"><i>detail</i></span>\r\n</td>\r\n</tr><tr><td><span style=\"font-size:11px; line-height:3px;\"><i>Acknowledgement:</i> Solanki Metal</span></td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','380-revision-30','','','2012-04-25 18:35:55','2012-04-25 18:35:55','',380,'http://www.reenakallat.com/2919/uncat/380-revision-30',0,'revision','',0),(2920,1,'2010-09-16 12:47:33','2010-09-16 12:47:33','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Xylophone.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Xylophone-1024x682.jpg\" alt=\"Xylophone\" title=\"Xylophone\" width=\"600\" class=\"alignnone size-large wp-image-517\" /></a>\r\n</td>\r\n<td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Xylophone I and II</span>\r\n2005\r\nacrylic and carbon on board \r\n116 x 82 in. I 295 x 208 cm (14 parts each)\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Xylophone-1.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Xylophone-1.jpg\" alt=\"Xylophone\" title=\"Xylophone-1\" width=\"600\" class=\"alignnone size-large wp-image-1009\" /></a>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe two multi-part paintings, titled \'Xylophone-I\' and \'Xylophone-II\', collectively evoke the human ribcage, comprising of swords in one case and guns in the other. <a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe two multi-part paintings, titled \'Xylophone-I\' and \'Xylophone-II\', collectively evoke the human ribcage, comprising of swords in one case and guns in the other. These life-threatening weapons act like an armour, much like the ribcage that forms a protective covering to the lungs and the heart. What interests me is how we legitimize the use of violence by justifying it in the name of self-defence. \r\nThe weapons are embellished with life-affirming forms, paradoxical to their function as objects. Traditionally, in almost all cultures, one finds that weaponry is ironically treated as objects of artistic delight, just as in contemporary times wars are waged in the full glare of spectacular television reportage.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Xylophone-2.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Xylophone-2.jpg\" alt=\"Xylophone\" title=\"Xylophone-2\" width=\"600\" class=\"alignnone size-large wp-image-1010\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','516-revision-13','','','2010-09-16 12:47:33','2010-09-16 12:47:33','',516,'http://www.reenakallat.com/2920/uncat/516-revision-13',0,'revision','',0),(2921,1,'2014-01-11 00:02:29','2014-01-11 00:02:29','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Xylophone.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Xylophone-1024x682.jpg\" alt=\"Xylophone\" title=\"Xylophone\" width=\"600\" class=\"alignnone size-large wp-image-517\" /></a>\r\n</td>\r\n<td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Xylophone I and II</span>\r\n2005\r\nacrylic and carbon on board \r\n116 x 82 in. I 295 x 208 cm (14 parts each)\r\n</td>\r\n</tr>\r\n<tr><td><span style=\"font-size:11px;\"><i>Installation view</i> , Bodhi Art Gallery, Mumbai</span></td>\r\n<td>&nbsp;</td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Xylophone-1.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Xylophone-1.jpg\" alt=\"Xylophone\" title=\"Xylophone-1\" width=\"600\" class=\"alignnone size-large wp-image-1009\" /></a>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe two multi-part paintings, titled \'Xylophone-I\' and \'Xylophone-II\', collectively evoke the human ribcage, comprising of swords in one case and guns in the other. <a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe two multi-part paintings, titled \'Xylophone-I\' and \'Xylophone-II\', collectively evoke the human ribcage, comprising of swords in one case and guns in the other. These life-threatening weapons act like an armour, much like the ribcage that forms a protective covering to the lungs and the heart. What interests me is how we legitimize the use of violence by justifying it in the name of self-defence. \r\nThe weapons are embellished with life-affirming forms, paradoxical to their function as objects. Traditionally, in almost all cultures, one finds that weaponry is ironically treated as objects of artistic delight, just as in contemporary times wars are waged in the full glare of spectacular television reportage.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Xylophone-2.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Xylophone-2.jpg\" alt=\"Xylophone\" title=\"Xylophone-2\" width=\"600\" class=\"alignnone size-large wp-image-1010\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','516-revision-14','','','2014-01-11 00:02:29','2014-01-11 00:02:29','',516,'http://www.reenakallat.com/2921/uncat/516-revision-14',0,'revision','',0),(2922,1,'2010-10-26 18:33:21','2010-10-26 18:33:21','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style>h3.canvas  {color:#333333;font-size:11px;font-weight:normal;margin-bottom:5px;margin-left:7px;margin-top:0;padding:0;text-transform:none;}h2.painting  {color:#FFFFFF;font-family:verdana,arial,tahoma,sans-serif;font-size:11px;font-weight:normal;margin:0 0 10px 7px;padding:0;text-align:left;text-transform:none;}\r\n</style><table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\"><tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\"><a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Birds-of-Steel.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/05/Birds-of-Steel-1024x692.jpg\" alt=\"Birds-of-Steel\" title=\"Birds-of-Steel\" width=\"600\" height=\"400\" class=\"alignnone size-large wp-image-391\" /></a>\r\n</td><td width=\"300\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Birds of Steel\r\n</span>2006\r\noil, acrylic and carbon on canvas\r\n20 x 80 in. I 51 x 203 cm each</td>\r\n</tr><tr><td>&nbsp;</td></tr></tbody></table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"100%\">\r\n<tbody><tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/bird-of-steel1.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/bird-of-steel1.jpg\" alt=\"bird-of-steel\" title=\"bird-of-steel1\" width=\"600\" class=\"alignnone size-full wp-image-1001\" /></a>\r\n</td><td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\n“Birds of Steel” is a collection of 15 paintings. Each right half of the diptychs, carry heraldry emblems or the coat of arms from fifteen erstwhile princely states of the colonial era. The emblems, representing Baroda, Bhopal, Mysore, Udaipur, Jaipur, Hyderabad, Cambay, Bombay etc., interestingly utilize a combination of Hindu, Islamic and Christian iconography.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a></div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\n\r\n“Birds of Steel” is a collection of 15 paintings. Each right half of the diptychs, carry heraldry emblems or the coat of arms from fifteen erstwhile princely states of the colonial era. The emblems, representing Baroda, Bhopal, Mysore, Udaipur, Jaipur, Hyderabad, Cambay, Bombay etc., interestingly utilize a combination of Hindu, Islamic and Christian iconography. \r\n\r\nFramed, in the left half of the painting is a segment of the sky. The romantic idea associated with the skies as being boundless, limitless is here marred by the threatening image of several airplanes. The planes, whether used for administrative purposes, as passenger carriers or as fighter planes, all congest the same space ripping through scattered foliage or black sinister lightening. The elaborate heraldry symbols, seen against black backdrops, are juxtaposed with stylized spills that carry caricaturesque drawings of demons sourced from the Razmnama, the art of war.\r\n\r\n‘Birds of Steel’ works through narratives of border disputes and invasions via the liberating image of the sky. Ironically the birds that fly here are made of steel.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div></td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr></tbody>\r\n</table><table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/bird-of-steel2.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/bird-of-steel2.jpg\" alt=\"bird-of-steel\" title=\"bird-of-steel2\" width=\"600\" class=\"alignnone size-full wp-image-1002\" /></a>\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr></tbody>\r\n</table><table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody>\r\n<tr><td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/bird-of-steel3.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/bird-of-steel3.jpg\" alt=\"bird-of-steel\" title=\"bird-of-steel3\" width=\"600\"  class=\"alignnone size-full wp-image-1003\" /></a>\r\n</td></tr><tr><td>&nbsp;</td></tr>\r\n</tbody></table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"3\" width=\"600\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/bird-of-steel4.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/bird-of-steel4.jpg\" alt=\"bird-of-steel\" title=\"bird-of-steel4\" width=\"600\"  class=\"alignnone size-full wp-image-1004\" /></a>\r\n</td></tr>\r\n<tr><td>&nbsp;</td></tr></tbody>\r\n</table>','','','inherit','open','open','','387-revision-29','','','2010-10-26 18:33:21','2010-10-26 18:33:21','',387,'http://www.reenakallat.com/2922/uncat/387-revision-29',0,'revision','',0),(2923,1,'2014-01-10 23:48:51','2014-01-10 23:48:51','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-1024x605.jpg\" alt=\"Crease- Crevice- Contour\" title=\"Crease- Crevice- Contour\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a>\r\n</td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Crease Crevice Contour\r\n</span>2008\r\npigment print on Hahnemuhle Museum etching \r\narchival paper\r\n40 x 50 in. I 101 x 127 cm each (set of 10 prints)\r\nedition 10+AP</td></tr></tr>\r\n<tr><td><span style=\"font-size:11px;\"><i>Installation view</i> , Chemould Prescott Rd, Mumbai</span></td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr></tbody></table><table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-detail.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\n‘Crease/ Crevice/ Contour’, a collection of 10 photographs, traces the changing L.O.C. (Line Of Control) between India and Pakistan, from October 1947 to December 1948. It refers to the first of the four wars fought among the two newly independent nations over the region of Kashmir.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\n‘Crease/ Crevice/ Contour’, a collection of 10 photographs, traces the changing L.O.C. (Line Of Control) between India and Pakistan, from October 1947 to December 1948. It refers to the first of the four wars fought among the two newly independent nations over the region of Kashmir. The result of the war, still affects the geo-politics of both the countries to this day, leaving behind a deep sense of mistrust and many psychological scars.\r\nThe photo-piece comprises names of those who’ve signed the peace petition between India and Pakistan. Within my work the L.O.C. appears recurrently not just as a political demarcation but metaphorically as a sociological barrier amongst the people on both sides.  \r\nThe work maps the movement of the LOC, showcasing 10 stages of the war through a diagrammatic sketch of the shifting border, finally leading up to the historical ceasefire. The photonever graphs are close details of the back of a body stamped with names using rubber-stamps; the collective cluster of names forming the shifting territory between the two countries, appears like a residual scar of the ending dispute.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-4.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-5.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-6.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-3.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a><span style=\"font-size:11px;\"><i>internet reference material</i></span></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','348-revision-40','','','2014-01-10 23:48:51','2014-01-10 23:48:51','',348,'http://www.reenakallat.com/2923/uncat/348-revision-40',0,'revision','',0),(2924,1,'2014-01-11 00:10:30','2014-01-11 00:10:30','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour.jpg\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-1024x605.jpg\" alt=\"Crease- Crevice- Contour\" title=\"Crease- Crevice- Contour\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a>\r\n</td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Crease Crevice Contour\r\n</span>2008\r\npigment print on Hahnemuhle Museum etching \r\narchival paper\r\n40 x 50 in. I 101 x 127 cm each (set of 10 prints)\r\nedition 10+AP</td></tr></tr>\r\n<tr><td><span style=\"font-size:11px;\"><i>Installation view</i> , Chemould Prescott Rd, Mumbai</span></td>\r\n</tr>\r\n</tbody></table><table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-detail.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\n‘Crease/ Crevice/ Contour’, a collection of 10 photographs, traces the changing L.O.C. (Line Of Control) between India and Pakistan, from October 1947 to December 1948. It refers to the first of the four wars fought among the two newly independent nations over the region of Kashmir.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\n‘Crease/ Crevice/ Contour’, a collection of 10 photographs, traces the changing L.O.C. (Line Of Control) between India and Pakistan, from October 1947 to December 1948. It refers to the first of the four wars fought among the two newly independent nations over the region of Kashmir. The result of the war, still affects the geo-politics of both the countries to this day, leaving behind a deep sense of mistrust and many psychological scars.\r\nThe photo-piece comprises names of those who’ve signed the peace petition between India and Pakistan. Within my work the L.O.C. appears recurrently not just as a political demarcation but metaphorically as a sociological barrier amongst the people on both sides.  \r\nThe work maps the movement of the LOC, showcasing 10 stages of the war through a diagrammatic sketch of the shifting border, finally leading up to the historical ceasefire. The photonever graphs are close details of the back of a body stamped with names using rubber-stamps; the collective cluster of names forming the shifting territory between the two countries, appears like a residual scar of the ending dispute.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-4.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-5.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-6.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/04/Crease-Crevice-Contour-3.jpg\" alt=\"Crease- Crevice- Contour-detail\" title=\"Crease- Crevice- Contour-detail\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a><span style=\"font-size:11px;\"><i>internet reference material</i></span></td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>','','','inherit','open','open','','348-revision-41','','','2014-01-11 00:10:30','2014-01-11 00:10:30','',348,'http://www.reenakallat.com/2924/uncat/348-revision-41',0,'revision','',0),(2925,1,'2013-06-11 18:08:59','2013-06-11 18:08:59','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" width=\"21%\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left: 5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali\r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road\r\nISBN: 978-81-908879-1-5 </span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/reena-kallat\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/rainbow-of-refuse\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/black-flute\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/battlefield-of-mind\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table cellspacing=\"0\" cellpadding=\"0\" 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></tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote\r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/orchard-pub\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n<td><!-- Start of Other Publications -->\r\n\r\n\r\n<span class=\"pubstrong\">India : Art Now </span><span>\r\nText: Stine Hoholt, Ranjit Hoskote, Zehra Jumabhoy\r\nPublisher: Hatje Cantz</span>\r\nISBN: 978-3-7757-3411-0\r\n\r\n<span class=\"pubstrong\">Undervaeker – Wonders, </span>2012<span>\r\nTexts by Gitte Orskou, Af Theis Vallo Madsen, Jeanett Stampe\r\nPublisher: KUNSTEN - Museum of Modern Art Aalborg</span>\r\nISBN: 978-87-88307-72-6\r\n\r\n<span class=\"pubstrong\">n.paradoxa: international feminist art journal, volume 30, </span>2012<span>\r\nText: interview with Veeranganakumari Solanki\r\nPublisher: KT press</span>\r\nISBN: 1461- 0434\r\n\r\n<span class=\"pubstrong\">The Skoda Prize Twenty, </span>2011-2012<span>\r\nText: Zeenat Nagree\r\nPublisher: Popular Prakashan</span>\r\nISBN: 978-81-7991-681-0\r\n\r\n<span class=\"pubstrong\">Pandemonium: Art in a time of creativity fever, </span>2011<span>\r\nText: interview with Stina Edblom\r\nPublisher: Göteborg International Biennial for Contemporary Art</span>\r\nISBN: 978-91-633-9363-1\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/pandemonium\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">The Indian Renaissance, </span>2011<span>\r\nText: Antonio Stellatelli, Romano Ravasio and Marina Pizziolo\r\n\r\n<span class=\"pubstrong\">Vancouver Biennale, </span>2009-2011<span>\r\nText: Vancouver International Sculpture Biennale\r\n</span>\r\n\r\n<span class=\"pubstrong\">Maximum India, </span>2011<span>\r\nPublisher: The John F. Kennedy Center for the Performing Arts, 2011</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<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/never-run-away\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery\r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The River Project, </span>2010<span>\r\nPublisher: Campbelltown Arts Centre\r\nISBN: 9781875199761\r\n</span>\r\n\r\n<span class=\"pubstrong\">Asian Art Now, </span>2010<span>\r\nText: Melissa Chiu and Benjamin Genocchio\r\nPublisher: Monacelli Press\r\nISBN: 978-1-58093-298-1 (1-58093-298-3)\r\n</span>\r\n\r\n<span class=\"pubstrong\">Roundabout, </span>2010<span>\r\nPublisher: Art Asia Pacific Publishing\r\nISBN: 978-0984562510\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/khoj-book\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">5 Bienal Ventosul, </span>2009<span>\r\nPublisher: Instituto Paranaense de Arte</span>\r\n\r\n<span class=\"pubstrong\">Viewpoints &amp; Viewings Points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai\r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki,\r\nMiho Tagomori\r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum\r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman\r\nGopinath, Jayaram, Deepak Ananth\r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur,\r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller,\r\nBregje van Eekelen\r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center\r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern &amp; Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart &amp; The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation &amp; Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n\r\n<span class=\"pubstrong\" style=\"color: #000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.wallpaper.com/art/zegnart-enlists-reena-kallat-to-create-a-site-specific-artwork-in-mumbai/6292\" target=\"_blank\">ZegnArt enlists Reena Kallat to create a site-specific artwork in Mumbai,</a> </span> <font color=\"red\">  >> </font> <span>\r\nJJ Martin, Wallpaper, 18th January 2013 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.timeoutmumbai.net/art/features/web-design\" target=\"_blank\">Web design</a> </span> <font color=\"red\">  >> </font> <span>\r\nKaranjeet Kaur,Timeout Magazine, pg 26-28, 15th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artribune.com/2013/03/una-ragnatela-fra-italia-e-india-inaugurata-a-mumbai-lopera-di-reena-kallat-per-il-progetto-zegnart-public-qui-ci-sono-immagini-video-e-intervista-allartista/\" target=\"_blank\">Arte pubblica a Mumbai. Intervista con Anna Zegna</a> </span> <font color=\"red\">  >> </font> <span>\r\nDaniele Perra, Art Tribune, 1st March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://in.blouinartinfo.com/news/story/885613/reena-kallat-on-her-mammoth-1-ton-rubber-stamp-cobweb-at-the\" target=\"_blank\">Reena Kallat On Her Mammoth, 1-ton Rubber-Stamp Cobweb at the Bhau Daji Lad Museum, Mumbai</a> </span> <font color=\"red\">  >> </font> <span> \r\nRosalyn D\'Mello, Blouinart, April 1, 2013</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.thehindu.com/features/magazine/putting-her-stamp-on-it/article4484175.ece\" target=\"_blank\">Putting her stamp on it</a> </span> <font color=\"red\">  >> </font> <span>\r\nRamya Sarma, The Hindu, 9th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.business-standard.com/article/beyond-business/stamp-over-mumbai-113030800509_1.html\" target=\"_blank\">Stamp over Mumbai</a> </span> <font color=\"red\">  >> </font> <span>\r\nKishore Singh, Business Standard, New Delhi  8th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_weaving-a-tangled-web_1806665\" target=\"_blank\">Weaving a tangled web</a> </span> <font color=\"red\">  >> </font> <span>\r\nDeepanjana Pal, DNA, 3rd March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_web-of-history_1810815\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nSanaya Chavda, DNA, 13th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindustantimes.com/Entertainment/Art/Web-of-history-Reena-Kallat-s-installation/Article1-1027359.aspx\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nShweta Mehta, Hindustan Times, 16th March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Public Art installation by Reena Kallat at the Dr. Bhau Daji Lad Museum in Mumbai </a> </span> <font color=\"red\">  >> </font><span>\r\nManjari Sihare, Saffron blog,Posted on 14th March  2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.indiaartndesign.com/2013/03/of-cobwebs-crossings.html\" target=\"_blank\">Of Cobwebs & Crossings </a> </span> <font color=\"red\">  >> </font> <span>\r\nJigna Padhiar, India Art & Design, 1st March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://prestige-singapore.com.sg/2013/04/arts-raj\" target=\"_blank\">Art\'s the Raj</a> </span> <font color=\"red\">  >> </font> <span>\r\nDylan Boey, Prestige Singapore, 3rd April 2013 \r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\">Adrift in unknown waters: Reena Saini Kallat and the Art of letting go</span><span>\r\nParni Ray,  Artfair Magazine, Issue-3, pg 48 – 51, 2012\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.livemint.com/2012/02/02193324/Walking-the-art-talk-with-the.html\" target=\"_blank\">Walking the Art talk with the Kallats</a> </span> <font color=\"red\">  >> </font> <span>\r\nShobha Narayan, Live Mint, February 2012 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.tribuneindia.com/2012/20120219/spectrum/main2.htm\" target=\"_blank\">Spectrum New Visual Idiom</a> </span> <font color=\"red\">  >> </font> <span>\r\nThe Tribune, February 19, 2012  \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artnewsnviews.com/view-article.php?article=g-teborg-international-biennial&iid=25&articleid=678\" target=\"_blank\">Goteborg International Biennial</a> </span> <font color=\"red\">  >> </font> <span>\r\nArt Etc, Vol.4, No. 2, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">Helsinki taidemuseo.fi-Journal, </span> January 2011<span>\r\n</span>\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://indiatoday.intoday.in/site/story/brush-with-reality/1/134582.html\">Brush With Reality </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nSumaiya Khan, India Today Woman, pg. 20-21, April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">System overload </span><span>\r\nShweta Upadhyay, Timeout Delhi, March 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artslant.com/ind/articles/show/22573\" target=\"_blank\">Picking up the past</a> </span> <font color=\"red\">  >> </font> <span>\r\nParni Ray, www.artslant.com, 4th April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.america.gov/st/peopleplace-english/2011/March/20110307133535drawoh0.7282221.html?CP.rss=true\">Art at “maximum INDIA” Festival Evokes Cultural Memory and Loss</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nHoward Cincotta, www.america.gov, March 7, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.signonsandiego.com/news/2011/mar/02/kennedy-center-opens-3-week-india-arts-festival/\">Kennedy Center opens 3-week India arts festival</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nBrett Zongker, www.signonsnadiego.com, 2nd March 2011</span>\r\n\r\n<span class=\"pubstrong\">The Eye and the Mind: New Interventions in Contemporary Indian Art </span><span>\r\nRajeev Lochan, India Perspectives, Vol. 24, No. 6, 2010</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://artradarjournal.com/2010/04/20/indian-contemporary-artist-reena-kallat-art-radar-exclusive-interview/\">Interview, Art Radar Asia </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span><span>\r\nApril 20, 2010</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindu.com/mag/2006/10/29/stories/2006102900070200.htm\">In a State of Perennial Siege</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></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 style=\"font-weight: normal; color: red;\"></span></span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\"><a target=\"_blank\" href =\"http://www.reenakallat.com/wp-content/uploads/2011/09/Faith%20and%20Hunger.pdf\" style=\"color: rgb(135, 135, 135);\">Of Faith and Hunger</a><font  style=\"font-weight:normal;\"   color=\"red\">  >> </font></span></span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: Roti, Makaan &amp; Abstract Art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect &amp; Builder, pgs 102-104, October 1998</span></td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-210','','','2013-06-11 18:08:59','2013-06-11 18:08:59','',87,'http://www.reenakallat.com/2925/uncat/87-revision-210',0,'revision','',0),(2926,1,'2014-01-11 00:17:37','2014-01-11 00:17:37','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" width=\"21%\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left: 5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali\r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road\r\nISBN: 978-81-908879-1-5 </span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/reena-kallat\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/rainbow-of-refuse\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/black-flute\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/battlefield-of-mind\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table cellspacing=\"0\" cellpadding=\"0\" 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></tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote\r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/orchard-pub\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n<td><!-- Start of Other Publications -->\r\n\r\n<span class=\"pubstrong\">NO-MAD-NESS IN NO MAN’S LAND</span><span>\r\nText:  interview by Ombretta Agro Andruff and Leeza Ahmady with Casey Amy Fan\r\nPublisher: The Eslite Corp.\r\nISBN: 978-986-89759-7-2\r\n\r\n<span class=\"pubstrong\">India Side by Side</span><span>\r\nText: CibeleAldrovandi, Deepak Ananth, FlaviaGalliTatsch, KapilaVatsyayan,Laura Cury, RahaabAllana, Tereza de Arruda\r\nPublisher: The Brazilian Ministry of Culture and Banco do Brasil\r\nISBN: 978-85-64170-01-8\r\n\r\n<span class=\"pubstrong\">India : Art Now </span><span>\r\nText: Stine Hoholt, Ranjit Hoskote, Zehra Jumabhoy\r\nPublisher: Hatje Cantz</span>\r\nISBN: 978-3-7757-3411-0\r\n\r\n<span class=\"pubstrong\">Undervaeker – Wonders, </span>2012<span>\r\nTexts by Gitte Orskou, Af Theis Vallo Madsen, Jeanett Stampe\r\nPublisher: KUNSTEN - Museum of Modern Art Aalborg</span>\r\nISBN: 978-87-88307-72-6\r\n\r\n<span class=\"pubstrong\">n.paradoxa: international feminist art journal, volume 30, </span>2012<span>\r\nText: interview with Veeranganakumari Solanki\r\nPublisher: KT press</span>\r\nISBN: 1461- 0434\r\n\r\n<span class=\"pubstrong\">The Skoda Prize Twenty, </span>2011-2012<span>\r\nText: Zeenat Nagree\r\nPublisher: Popular Prakashan</span>\r\nISBN: 978-81-7991-681-0\r\n\r\n<span class=\"pubstrong\">Pandemonium: Art in a time of creativity fever, </span>2011<span>\r\nText: interview with Stina Edblom\r\nPublisher: Göteborg International Biennial for Contemporary Art</span>\r\nISBN: 978-91-633-9363-1\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/pandemonium\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">The Indian Renaissance, </span>2011<span>\r\nText: Antonio Stellatelli, Romano Ravasio and Marina Pizziolo\r\n\r\n<span class=\"pubstrong\">Vancouver Biennale, </span>2009-2011<span>\r\nText: Vancouver International Sculpture Biennale\r\n</span>\r\n\r\n<span class=\"pubstrong\">Maximum India, </span>2011<span>\r\nPublisher: The John F. Kennedy Center for the Performing Arts, 2011</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<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/never-run-away\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery\r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The River Project, </span>2010<span>\r\nPublisher: Campbelltown Arts Centre\r\nISBN: 9781875199761\r\n</span>\r\n\r\n<span class=\"pubstrong\">Asian Art Now, </span>2010<span>\r\nText: Melissa Chiu and Benjamin Genocchio\r\nPublisher: Monacelli Press\r\nISBN: 978-1-58093-298-1 (1-58093-298-3)\r\n</span>\r\n\r\n<span class=\"pubstrong\">Roundabout, </span>2010<span>\r\nPublisher: Art Asia Pacific Publishing\r\nISBN: 978-0984562510\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/khoj-book\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">5 Bienal Ventosul, </span>2009<span>\r\nPublisher: Instituto Paranaense de Arte</span>\r\n\r\n<span class=\"pubstrong\">Viewpoints &amp; Viewings Points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai\r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki,\r\nMiho Tagomori\r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum\r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman\r\nGopinath, Jayaram, Deepak Ananth\r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur,\r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller,\r\nBregje van Eekelen\r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center\r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern &amp; Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart &amp; The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation &amp; Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n\r\n<span class=\"pubstrong\" style=\"color: #000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.wallpaper.com/art/zegnart-enlists-reena-kallat-to-create-a-site-specific-artwork-in-mumbai/6292\" target=\"_blank\">ZegnArt enlists Reena Kallat to create a site-specific artwork in Mumbai,</a> </span> <font color=\"red\">  >> </font> <span>\r\nJJ Martin, Wallpaper, 18th January 2013 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.timeoutmumbai.net/art/features/web-design\" target=\"_blank\">Web design</a> </span> <font color=\"red\">  >> </font> <span>\r\nKaranjeet Kaur,Timeout Magazine, pg 26-28, 15th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artribune.com/2013/03/una-ragnatela-fra-italia-e-india-inaugurata-a-mumbai-lopera-di-reena-kallat-per-il-progetto-zegnart-public-qui-ci-sono-immagini-video-e-intervista-allartista/\" target=\"_blank\">Arte pubblica a Mumbai. Intervista con Anna Zegna</a> </span> <font color=\"red\">  >> </font> <span>\r\nDaniele Perra, Art Tribune, 1st March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://in.blouinartinfo.com/news/story/885613/reena-kallat-on-her-mammoth-1-ton-rubber-stamp-cobweb-at-the\" target=\"_blank\">Reena Kallat On Her Mammoth, 1-ton Rubber-Stamp Cobweb at the Bhau Daji Lad Museum, Mumbai</a> </span> <font color=\"red\">  >> </font> <span> \r\nRosalyn D\'Mello, Blouinart, April 1, 2013</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.thehindu.com/features/magazine/putting-her-stamp-on-it/article4484175.ece\" target=\"_blank\">Putting her stamp on it</a> </span> <font color=\"red\">  >> </font> <span>\r\nRamya Sarma, The Hindu, 9th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.business-standard.com/article/beyond-business/stamp-over-mumbai-113030800509_1.html\" target=\"_blank\">Stamp over Mumbai</a> </span> <font color=\"red\">  >> </font> <span>\r\nKishore Singh, Business Standard, New Delhi  8th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_weaving-a-tangled-web_1806665\" target=\"_blank\">Weaving a tangled web</a> </span> <font color=\"red\">  >> </font> <span>\r\nDeepanjana Pal, DNA, 3rd March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_web-of-history_1810815\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nSanaya Chavda, DNA, 13th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindustantimes.com/Entertainment/Art/Web-of-history-Reena-Kallat-s-installation/Article1-1027359.aspx\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nShweta Mehta, Hindustan Times, 16th March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Public Art installation by Reena Kallat at the Dr. Bhau Daji Lad Museum in Mumbai </a> </span> <font color=\"red\">  >> </font><span>\r\nManjari Sihare, Saffron blog,Posted on 14th March  2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.indiaartndesign.com/2013/03/of-cobwebs-crossings.html\" target=\"_blank\">Of Cobwebs & Crossings </a> </span> <font color=\"red\">  >> </font> <span>\r\nJigna Padhiar, India Art & Design, 1st March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://prestige-singapore.com.sg/2013/04/arts-raj\" target=\"_blank\">Art\'s the Raj</a> </span> <font color=\"red\">  >> </font> <span>\r\nDylan Boey, Prestige Singapore, 3rd April 2013 \r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\">Adrift in unknown waters: Reena Saini Kallat and the Art of letting go</span><span>\r\nParni Ray,  Artfair Magazine, Issue-3, pg 48 – 51, 2012\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.livemint.com/2012/02/02193324/Walking-the-art-talk-with-the.html\" target=\"_blank\">Walking the Art talk with the Kallats</a> </span> <font color=\"red\">  >> </font> <span>\r\nShobha Narayan, Live Mint, February 2012 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.tribuneindia.com/2012/20120219/spectrum/main2.htm\" target=\"_blank\">Spectrum New Visual Idiom</a> </span> <font color=\"red\">  >> </font> <span>\r\nThe Tribune, February 19, 2012  \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artnewsnviews.com/view-article.php?article=g-teborg-international-biennial&iid=25&articleid=678\" target=\"_blank\">Goteborg International Biennial</a> </span> <font color=\"red\">  >> </font> <span>\r\nArt Etc, Vol.4, No. 2, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">Helsinki taidemuseo.fi-Journal, </span> January 2011<span>\r\n</span>\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://indiatoday.intoday.in/site/story/brush-with-reality/1/134582.html\">Brush With Reality </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nSumaiya Khan, India Today Woman, pg. 20-21, April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">System overload </span><span>\r\nShweta Upadhyay, Timeout Delhi, March 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artslant.com/ind/articles/show/22573\" target=\"_blank\">Picking up the past</a> </span> <font color=\"red\">  >> </font> <span>\r\nParni Ray, www.artslant.com, 4th April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.america.gov/st/peopleplace-english/2011/March/20110307133535drawoh0.7282221.html?CP.rss=true\">Art at “maximum INDIA” Festival Evokes Cultural Memory and Loss</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nHoward Cincotta, www.america.gov, March 7, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.signonsandiego.com/news/2011/mar/02/kennedy-center-opens-3-week-india-arts-festival/\">Kennedy Center opens 3-week India arts festival</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nBrett Zongker, www.signonsnadiego.com, 2nd March 2011</span>\r\n\r\n<span class=\"pubstrong\">The Eye and the Mind: New Interventions in Contemporary Indian Art </span><span>\r\nRajeev Lochan, India Perspectives, Vol. 24, No. 6, 2010</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://artradarjournal.com/2010/04/20/indian-contemporary-artist-reena-kallat-art-radar-exclusive-interview/\">Interview, Art Radar Asia </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span><span>\r\nApril 20, 2010</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindu.com/mag/2006/10/29/stories/2006102900070200.htm\">In a State of Perennial Siege</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></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 style=\"font-weight: normal; color: red;\"></span></span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\"><a target=\"_blank\" href =\"http://www.reenakallat.com/wp-content/uploads/2011/09/Faith%20and%20Hunger.pdf\" style=\"color: rgb(135, 135, 135);\">Of Faith and Hunger</a><font  style=\"font-weight:normal;\"   color=\"red\">  >> </font></span></span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: Roti, Makaan &amp; Abstract Art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect &amp; Builder, pgs 102-104, October 1998</span></td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-211','','','2014-01-11 00:17:37','2014-01-11 00:17:37','',87,'http://www.reenakallat.com/2926/uncat/87-revision-211',0,'revision','',0),(2927,1,'2014-01-11 00:17:56','2014-01-11 00:17:56','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" width=\"21%\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left: 5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali\r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road\r\nISBN: 978-81-908879-1-5 </span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/reena-kallat\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/rainbow-of-refuse\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/black-flute\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/battlefield-of-mind\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table cellspacing=\"0\" cellpadding=\"0\" 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></tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote\r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/orchard-pub\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n<td><!-- Start of Other Publications -->\r\n\r\n<span class=\"pubstrong\">NO-MAD-NESS IN NO MAN’S LAND</span><span>\r\nText:  interview by Ombretta Agro Andruff and Leeza Ahmady with Casey Amy Fan\r\nPublisher: The Eslite Corp.\r\nISBN: 978-986-89759-7-2\r\n\r\n<span class=\"pubstrong\">India Side by Side</span><span>\r\nText: CibeleAldrovandi, Deepak Ananth, FlaviaGalliTatsch, KapilaVatsyayan,Laura Cury, RahaabAllana, Tereza de Arruda\r\nPublisher: The Brazilian Ministry of Culture and Banco do Brasil\r\nISBN: 978-85-64170-01-8\r\n\r\n<span class=\"pubstrong\">India : Art Now </span><span>\r\nText: Stine Hoholt, Ranjit Hoskote, Zehra Jumabhoy\r\nPublisher: Hatje Cantz</span>\r\nISBN: 978-3-7757-3411-0\r\n\r\n<span class=\"pubstrong\">Undervaeker – Wonders, </span>2012<span>\r\nTexts by Gitte Orskou, Af Theis Vallo Madsen, Jeanett Stampe\r\nPublisher: KUNSTEN - Museum of Modern Art Aalborg</span>\r\nISBN: 978-87-88307-72-6\r\n\r\n<span class=\"pubstrong\">n.paradoxa: international feminist art journal, volume 30, </span>2012<span>\r\nText: interview with Veeranganakumari Solanki\r\nPublisher: KT press</span>\r\nISBN: 1461- 0434\r\n\r\n<span class=\"pubstrong\">The Skoda Prize Twenty, </span>2011-2012<span>\r\nText: Zeenat Nagree\r\nPublisher: Popular Prakashan</span>\r\nISBN: 978-81-7991-681-0\r\n\r\n<span class=\"pubstrong\">Pandemonium: Art in a time of creativity fever, </span>2011<span>\r\nText: interview with Stina Edblom\r\nPublisher: Göteborg International Biennial for Contemporary Art</span>\r\nISBN: 978-91-633-9363-1\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/pandemonium\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">The Indian Renaissance, </span>2011<span>\r\nText: Antonio Stellatelli, Romano Ravasio and Marina Pizziolo\r\n\r\n<span class=\"pubstrong\">Vancouver Biennale, </span>2009-2011<span>\r\nText: Vancouver International Sculpture Biennale\r\n</span>\r\n\r\n<span class=\"pubstrong\">Maximum India, </span>2011<span>\r\nPublisher: The John F. Kennedy Center for the Performing Arts, 2011</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<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/never-run-away\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery\r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The River Project, </span>2010<span>\r\nPublisher: Campbelltown Arts Centre\r\nISBN: 9781875199761\r\n</span>\r\n\r\n<span class=\"pubstrong\">Asian Art Now, </span>2010<span>\r\nText: Melissa Chiu and Benjamin Genocchio\r\nPublisher: Monacelli Press\r\nISBN: 978-1-58093-298-1 (1-58093-298-3)\r\n</span>\r\n\r\n<span class=\"pubstrong\">Roundabout, </span>2010<span>\r\nPublisher: Art Asia Pacific Publishing\r\nISBN: 978-0984562510\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/khoj-book\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">5 Bienal Ventosul, </span>2009<span>\r\nPublisher: Instituto Paranaense de Arte</span>\r\n\r\n<span class=\"pubstrong\">Viewpoints &amp; Viewings Points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai\r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki,\r\nMiho Tagomori\r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum\r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman\r\nGopinath, Jayaram, Deepak Ananth\r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur,\r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller,\r\nBregje van Eekelen\r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center\r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern &amp; Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart &amp; The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation &amp; Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n\r\n<span class=\"pubstrong\" style=\"color: #000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.wallpaper.com/art/zegnart-enlists-reena-kallat-to-create-a-site-specific-artwork-in-mumbai/6292\" target=\"_blank\">ZegnArt enlists Reena Kallat to create a site-specific artwork in Mumbai,</a> </span> <font color=\"red\">  >> </font> <span>\r\nJJ Martin, Wallpaper, 18th January 2013 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.timeoutmumbai.net/art/features/web-design\" target=\"_blank\">Web design</a> </span> <font color=\"red\">  >> </font> <span>\r\nKaranjeet Kaur,Timeout Magazine, pg 26-28, 15th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artribune.com/2013/03/una-ragnatela-fra-italia-e-india-inaugurata-a-mumbai-lopera-di-reena-kallat-per-il-progetto-zegnart-public-qui-ci-sono-immagini-video-e-intervista-allartista/\" target=\"_blank\">Arte pubblica a Mumbai. Intervista con Anna Zegna</a> </span> <font color=\"red\">  >> </font> <span>\r\nDaniele Perra, Art Tribune, 1st March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://in.blouinartinfo.com/news/story/885613/reena-kallat-on-her-mammoth-1-ton-rubber-stamp-cobweb-at-the\" target=\"_blank\">Reena Kallat On Her Mammoth, 1-ton Rubber-Stamp Cobweb at the Bhau Daji Lad Museum, Mumbai</a> </span> <font color=\"red\">  >> </font> <span> \r\nRosalyn D\'Mello, Blouinart, April 1, 2013</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.thehindu.com/features/magazine/putting-her-stamp-on-it/article4484175.ece\" target=\"_blank\">Putting her stamp on it</a> </span> <font color=\"red\">  >> </font> <span>\r\nRamya Sarma, The Hindu, 9th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.business-standard.com/article/beyond-business/stamp-over-mumbai-113030800509_1.html\" target=\"_blank\">Stamp over Mumbai</a> </span> <font color=\"red\">  >> </font> <span>\r\nKishore Singh, Business Standard, New Delhi  8th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_weaving-a-tangled-web_1806665\" target=\"_blank\">Weaving a tangled web</a> </span> <font color=\"red\">  >> </font> <span>\r\nDeepanjana Pal, DNA, 3rd March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_web-of-history_1810815\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nSanaya Chavda, DNA, 13th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindustantimes.com/Entertainment/Art/Web-of-history-Reena-Kallat-s-installation/Article1-1027359.aspx\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nShweta Mehta, Hindustan Times, 16th March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Public Art installation by Reena Kallat at the Dr. Bhau Daji Lad Museum in Mumbai </a> </span> <font color=\"red\">  >> </font><span>\r\nManjari Sihare, Saffron blog,Posted on 14th March  2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.indiaartndesign.com/2013/03/of-cobwebs-crossings.html\" target=\"_blank\">Of Cobwebs & Crossings </a> </span> <font color=\"red\">  >> </font> <span>\r\nJigna Padhiar, India Art & Design, 1st March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://prestige-singapore.com.sg/2013/04/arts-raj\" target=\"_blank\">Art\'s the Raj</a> </span> <font color=\"red\">  >> </font> <span>\r\nDylan Boey, Prestige Singapore, 3rd April 2013 \r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\">Adrift in unknown waters: Reena Saini Kallat and the Art of letting go</span><span>\r\nParni Ray,  Artfair Magazine, Issue-3, pg 48 – 51, 2012\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.livemint.com/2012/02/02193324/Walking-the-art-talk-with-the.html\" target=\"_blank\">Walking the Art talk with the Kallats</a> </span> <font color=\"red\">  >> </font> <span>\r\nShobha Narayan, Live Mint, February 2012 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.tribuneindia.com/2012/20120219/spectrum/main2.htm\" target=\"_blank\">Spectrum New Visual Idiom</a> </span> <font color=\"red\">  >> </font> <span>\r\nThe Tribune, February 19, 2012  \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artnewsnviews.com/view-article.php?article=g-teborg-international-biennial&iid=25&articleid=678\" target=\"_blank\">Goteborg International Biennial</a> </span> <font color=\"red\">  >> </font> <span>\r\nArt Etc, Vol.4, No. 2, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">Helsinki taidemuseo.fi-Journal, </span> January 2011<span>\r\n</span>\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://indiatoday.intoday.in/site/story/brush-with-reality/1/134582.html\">Brush With Reality </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nSumaiya Khan, India Today Woman, pg. 20-21, April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">System overload </span><span>\r\nShweta Upadhyay, Timeout Delhi, March 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artslant.com/ind/articles/show/22573\" target=\"_blank\">Picking up the past</a> </span> <font color=\"red\">  >> </font> <span>\r\nParni Ray, www.artslant.com, 4th April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.america.gov/st/peopleplace-english/2011/March/20110307133535drawoh0.7282221.html?CP.rss=true\">Art at “maximum INDIA” Festival Evokes Cultural Memory and Loss</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nHoward Cincotta, www.america.gov, March 7, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.signonsandiego.com/news/2011/mar/02/kennedy-center-opens-3-week-india-arts-festival/\">Kennedy Center opens 3-week India arts festival</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nBrett Zongker, www.signonsnadiego.com, 2nd March 2011</span>\r\n\r\n<span class=\"pubstrong\">The Eye and the Mind: New Interventions in Contemporary Indian Art </span><span>\r\nRajeev Lochan, India Perspectives, Vol. 24, No. 6, 2010</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://artradarjournal.com/2010/04/20/indian-contemporary-artist-reena-kallat-art-radar-exclusive-interview/\">Interview, Art Radar Asia </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span><span>\r\nApril 20, 2010</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindu.com/mag/2006/10/29/stories/2006102900070200.htm\">In a State of Perennial Siege</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></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 style=\"font-weight: normal; color: red;\"></span></span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\"><a target=\"_blank\" href =\"http://www.reenakallat.com/wp-content/uploads/2011/09/Faith%20and%20Hunger.pdf\" style=\"color: rgb(135, 135, 135);\">Of Faith and Hunger</a><font  style=\"font-weight:normal;\"   color=\"red\">  >> </font></span></span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: Roti, Makaan &amp; Abstract Art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect &amp; Builder, pgs 102-104, October 1998</span></td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-212','','','2014-01-11 00:17:56','2014-01-11 00:17:56','',87,'http://www.reenakallat.com/2927/uncat/87-revision-212',0,'revision','',0),(2929,1,'2014-01-11 00:25:24','2014-01-11 00:25:24','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" width=\"21%\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left: 5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali\r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road\r\nISBN: 978-81-908879-1-5 </span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/reena-kallat\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/rainbow-of-refuse\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/black-flute\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/battlefield-of-mind\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table cellspacing=\"0\" cellpadding=\"0\" 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></tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote\r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/orchard-pub\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n<td><!-- Start of Other Publications -->\r\n\r\n\r\n<span class=\"pubstrong\">NO-MAD-NESS IN NO MAN’S LAND</span><span>\r\nText:  interview by Ombretta Agro Andruff and Leeza Ahmady with Casey Amy Fan\r\nPublisher: The Eslite Corp.\r\nISBN: 978-986-89759-7-2\r\n\r\n<span class=\"pubstrong\">India Side by Side</span><span>\r\nText: CibeleAldrovandi, Deepak Ananth, FlaviaGalliTatsch, KapilaVatsyayan,Laura Cury, RahaabAllana, Tereza de Arruda\r\nPublisher: The Brazilian Ministry of Culture and Banco do Brasil\r\nISBN: 978-85-64170-01-8\r\n\r\n<span class=\"pubstrong\">India : Art Now </span><span>\r\nText: Stine Hoholt, Ranjit Hoskote, Zehra Jumabhoy\r\nPublisher: Hatje Cantz</span>\r\nISBN: 978-3-7757-3411-0\r\n\r\n<span class=\"pubstrong\">Undervaeker – Wonders, </span>2012<span>\r\nTexts by Gitte Orskou, Af Theis Vallo Madsen, Jeanett Stampe\r\nPublisher: KUNSTEN - Museum of Modern Art Aalborg</span>\r\nISBN: 978-87-88307-72-6\r\n\r\n<span class=\"pubstrong\">n.paradoxa: international feminist art journal, volume 30, </span>2012<span>\r\nText: interview with Veeranganakumari Solanki\r\nPublisher: KT press</span>\r\nISBN: 1461- 0434\r\n\r\n<span class=\"pubstrong\">The Skoda Prize Twenty, </span>2011-2012<span>\r\nText: Zeenat Nagree\r\nPublisher: Popular Prakashan</span>\r\nISBN: 978-81-7991-681-0\r\n\r\n<span class=\"pubstrong\">Pandemonium: Art in a time of creativity fever, </span>2011<span>\r\nText: interview with Stina Edblom\r\nPublisher: Göteborg International Biennial for Contemporary Art</span>\r\nISBN: 978-91-633-9363-1\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/pandemonium\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">The Indian Renaissance, </span>2011<span>\r\nText: Antonio Stellatelli, Romano Ravasio and Marina Pizziolo\r\n\r\n<span class=\"pubstrong\">Vancouver Biennale, </span>2009-2011<span>\r\nText: Vancouver International Sculpture Biennale\r\n</span>\r\n\r\n<span class=\"pubstrong\">Maximum India, </span>2011<span>\r\nPublisher: The John F. Kennedy Center for the Performing Arts, 2011</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<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/never-run-away\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery\r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The River Project, </span>2010<span>\r\nPublisher: Campbelltown Arts Centre\r\nISBN: 9781875199761\r\n</span>\r\n\r\n<span class=\"pubstrong\">Asian Art Now, </span>2010<span>\r\nText: Melissa Chiu and Benjamin Genocchio\r\nPublisher: Monacelli Press\r\nISBN: 978-1-58093-298-1 (1-58093-298-3)\r\n</span>\r\n\r\n<span class=\"pubstrong\">Roundabout, </span>2010<span>\r\nPublisher: Art Asia Pacific Publishing\r\nISBN: 978-0984562510\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/khoj-book\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">5 Bienal Ventosul, </span>2009<span>\r\nPublisher: Instituto Paranaense de Arte</span>\r\n\r\n<span class=\"pubstrong\">Viewpoints &amp; Viewings Points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai\r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki,\r\nMiho Tagomori\r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum\r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman\r\nGopinath, Jayaram, Deepak Ananth\r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur,\r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller,\r\nBregje van Eekelen\r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center\r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern &amp; Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart &amp; The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation &amp; Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n\r\n<span class=\"pubstrong\" style=\"color: #000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.wallpaper.com/art/zegnart-enlists-reena-kallat-to-create-a-site-specific-artwork-in-mumbai/6292\" target=\"_blank\">ZegnArt enlists Reena Kallat to create a site-specific artwork in Mumbai,</a> </span> <font color=\"red\">  >> </font> <span>\r\nJJ Martin, Wallpaper, 18th January 2013 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.timeoutmumbai.net/art/features/web-design\" target=\"_blank\">Web design</a> </span> <font color=\"red\">  >> </font> <span>\r\nKaranjeet Kaur,Timeout Magazine, pg 26-28, 15th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artribune.com/2013/03/una-ragnatela-fra-italia-e-india-inaugurata-a-mumbai-lopera-di-reena-kallat-per-il-progetto-zegnart-public-qui-ci-sono-immagini-video-e-intervista-allartista/\" target=\"_blank\">Arte pubblica a Mumbai. Intervista con Anna Zegna</a> </span> <font color=\"red\">  >> </font> <span>\r\nDaniele Perra, Art Tribune, 1st March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://in.blouinartinfo.com/news/story/885613/reena-kallat-on-her-mammoth-1-ton-rubber-stamp-cobweb-at-the\" target=\"_blank\">Reena Kallat On Her Mammoth, 1-ton Rubber-Stamp Cobweb at the Bhau Daji Lad Museum, Mumbai</a> </span> <font color=\"red\">  >> </font> <span> \r\nRosalyn D\'Mello, Blouinart, April 1, 2013</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.thehindu.com/features/magazine/putting-her-stamp-on-it/article4484175.ece\" target=\"_blank\">Putting her stamp on it</a> </span> <font color=\"red\">  >> </font> <span>\r\nRamya Sarma, The Hindu, 9th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.business-standard.com/article/beyond-business/stamp-over-mumbai-113030800509_1.html\" target=\"_blank\">Stamp over Mumbai</a> </span> <font color=\"red\">  >> </font> <span>\r\nKishore Singh, Business Standard, New Delhi  8th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_weaving-a-tangled-web_1806665\" target=\"_blank\">Weaving a tangled web</a> </span> <font color=\"red\">  >> </font> <span>\r\nDeepanjana Pal, DNA, 3rd March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_web-of-history_1810815\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nSanaya Chavda, DNA, 13th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindustantimes.com/Entertainment/Art/Web-of-history-Reena-Kallat-s-installation/Article1-1027359.aspx\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nShweta Mehta, Hindustan Times, 16th March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Public Art installation by Reena Kallat at the Dr. Bhau Daji Lad Museum in Mumbai </a> </span> <font color=\"red\">  >> </font><span>\r\nManjari Sihare, Saffron blog,Posted on 14th March  2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"#\" target=\"_blank\">Weaving into  networks, Buliding Cobwebs: Musings over Reena Saini Kallat’s recent work </a> </span> <font color=\"red\">  >> </font><span>\r\nParni Ray, Take on Art/Eleven, pg 98, Volume lll\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"#\" target=\"_blank\">Stamping ground</a> </span> <font color=\"red\">  >> </font><span>\r\nDeepanjana Pal, Wallpaper magazine, pg 193 – 194, May 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"#\" target=\"_blank\">Editorial</a> </span> <font color=\"red\">  >> </font><span>\r\nKaiwan Mehta, Domus, pg 5 – 10, April 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"#\" target=\"_blank\">Web Design</a> </span> <font color=\"red\">  >> </font><span>\r\nChumki Bharadwaj, India Today, pg 45 – 46, April 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"#\" target=\"_blank\">Art Outside </a> </span> <font color=\"red\">  >> </font><span>\r\nPavitra Mohan, Architectural Digest, pg 98, March-April 2013\r\n</span>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.indiaartndesign.com/2013/03/of-cobwebs-crossings.html\" target=\"_blank\">Of Cobwebs & Crossings </a> </span> <font color=\"red\">  >> </font> <span>\r\nJigna Padhiar, India Art & Design, 1st March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://prestige-singapore.com.sg/2013/04/arts-raj\" target=\"_blank\">Art\'s the Raj</a> </span> <font color=\"red\">  >> </font> <span>\r\nDylan Boey, Prestige Singapore, 3rd April 2013 \r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\">Adrift in unknown waters: Reena Saini Kallat and the Art of letting go</span><span>\r\nParni Ray,  Artfair Magazine, Issue-3, pg 48 – 51, 2012\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.livemint.com/2012/02/02193324/Walking-the-art-talk-with-the.html\" target=\"_blank\">Walking the Art talk with the Kallats</a> </span> <font color=\"red\">  >> </font> <span>\r\nShobha Narayan, Live Mint, February 2012 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.tribuneindia.com/2012/20120219/spectrum/main2.htm\" target=\"_blank\">Spectrum New Visual Idiom</a> </span> <font color=\"red\">  >> </font> <span>\r\nThe Tribune, February 19, 2012  \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artnewsnviews.com/view-article.php?article=g-teborg-international-biennial&iid=25&articleid=678\" target=\"_blank\">Goteborg International Biennial</a> </span> <font color=\"red\">  >> </font> <span>\r\nArt Etc, Vol.4, No. 2, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">Helsinki taidemuseo.fi-Journal, </span> January 2011<span>\r\n</span>\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://indiatoday.intoday.in/site/story/brush-with-reality/1/134582.html\">Brush With Reality </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nSumaiya Khan, India Today Woman, pg. 20-21, April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">System overload </span><span>\r\nShweta Upadhyay, Timeout Delhi, March 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artslant.com/ind/articles/show/22573\" target=\"_blank\">Picking up the past</a> </span> <font color=\"red\">  >> </font> <span>\r\nParni Ray, www.artslant.com, 4th April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.america.gov/st/peopleplace-english/2011/March/20110307133535drawoh0.7282221.html?CP.rss=true\">Art at “maximum INDIA” Festival Evokes Cultural Memory and Loss</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nHoward Cincotta, www.america.gov, March 7, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.signonsandiego.com/news/2011/mar/02/kennedy-center-opens-3-week-india-arts-festival/\">Kennedy Center opens 3-week India arts festival</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nBrett Zongker, www.signonsnadiego.com, 2nd March 2011</span>\r\n\r\n<span class=\"pubstrong\">The Eye and the Mind: New Interventions in Contemporary Indian Art </span><span>\r\nRajeev Lochan, India Perspectives, Vol. 24, No. 6, 2010</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://artradarjournal.com/2010/04/20/indian-contemporary-artist-reena-kallat-art-radar-exclusive-interview/\">Interview, Art Radar Asia </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span><span>\r\nApril 20, 2010</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindu.com/mag/2006/10/29/stories/2006102900070200.htm\">In a State of Perennial Siege</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></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 style=\"font-weight: normal; color: red;\"></span></span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\"><a target=\"_blank\" href =\"http://www.reenakallat.com/wp-content/uploads/2011/09/Faith%20and%20Hunger.pdf\" style=\"color: rgb(135, 135, 135);\">Of Faith and Hunger</a><font  style=\"font-weight:normal;\"   color=\"red\">  >> </font></span></span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: Roti, Makaan &amp; Abstract Art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect &amp; Builder, pgs 102-104, October 1998</span></td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-214','','','2014-01-11 00:25:24','2014-01-11 00:25:24','',87,'http://www.reenakallat.com/2929/uncat/87-revision-214',0,'revision','',0),(2928,1,'2014-01-11 00:23:15','2014-01-11 00:23:15','<table border=\"0\" cellspacing=\"5\" cellpadding=\"0\" width=\"100%\" align=\"centre\">\r\n<tbody>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" width=\"21%\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Reena Saini Kallat\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Reena-Saini- Kallat_thumb.jpg\" alt=\"Reena Saini Kallat\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td style=\"margin-left: 5px;\"><span class=\"pubstrong\">Reena Saini Kallat, </span> 2009<span>\r\nText: Nancy Adajania and Murtaza Vali\r\nPublisher: Primo Marella Gallery, Walsh Gallery and Chemould Prescott Road\r\nISBN: 978-81-908879-1-5 </span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/reena-kallat\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Rainbow of Refuse\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Rainbow-of -Refuse_thumb.jpg\" alt=\"Rainbow of Refuse\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Rainbow of Refuse, </span>2006<span>\r\nText: Nancy Adajania\r\nPublisher: Bodhi Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/rainbow-of-refuse\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-large wp-image-941\" title=\"Publications-Black-Flute and-Other Stories_thumb.jpg\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Black-Flute-and-Other-Stories_thumb.jpg\" alt=\"Black-Flute and-Other Stories\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Black Flute (and other stories), </span>2005\r\n<span class=\"pubstrong\">Black Flute,</span> 2004<span>\r\nText: Nancy Adajania\r\nPublisher: Gallery Chemould and Nature Morte Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/black-flute\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-The-Battlefield Is The Mind\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/The-Battlefield-Is -The-Mind_thumb.jpg\" alt=\"The Battlefield Is The Mind\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">The Battlefield is the Mind, </span>2002<span>\r\nText: Nancy Adajania\r\nPublisher: Sakshi Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/battlefield-of-mind\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"Publications-2000-SKIN\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/2000-SKIN_thumb.jpg\" alt=\"2000-SKIN\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table cellspacing=\"0\" cellpadding=\"0\" 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></tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td style=\"padding-top: 12px;\" align=\"centre\" valign=\"top\"><img class=\"alignleft size-full wp-image-939\" title=\"publications-Orchard ofHome grown Secrets\" src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/Orchardof-Home-grown Secrets_thumb.jpg\" alt=\"Orchard of Home grown Secrets\" width=\"188\" /></td>\r\n<td align=\"centre\" valign=\"bottom\">\r\n<table width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td><span class=\"pubstrong\">Orchard of home-grown secrets, </span>1998<span>\r\nText: Ranjit Hoskote\r\nPublisher: Gallery Chemould and Pundole Art Gallery</span></td>\r\n</tr>\r\n<tr>\r\n<td style=\"line-height: 10px; padding-top: 0px;\" colspan=\"2\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/orchard-pub\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n<td><!-- Start of Other Publications -->\r\n\r\n\r\n<span class=\"pubstrong\">NO-MAD-NESS IN NO MAN’S LAND</span><span>\r\nText:  interview by Ombretta Agro Andruff and Leeza Ahmady with Casey Amy Fan\r\nPublisher: The Eslite Corp.\r\nISBN: 978-986-89759-7-2\r\n\r\n<span class=\"pubstrong\">India Side by Side</span><span>\r\nText: CibeleAldrovandi, Deepak Ananth, FlaviaGalliTatsch, KapilaVatsyayan,Laura Cury, RahaabAllana, Tereza de Arruda\r\nPublisher: The Brazilian Ministry of Culture and Banco do Brasil\r\nISBN: 978-85-64170-01-8\r\n\r\n<span class=\"pubstrong\">India : Art Now </span><span>\r\nText: Stine Hoholt, Ranjit Hoskote, Zehra Jumabhoy\r\nPublisher: Hatje Cantz</span>\r\nISBN: 978-3-7757-3411-0\r\n\r\n<span class=\"pubstrong\">Undervaeker – Wonders, </span>2012<span>\r\nTexts by Gitte Orskou, Af Theis Vallo Madsen, Jeanett Stampe\r\nPublisher: KUNSTEN - Museum of Modern Art Aalborg</span>\r\nISBN: 978-87-88307-72-6\r\n\r\n<span class=\"pubstrong\">n.paradoxa: international feminist art journal, volume 30, </span>2012<span>\r\nText: interview with Veeranganakumari Solanki\r\nPublisher: KT press</span>\r\nISBN: 1461- 0434\r\n\r\n<span class=\"pubstrong\">The Skoda Prize Twenty, </span>2011-2012<span>\r\nText: Zeenat Nagree\r\nPublisher: Popular Prakashan</span>\r\nISBN: 978-81-7991-681-0\r\n\r\n<span class=\"pubstrong\">Pandemonium: Art in a time of creativity fever, </span>2011<span>\r\nText: interview with Stina Edblom\r\nPublisher: Göteborg International Biennial for Contemporary Art</span>\r\nISBN: 978-91-633-9363-1\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/pandemonium\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">The Indian Renaissance, </span>2011<span>\r\nText: Antonio Stellatelli, Romano Ravasio and Marina Pizziolo\r\n\r\n<span class=\"pubstrong\">Vancouver Biennale, </span>2009-2011<span>\r\nText: Vancouver International Sculpture Biennale\r\n</span>\r\n\r\n<span class=\"pubstrong\">Maximum India, </span>2011<span>\r\nPublisher: The John F. Kennedy Center for the Performing Arts, 2011</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<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/never-run-away\">read essay</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">Urban Manners 2, </span>2010<span>\r\nText: Danilo Santos de Miranda, Adelina Von Furstenberg, Peter Nagy\r\nPublisher: SESC Pompeia, Sao Paulo </span>\r\n\r\n<span class=\"pubstrong\">The Empire Strikes Back, </span>2010<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saatchi Gallery\r\nISBN: 9780224089494\r\n</span>\r\n\r\n<span class=\"pubstrong\">The River Project, </span>2010<span>\r\nPublisher: Campbelltown Arts Centre\r\nISBN: 9781875199761\r\n</span>\r\n\r\n<span class=\"pubstrong\">Asian Art Now, </span>2010<span>\r\nText: Melissa Chiu and Benjamin Genocchio\r\nPublisher: Monacelli Press\r\nISBN: 978-1-58093-298-1 (1-58093-298-3)\r\n</span>\r\n\r\n<span class=\"pubstrong\">Roundabout, </span>2010<span>\r\nPublisher: Art Asia Pacific Publishing\r\nISBN: 978-0984562510\r\n</span>\r\n\r\n<span class=\"pubstrong\">The Khoj Book, </span>2010<span>\r\nInterview with Shilpa Gupta\r\nPublisher: HarperCollins\r\nISBN: 9788172236878</span>\r\n<span style=\"line-height: 10px; padding-top: 0px;\"><a style=\"color: #878787;\" href=\"http://www.reenakallat.com/khoj-book\">read interview</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span>\r\n\r\n<span class=\"pubstrong\">5 Bienal Ventosul, </span>2009<span>\r\nPublisher: Instituto Paranaense de Arte</span>\r\n\r\n<span class=\"pubstrong\">Viewpoints &amp; Viewings Points- Asian Art Biennale, </span>2009<span>\r\nText: Chao-yi-Tsai\r\nPublisher: National Taiwan Museum of fine Arts\r\nISBN: 978-986-02-0269-4</span>\r\n\r\n<span class=\"pubstrong\">India Xianzai: Contemporary Indian Art, </span>2009<span>\r\nText: Jitish Kallat, Diana Freundl, Alexander Keefe\r\nPublisher: Museum of Contemporary Art</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2009<span>\r\nText: Tomoko Kuroiwa, Akiko Miki, Kayo Machino, Sachiko Nishimaki,\r\nMiho Tagomori\r\nPublisher: Prestel, National Museum of Contemporary Art and Essl Museum\r\nISBN: 978-3-7913-4304-4</span>\r\n\r\n<span class=\"pubstrong\">Chalo! India: A New Era of Indian Art, </span>2008<span>\r\nText: Akiko Miki, Nakajima Takeshi, Peter Nagy, Nancy Adajania, Suman\r\nGopinath, Jayaram, Deepak Ananth\r\nPublisher: Mori Art Museum\r\nISBN: 978-4-902819-21-2</span>\r\n\r\n<span class=\"pubstrong\">India Moderna, </span>2008<span>\r\nText: Deepak Ananth, John Falconer, Juan Guardiola, Geeta Kapur,\r\nR. Siva Kumar, K.G. Subramanyan\r\nPublisher: IVAM (Institute Valencia D’Art Modern)\r\nISBN: 978-84-482-5104-8</span>\r\n\r\n<span class=\"pubstrong\">Everywhere is War (and rumours of it),</span>2008<span>\r\nText: Kai Hafez, Martin Hager, Nicholas Mirzoeff, Daniel Miller,\r\nBregje van Eekelen\r\nPublisher: Bodhi Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Three Points of Views, </span>2008<span>\r\nText: Grant Watson\r\nPublisher: Galerie Mirchandani + Steinruecke</span>\r\n\r\n<span class=\"pubstrong\">New Narratives: Contemporary Art from India, </span>2008<span>\r\nText: Betty Seid with contributions by Johan Pijnappel\r\nPublisher: Mapin Publication in association with Chicago Cultural Center\r\nISBN: 978-1-890206-08-6</span>\r\n\r\n<span class=\"pubstrong\">Made by Indians, </span>2007<span>\r\nText: Maud Girard-Geslan, Gayatri Sinha, Alka Pande\r\nPublisher: Galerie Enrico Navarra\r\nISBN: 2-911596-37-4</span>\r\n\r\n<span class=\"pubstrong\">Thermocline of Art: New Asian Waves, </span>2007<span>\r\nText:  Peter Weibel, Gregor Jansen, Wonil Rhee, Huang Du, Nicole Wong\r\nPublisher: Hatje Cantz Vertag\r\nISBN: 978-3-7757-2073-1\r\nEAN: 9782911596377</span>\r\n\r\n<span class=\"pubstrong\">Indian Colour, </span>2007<span>\r\nText: Peter Nagy\r\nPublisher: Dal- seung Hwang, Keumsan Gallery</span>\r\n\r\n<span class=\"pubstrong\">India Arte Oggi, </span>2007<span>\r\nText:  Daniela Palazzoli\r\nPublisher: Spazio Oberdan\r\nISBN: 978-88-202-1867-6</span>\r\n\r\n<span class=\"pubstrong\">Urban Manners, </span>2007<span>\r\nText: Adelina Von Furstenberg and Nancy Adajania\r\nPublisher: Hangar Bicocca</span>\r\n\r\n<span class=\"pubstrong\">International Incheon Women Artists’ Biennale,</span>\r\n<span class=\"pubstrong\">Knocking on the Door, </span>2007<span>\r\nText: Sung Hee Kim, John C. Welchman\r\nPublisher: Incheon Culture and Art Centre</span>\r\n\r\n<span class=\"pubstrong\">Soft Power: Asian Attitude, </span>2007<span>\r\nText: Chen Shuxia, Zheng Xiaoping, Zhang Misi, Xu Qi\r\nPublisher: Shanghai Zendai Mumsem of Modern Art\r\nISBN: 978-7-5356-2790-2</span>\r\n\r\n<span class=\"pubstrong\">India Express- Art and Popular Culture, </span>2006<span>\r\nText: Erja Pusa, Jyotindra Jain, Amrit Gangar, Peter Nagy, Sointu Fritze\r\nPublisher: Helsinki City Art Museum\r\nISBN: 951-8965-61-7</span>\r\n\r\n<span class=\"pubstrong\">Bombay L’album Maximum City, </span>2006<span>\r\nText: Suketu Mehta, Kushwant Singh, Adil Jussawalla\r\nPublisher: Terrail, Lille 3000\r\nISBN: 2-87939-325-6</span>\r\n\r\n<span class=\"pubstrong\">Indian Paintings of the New Millennium, </span>2005<span>\r\nText: Helen Asquine  Fazio, Gayatri Sinha\r\nPublisher: Quick Arts Center, Fairfield University</span>\r\n\r\n<span class=\"pubstrong\">A Guide to 101 Modern &amp; Contemporary Indian Artists, </span>2005<span>\r\nText: Amrita Jhaveri\r\nPublisher: India Book House\r\nISBN: 81-7508-423-5</span>\r\n\r\n<span class=\"pubstrong\">Zoom! Art in Contemporary India, </span>2004<span>\r\nTexts: Luis Serpa and Nancy Adajania\r\nPublisher: The Culturgest Museum\r\nISBN: 972-769-033-5</span>\r\n\r\n<span class=\"pubstrong\">Interlude in Sri Lanka, </span>2004<span>\r\nText: Ranjit Hoskote and Nancy Adajania\r\nPublisher: The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Generation I, </span>2004<span>\r\nText: Zehra Jumabhoy\r\nPublisher: Saffronart &amp; The Guild Art Gallery</span>\r\n\r\n<span class=\"pubstrong\">Tiranga Rights and Reponsibilities, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Jindal Foundation &amp; Creative Arts</span>\r\n\r\n<span class=\"pubstrong\">Hard Copy, </span>2003<span>\r\nText: Peter Nagy\r\nPublisher: Galerie 88</span>\r\n\r\n<span class=\"pubstrong\">Crossing Generations: diVERGE, </span>2003<span>\r\nText: Geeta Kapoor and Chaitanya Sambrani\r\nPublisher: Gallery Chemould</span>\r\n\r\n<span class=\"pubstrong\" style=\"color: #000000;\">PRESS</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.wallpaper.com/art/zegnart-enlists-reena-kallat-to-create-a-site-specific-artwork-in-mumbai/6292\" target=\"_blank\">ZegnArt enlists Reena Kallat to create a site-specific artwork in Mumbai,</a> </span> <font color=\"red\">  >> </font> <span>\r\nJJ Martin, Wallpaper, 18th January 2013 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.timeoutmumbai.net/art/features/web-design\" target=\"_blank\">Web design</a> </span> <font color=\"red\">  >> </font> <span>\r\nKaranjeet Kaur,Timeout Magazine, pg 26-28, 15th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artribune.com/2013/03/una-ragnatela-fra-italia-e-india-inaugurata-a-mumbai-lopera-di-reena-kallat-per-il-progetto-zegnart-public-qui-ci-sono-immagini-video-e-intervista-allartista/\" target=\"_blank\">Arte pubblica a Mumbai. Intervista con Anna Zegna</a> </span> <font color=\"red\">  >> </font> <span>\r\nDaniele Perra, Art Tribune, 1st March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://in.blouinartinfo.com/news/story/885613/reena-kallat-on-her-mammoth-1-ton-rubber-stamp-cobweb-at-the\" target=\"_blank\">Reena Kallat On Her Mammoth, 1-ton Rubber-Stamp Cobweb at the Bhau Daji Lad Museum, Mumbai</a> </span> <font color=\"red\">  >> </font> <span> \r\nRosalyn D\'Mello, Blouinart, April 1, 2013</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.thehindu.com/features/magazine/putting-her-stamp-on-it/article4484175.ece\" target=\"_blank\">Putting her stamp on it</a> </span> <font color=\"red\">  >> </font> <span>\r\nRamya Sarma, The Hindu, 9th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.business-standard.com/article/beyond-business/stamp-over-mumbai-113030800509_1.html\" target=\"_blank\">Stamp over Mumbai</a> </span> <font color=\"red\">  >> </font> <span>\r\nKishore Singh, Business Standard, New Delhi  8th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_weaving-a-tangled-web_1806665\" target=\"_blank\">Weaving a tangled web</a> </span> <font color=\"red\">  >> </font> <span>\r\nDeepanjana Pal, DNA, 3rd March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.dnaindia.com/lifestyle/report_web-of-history_1810815\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nSanaya Chavda, DNA, 13th March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindustantimes.com/Entertainment/Art/Web-of-history-Reena-Kallat-s-installation/Article1-1027359.aspx\" target=\"_blank\">Web of history </a> </span> <font color=\"red\">  >> </font> <span>\r\nShweta Mehta, Hindustan Times, 16th March 2013\r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Public Art installation by Reena Kallat at the Dr. Bhau Daji Lad Museum in Mumbai </a> </span> <font color=\"red\">  >> </font><span>\r\nManjari Sihare, Saffron blog,Posted on 14th March  2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Weaving into  networks, Buliding Cobwebs: Musings over Reena Saini Kallat’s recent work </a> </span> <font color=\"red\">  >> </font><span>\r\nParni Ray, Take on Art/Eleven, pg 98, Volume lll\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Stamping ground</a> </span> <font color=\"red\">  >> </font><span>\r\nDeepanjana Pal, Wallpaper magazine, pg 193 – 194, May 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Editorial</a> </span> <font color=\"red\">  >> </font><span>\r\nKaiwan Mehta, Domus, pg 5 – 10, April 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Web Design</a> </span> <font color=\"red\">  >> </font><span>\r\nChumki Bharadwaj, India Today, pg 45 – 46, April 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://blog.saffronart.com/2013/03/14/reena-kallats-untitled-cobwebscrossings/\" target=\"_blank\">Art Outside </a> </span> <font color=\"red\">  >> </font><span>\r\nPavitra Mohan, Architectural Digest, pg 98, March-April 2013\r\n</span>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.indiaartndesign.com/2013/03/of-cobwebs-crossings.html\" target=\"_blank\">Of Cobwebs & Crossings </a> </span> <font color=\"red\">  >> </font> <span>\r\nJigna Padhiar, India Art & Design, 1st March 2013\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://prestige-singapore.com.sg/2013/04/arts-raj\" target=\"_blank\">Art\'s the Raj</a> </span> <font color=\"red\">  >> </font> <span>\r\nDylan Boey, Prestige Singapore, 3rd April 2013 \r\n</span>\r\n\r\n\r\n<span class=\"pubstrong\">Adrift in unknown waters: Reena Saini Kallat and the Art of letting go</span><span>\r\nParni Ray,  Artfair Magazine, Issue-3, pg 48 – 51, 2012\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.livemint.com/2012/02/02193324/Walking-the-art-talk-with-the.html\" target=\"_blank\">Walking the Art talk with the Kallats</a> </span> <font color=\"red\">  >> </font> <span>\r\nShobha Narayan, Live Mint, February 2012 \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.tribuneindia.com/2012/20120219/spectrum/main2.htm\" target=\"_blank\">Spectrum New Visual Idiom</a> </span> <font color=\"red\">  >> </font> <span>\r\nThe Tribune, February 19, 2012  \r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artnewsnviews.com/view-article.php?article=g-teborg-international-biennial&iid=25&articleid=678\" target=\"_blank\">Goteborg International Biennial</a> </span> <font color=\"red\">  >> </font> <span>\r\nArt Etc, Vol.4, No. 2, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">Helsinki taidemuseo.fi-Journal, </span> January 2011<span>\r\n</span>\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://indiatoday.intoday.in/site/story/brush-with-reality/1/134582.html\">Brush With Reality </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nSumaiya Khan, India Today Woman, pg. 20-21, April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\">System overload </span><span>\r\nShweta Upadhyay, Timeout Delhi, March 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.artslant.com/ind/articles/show/22573\" target=\"_blank\">Picking up the past</a> </span> <font color=\"red\">  >> </font> <span>\r\nParni Ray, www.artslant.com, 4th April 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.america.gov/st/peopleplace-english/2011/March/20110307133535drawoh0.7282221.html?CP.rss=true\">Art at “maximum INDIA” Festival Evokes Cultural Memory and Loss</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nHoward Cincotta, www.america.gov, March 7, 2011\r\n</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.signonsandiego.com/news/2011/mar/02/kennedy-center-opens-3-week-india-arts-festival/\">Kennedy Center opens 3-week India arts festival</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span> </span><span>\r\nBrett Zongker, www.signonsnadiego.com, 2nd March 2011</span>\r\n\r\n<span class=\"pubstrong\">The Eye and the Mind: New Interventions in Contemporary Indian Art </span><span>\r\nRajeev Lochan, India Perspectives, Vol. 24, No. 6, 2010</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://artradarjournal.com/2010/04/20/indian-contemporary-artist-reena-kallat-art-radar-exclusive-interview/\">Interview, Art Radar Asia </a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></span><span>\r\nApril 20, 2010</span>\r\n\r\n<span class=\"pubstrong\">The Archives of the Heart</span><span>\r\nNancy Adajania, Indian  Contemporary Art Journal, Volume 1, Issue III,\r\nFront Cover, pgs 42-45, 2009</span>\r\n\r\n<span class=\"pubstrong\">Globale Kunst Mit Wurzelduft</span><span>\r\nVon Almuth Speigler, Die Presse, Feuilleton, 2nd September 2009</span>\r\n\r\n<span class=\"pubstrong\">Landscapes of Loss</span><span>\r\nBeth Citron, The Art News Magazine of India, Volume XIV, Issue 1, 2009</span>\r\n\r\n<span class=\"pubstrong\">Reincarnating History</span><span>\r\nThe Big Picture, Architect and Interiors, July 2009</span>\r\n\r\n<span class=\"pubstrong\">Stamp Collection</span><span>\r\nGeorgina Maddox, The Sunday Express, 17th May 2009</span>\r\n\r\n<span class=\"pubstrong\">Evolving Beyond Borders</span><span>\r\nReshma S. Kulkarni, Bombay Times, Times of India, 15th January, 2009</span>\r\n\r\n<span class=\"pubstrong\">Loss and Found</span><span>\r\nMarina Correa, DNA, Mumbai, 22nd January 2009</span>\r\n\r\n<span class=\"pubstrong\">Focus India</span><span>\r\nMegha Ralapati, Flash Art, pg 114, January-February 2008</span>\r\n\r\n<span class=\"pubstrong\">Come Together Right Now</span><span>\r\nReema Gehi, HT Café, 15th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Such a Long Journey</span><span>\r\nAparna S Sharma, Elle Magazine, pgs 115-117, February 2008</span>\r\n\r\n<span class=\"pubstrong\">More than a Woman</span><span>\r\nGeorgina Maddox, The Indian Express, Mumbai Newsline, 4th February 2008</span>\r\n\r\n<span class=\"pubstrong\">Artist of the Fortnight</span><span>\r\nMaria Louis, Outlook Profit, pg 79, 18th April 2008</span>\r\n\r\n<span class=\"pubstrong\">Deja View</span><span>\r\nTara Khilachand, Live Mint, 20th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Terror Struck</span><span>\r\nMaria Louis, Outlook Profit, 26th December 2008</span>\r\n\r\n<span class=\"pubstrong\">Name Calling</span><span>\r\nDeepanjana Pal, Timeout Mumbai, December 2008</span>\r\n\r\n<span class=\"pubstrong\">Corruptions of Power</span>\r\n<span>Shiladitya Sarkar, The Art News Magazine of India, Volume XI, issue IV, pgs 98-99, 2007</span>\r\n\r\n<span class=\"pubstrong\">Over the Rainbow</span><span>\r\nMaria Louis, Interview, Verve Magazine, pg 78, November 2006</span>\r\n\r\n<span class=\"pubstrong\"><a style=\"color: #878787;\" href=\"http://www.hindu.com/mag/2006/10/29/stories/2006102900070200.htm\">In a State of Perennial Siege</a> <span style=\"font-weight: normal; color: red;\"> &gt;&gt; </span></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 style=\"font-weight: normal; color: red;\"></span></span><span>\r\nNancy Adajania, The Hindu, 19th December 2004</span>\r\n\r\n<span class=\"pubstrong\">En Reise Til India</span><span>\r\nHarald Flor, Dagbladet, Kultur, 2nd February 2003</span>\r\n\r\n<span class=\"pubstrong\">Signs of Resistance</span><span>\r\nNancy Adajania, The Hindu, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Of the Goddess and Demon in the Mind</span><span>\r\nDebbie Rodgers, Sunday edition Vijay Times, Bangalore, 5th January 2003</span>\r\n\r\n<span class=\"pubstrong\">Empathic Anger</span><span>\r\nMarta Jakimowicz, Deccan Herald, 23rd December 2002</span>\r\n\r\n<span class=\"pubstrong\">Mysore Ek Khoj</span>\r\nCross Fertilization of Culture, Interview in Star of Mysore, 27th October 2002\r\n\r\n<span class=\"pubstrong\">Linking Islands</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 15th February 2002</span>\r\n\r\n<span class=\"pubstrong\">Creating to Destroy</span><span>\r\nJasmine Shah Varma, The List, Mid Day, 22nd February 2002</span>\r\n\r\n<span class=\"pubstrong\">Different Strokes</span><span>\r\nGeorgina L Maddox, The Indian Express, Mumbai Newsline, 24th July 2002</span>\r\n\r\n<span class=\"pubstrong\"><a target=\"_blank\" href =\"http://www.reenakallat.com/wp-content/uploads/2011/09/Faith%20and%20Hunger.pdf\" style=\"color: rgb(135, 135, 135);\">Of Faith and Hunger</a><font  style=\"font-weight:normal;\"   color=\"red\">  >> </font></span></span><span>\r\nAbhay Sardesai, The Art News Magazine of India, Vol.V, issue IV, pgs 88-89, December 2000</span>\r\n\r\n<span class=\"pubstrong\">The Murmur of Skin</span><span>\r\nNupur Mahajan, Bombay Times, Times of India, 12th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Not just Skin Deep</span><span>\r\nJasmine Shah Varma, The List, Mid-day, 4th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Inside Out</span><span>\r\nMenaka Jayasankar, Indian Express, Mumbai Newsline, 11th October 2000</span>\r\n\r\n<span class=\"pubstrong\">Scintillating Skin</span><span>\r\nVaibhav Purandare, The Asian Age, 14th October 2000</span>\r\n\r\n<span class=\"pubstrong\">An Artist’s World: Roti, Makaan &amp; Abstract Art</span><span>\r\nPoonam Goel, HT City, 23rd December 2000</span>\r\n\r\n<span class=\"pubstrong\">Within you, Without you</span><span>\r\nAnu Kumar, Indian Express, Express Newsline, 2nd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Farming Intrigue</span><span>\r\nJerry Pinto, The Times of India, Bombay Times, 3rd September 1998</span>\r\n\r\n<span class=\"pubstrong\">Interactive Medium</span><span>\r\nKaren Pereira, Indian Architect &amp; Builder, pgs 102-104, October 1998</span></td>\r\n</tr>\r\n</tbody>\r\n</table>','Publications','','inherit','open','open','','87-revision-213','','','2014-01-11 00:23:15','2014-01-11 00:23:15','',87,'http://www.reenakallat.com/2928/uncat/87-revision-213',0,'revision','',0),(2964,1,'2014-01-15 21:06:23','2014-01-15 21:06:23','Reena Saini Kallat (b. 1973, Delhi, India) graduated from Sir J.J. School of Art, Mumbai in 1996 with a B.F.A. in painting. Her practice - spanning painting, photography, video, sculpture and installation, often incorporates multiple mediums into a single work. She frequently works with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics. One of the recurrent motifs in her work is the rubber stamp, used as an object and an imprint, signifying the bureaucratic apparatus, which both confirms and obscures identities.\r\n\r\nHer work has been widely exhibited across the world in venues such as Mori Art Museum, Tokyo; Kennedy Centre, Washington; Saatchi Gallery, London; SESC Pompeia and SESC Belenzino in Sao Paulo; Goteborgs Konsthall, Sweden; Helsinki City Art Museum, Finland; National Taiwan Museum of Fine Arts; Tel Aviv Museum of Art, Israel; National Museum of Contemporary Art, Seoul; Henie OnstadKunstsenter, Oslo; Casa Asia, Madrid and Barcelona; ZKM Karlsruhe in Germany; Campbelltown Arts Centre, Sydney; Hangar Bicocca, Milan; Museum of Contemporary Art, Shanghai; IVAM Museum, Spain; Busan MOMA; Kulturhuset, Stockholm; Chicago Cultural Centre amongst many others and she has participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.zegnart.com/diary/public\" target=\"_blank\">ZegnArt Public project with Dr. Bhaudaji Lad Museum, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/exhibitions/2011-03-08_reena-saini-kallat/\" target=\"_blank\">Labyrinth of Absences, Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&amp;view=past\" target=\"_blank\">Drift, Primo Marella Gallery, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\" target=\"_blank\">Subject to Change without Notice, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Rainbow Of Refuse, Bodhi Art Gallery, Mumbai and Singapore</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/artists/reena-saini-kallat/selected-works/\" target=\"_blank\">Black Flute (And Other Stories), Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\" target=\"_blank\">Black Flute, Gallery Chemould, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>The Battlefield Is The Mind, Sakshi Gallery, Bangalore</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Seven Faces of Dust, Chicago Radio, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Skin, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td>Orchard of Home-grown Secrets, Gallery Chemould and Pundole  Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>“Who is the Audience?” IAF 2013  I  Conversations, panel discussion with Kamini Sawhney, Matthieu Foss moderated by Ranjit Hoskote, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://eslitegallery.tumblr.com/post/65981256422/reena-saini-kallat\" target=\"_blank\">No-Mad-Ness in No-Man\'s Land, Eslite Gallery, Taipei <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.artoxygen.org/?p=1858\" target=\"_blank\">Haein Art Project, Haeinsa Temple, Korea <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td><td><a class=\"linkbio\" href=\"http://www.collabo-x.com/cheongju-international-craft-biennale-2013-청주첨단문화산업단지/\" target=\"_blank\"> \"Something Old and Something New\", Cheongju International Craft Biennale, Korea<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n\r\n\r\n\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://mohileparikhcenter.org/site/?q=node/647\" target=\"_blank\">Partner a Master Exhibition, Artist/Mentor Programme, Premchand Roychand Gallery, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.paletteartgallery.com/exhibition/past/works/details/5120\" target=\"_blank\">Spell of Spill: Utopia of Ecology, Palette Art Gallery, Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.satellite.org.au/docs/encounters-powerPLAY_press_release.pdf \" target=\"_blank\">EN(counters): POWERplay, along Mumbai’s waterfronts, gardens and historic sites<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>JJ’s 90s - The Time of Change, Sir J.J. School of Art, Mumbai  </td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.arken.dk/content/us/art/exhibitions/india_art_now/the_intimate_sphere\" target=\"_blank\">India Today, ARKEN Museum of Modern Art, Copenhagen, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>The Indian Parallax or the Doubling of Happiness, Birla Academy of Art and Culture, Kolkata</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunsten.dk/Default.aspx?ID=4378\" target=\"_blank\">WONDERS – Masterpieces from Private Collections, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.bb.com.br/docs/pub/inst/dwn/CatalogoIndia.pdf\" target=\"_blank\">India side by side, Centro Cultural Banco do Brasil, Brasilia <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.eigen-art.com/lab/index.php?article_id=804&clang=1\" target=\"_blank\">Group show, Eigen + Art Lab, Berlin<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>India Side by Side,SESC Belenzino, Sao Paulo, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.punkto.no/voices-from-pandemonium.5006429-249860.html\" target=\"_blank\">Stemmer fra Pandemonium, Punkt-Galleri F 15, Moss, Norway <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>To Let the World In: Narrative and Beyond in Contemporary Indian Art, Lalit Kala Regional Centre, Chennai, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.exhibit320.com/exhibitionShow/EXH00014/\" target=\"_blank\">The Contemporary Sultanate, the Sunrydge, New Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Kalaghoda Art Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.theskodaprize.com/2012/longlist.php?id=1#.ULxBLWDrbJw\" target=\"_blank\">The Skoda Prize Exhibition, Lalit Kala Academy, New Delhi<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>India Side by Side, Centro Cultural Banco do Brasil, Rio De Janeiro</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Giant Elephant : Contemporary Art from India, H Cube Gallery, Seoul</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Roundabout, Tel Aviv Museum of Art, Israel<span style=\"color: red;\"> </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://goteborg.biennal.org/en/the-biennial-2011/artists/\" target=\"_blank\">Goteborg International Biennale for Contemporary Art, curated by Sarat Maharaj, Göteborgs Konsthall and Bohuslans Konsthall, Uddevalla, Sweden <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Right to Dissent, Clark House, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>RED, Palette Art Gallery, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kennedy-center.org/events/?event=ZLINB\" target=\"_blank\">Maximum India, The Kennedy Centre, Washington</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Of Gods and Goddesses, Cinema, Cricket - The New cultural Icons of India, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.hel.fi/hki/taimu/en/art+museum+tennis+palace/past+exhibitions/2011/concurrent+india\" target=\"_blank\">Samtidigt, Helsinki City Art Museum, Finland<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iconoclasts and Iconodules, curated by Ombretta Argo, Religare Art Gallery, New  Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://vancouverbiennale.com/sculptures_page.php?sculptureID=36\" target=\"_blank\">The Vancouver International Sculpture Biennale, Surrey Art Gallery, Canada<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>The Intuitive: Logic Revisted, from the Osians Collection at The World Economic Forum, Davos, Switzerland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/current/La_Route_De_La_Soie.htm\" target=\"_blank\">La Route de la Soie / The Silk Road, Lille 3000, France </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://kulturhuset.stockholm.se/\" target=\"_blank\">Samtidigt, Kulterhuset, Stockholm</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.campbelltown.nsw.gov.au/Exhibitions\" target=\"_blank\">The River Project, Campbelltown Art Centre, Sydney</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.tamuseum.com/about-the-exhibition/roundabout-face-to-face\" target=\"_blank\">Roundabout, City Gallery Wellington, New Zealand</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/water-ways/\" target=\"_blank\">Waterways, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.richmondartgallery.org/in-transition.php\" target=\"_blank\">In Transition: New Art from India, Richmond Art Gallery Vancouver Biennale, Vancouver</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www2.webster.edu/news/releases/bringmealion_0910113.shtml\" target=\"_blank\">Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt  Gallery, St. Louis, Missouri</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/www/pastExhibitions\" target=\"_blank\">Never Run Away, 2 person exhibition curated by Shaheen Merali, Stux Gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/artists/reena_kallat.htm?section_name=new_india\" target=\"_blank\">The Empire Strikes Back, Saatchi Gallery, London</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://art-for-the-world.blogspot.com/2010/01/some-installation-views-of-urban.html\" target=\"_blank\">Urban Manners 2, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.asianartbiennial.org/2009/en/index_en.html\" target=\"_blank\">View Points and Viewing points - 2009 Asian Art Biennale, National Taiwan Museum of Fine Arts </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Milan Galleria, curated by Georgio Verzotti, Triennale Museum, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.initialaccess.co.uk/exh/73/11/passage-to-india-part-ii/reena-saini-kallat\" target=\"_blank\">Passage to India Part II show at Initial Access, Frank Cohen Collection, Wolverhampton, UK</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Ventosul Biennale, Curitiba, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/english/contents/india/index.html\" target=\"_blank\"> Chalo! India: A New Era of Indian Art, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mocashanghai.org/index.php?_function=exhibition&amp;_subFunction=pastExhibition&amp;exhibition_id=40&amp;_view=detail\" target=\"_blank\">INDIA XIANZAI: Contemporary Indian Art, Museum of Contemporary Art, Shanghai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/42/622\" target=\"_blank\">Low Blow: And Other Species of Confusion, Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.casaasia.eu/actividad/detalle?id=13195\" target=\"_blank\"><em> </em>Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History,Casa  Asia, Madrid and Barcelona, Spain<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/body-chatter-an-exhibition-of-contemporary-indian-art-2008/\" target=\"_blank\">Body Chatter, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/contents/press/india_20081121_e.pdf\" target=\"_blank\">Chalo! India: A New Era of Indian Art, Mori Art   Museum, Japan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain </td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.aaa.org.hk/onlineprojects/bitri/en/gallery.aspx?eid=A080.03\" target=\"_blank\">3<sup>rd</sup> Nanjing Triennale, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\" target=\"_blank\">Fire Walkers, Stefan Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.galeriems.com/publications_2008.html\" target=\"_blank\">Three Points of view, Galerie Mirchandani + Steinrucke, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Excavation: Memory / Myth / Membrane, Museum Gallery, Mumbai</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>International Incheon Women Artists’ Biennale, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Soft Power: Asian Attitude, Shanghai Zendai Museum of Modern Art, Shanghai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunstaspekte.de/index.php?tid=39629&amp;action=termin\" target=\"_blank\">Urban Manners, curated by Adelina Von Furstenberg, at Hangar Bicocca, Milan </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.artsblog.it/post/933/larte-contemporanea-indiana-a-milano\" target=\"_blank\">INDIA NOW: Contemporary Indian Art, Between Continuity and transformation, curated by Daniela Palozzoli\r\nat Spazio Oberdan, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>New Narratives: Contemporary Art From India, curated by Betty Seid, Chicago Cultural Centre, Chicago</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Thermocline Of Art- New Asian Waves, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Modern Indian Works On Paper, Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Lille 3000 (Maximum City-Mumbai), Lille,  France</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Hungry God- Indian Contemporary Art, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>India Express – Art and Popular Culture, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Mom and Pop Art, Walsh Gallery, Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Span, Sakshi Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Indian Paintings of the New Millenium, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield  University, USA</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><em> </em>Contemporary Art from India, Thomas   Erben Gallery, New York</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td>Zoom! Art in Contemporary India. Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Crossing generations: diVERGE, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Hard Copy, two-person show with Jitish Kallat, Gallery 88, Calcutta</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Tiranga, curator: Peter Nagy, India Habitat Centre, New Delhi</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Elephant Walks, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>The Tree From The Seed, Contemporary Art from India, curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td>\r\n<td><em></em></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Crossing Borders, Gallery Windkracht 13, Den Helder, Holland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, CCA7 Gallery, Port Of Spain, Trinidad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>AOM- Art on the move, organized by Sahmat, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1999</td>\r\n<td><em> </em>Edge of the Century, curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td><em> </em>Essays in Time, Kinetic Sculptures, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>India in Harmony 1947-1997, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>A Page From My Diary, Sans Tache Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>Fresh Work, Birla Academy of Art and Culture, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td><em> </em>Monsoon Show, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td><em> </em>Varsha ’95, Y. B. Chavan Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://art1stindia.wordpress.com/2012/09/09/reena-kallat-visa-to-happiness/#comments\" target=\"_blank\">Partner a Master Workshop Artist/Mentor Programme, organized by Art 1st Foundation in collaboration with Mohile Parikh Centre, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Visas to Happiness, workshop with children as part of the exhibition \'To Let the World In\', Chennai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iaspis Residency, Gothenburg, Sweden.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Vanishing Point, children’s project at the Celebrate Bandra Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Collaborative workshop as part of the exhibition Aftershock, Sainsbury Centre for Visual Arts, University of East Anglia, Norwich,  UK</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Elephant Walks, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Khoj 2002 International Artists Workshop, Mysore, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Identity and Landscape, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>“Rendezvous with the Artist” series by Asia Society at the artists studio in Mumbai, sponsored by Christies.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Artists Talk at the World Economic Forum, Tianjin</td>\r\n</tr>\r\n<tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>\"Why I am not a woman artist” panel discussion with Anju Dodiya, moderated by Nancy Adajania at the Jehangir Nicholson Art Foundation, Prince of Wales Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at GIBCA Speak Easy (GSE), Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Informal talk at HDK – The School of Design and Crafts, Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Iaspis Residency Studio, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Short presentation as part of The River Project at The Campbelltown Arts Centre, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Krishnakriti Festival 2011, Kalakriti Gallery, Hyderabad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Panel discussion moderated by Maria Lantz, with participating artists during the exhibition Samtidigt at Kulturhuset, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation at the School of the Art Institute of Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Lecture at the University Boccini, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Slide presentation at the Lamar Dodd School of Art, University of Georgia, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Artists Talk at the Griffith Auditorium, Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Slide presentation at Oslo National Academy of the Arts, Norway</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Slide presentation at Mohile Parikh Centre for the Visual Arts, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">AWARDS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>ZegnArt Public Award in collaboration with Dr. Bhaudaji Lad Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>YFLO ZOYA Young Women Achievers Awards 2010-11, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Harmony Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Bombay Art Society Merit Certificate</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Second Prize Government Award, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td>Gladstone Solomon Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1991-1996</td>\r\n<td>Merit Scholarship, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n</tbody>\r\n</table>','Biography','','inherit','open','open','','105-revision-143','','','2014-01-15 21:06:23','2014-01-15 21:06:23','',105,'http://www.reenakallat.com/2964/uncat/105-revision-143',0,'revision','',0);
INSERT INTO `wp_posts` VALUES (2945,1,'2014-01-15 20:02:29','2014-01-15 20:02:29','Reena Saini Kallat (b. 1973, Delhi, India) graduated from Sir J.J. School of Art, Mumbai in 1996 with a B.F.A. in painting. Her practice - spanning painting, photography, video, sculpture and installation, often incorporates multiple mediums into a single work. She frequently works with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics. One of the recurrent motifs in her work is the rubber stamp, used as an object and an imprint, signifying the bureaucratic apparatus, which both confirms and obscures identities.\r\n\r\nHer work has been widely exhibited across the world in venues such as Mori Art Museum, Tokyo; Kennedy Centre, Washington; Saatchi Gallery, London; SESC Pompeia and SESC Belenzino in Sao Paulo; Goteborgs Konsthall, Sweden; Helsinki City Art Museum, Finland; National Taiwan Museum of Fine Arts; Tel Aviv Museum of Art, Israel; National Museum of Contemporary Art, Seoul; Arken Museum in Denmark; Henie Onstad Kunstsenter, Oslo; Casa Asia, Madrid and Barcelona; ZKM Karlsruhe in Germany; Campbelltown Arts Centre, Sydney; Hangar Bicocca, Milan; Museum of Contemporary Art, Shanghai; IVAM Museum, Spain; Busan MOMA; Kulturhuset, Stockholm; Chicago Cultural Centre amongst many others while closer home she’s shown at the Dr. Bhaudaji Lad Museum and the NGMA, Mumbai. She lives and works in Mumbai.\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.zegnart.com/diary/public\" target=\"_blank\">ZegnArt Public project with Dr. Bhaudaji Lad Museum, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/exhibitions/2011-03-08_reena-saini-kallat/\" target=\"_blank\">Labyrinth of Absences, Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&amp;view=past\" target=\"_blank\">Drift, Primo Marella Gallery, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\" target=\"_blank\">Subject to Change without Notice, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Rainbow Of Refuse, Bodhi Art Gallery, Mumbai and Singapore</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/artists/reena-saini-kallat/selected-works/\" target=\"_blank\">Black Flute (And Other Stories), Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\" target=\"_blank\">Black Flute, Gallery Chemould, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>The Battlefield Is The Mind, Sakshi Gallery, Bangalore</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Seven Faces of Dust, Chicago Radio, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Skin, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td>Orchard of Home-grown Secrets, Gallery Chemould and Pundole  Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>“Who is the Audience?” IAF 2013  I  Conversations, panel discussion with Kamini Sawhney, Matthieu Foss moderated by Ranjit Hoskote, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://eslitegallery.tumblr.com/post/65981256422/reena-saini-kallat\" target=\"_blank\">No-Mad-Ness in No-Man\'s Land, Eslite Gallery, Taipei <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.artoxygen.org/?p=1858\" target=\"_blank\">Haein Art Project, Haeinsa Temple, Korea <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td><td><a class=\"linkbio\" href=\"http://www.collabo-x.com/cheongju-international-craft-biennale-2013-청주첨단문화산업단지/\" target=\"_blank\"> \"Something Old and Something New\", Cheongju International Craft Biennale, Korea<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n\r\n\r\n\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://mohileparikhcenter.org/site/?q=node/647\" target=\"_blank\">Partner a Master Exhibition, Artist/Mentor Programme, Premchand Roychand Gallery, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.paletteartgallery.com/exhibition/past/works/details/5120\" target=\"_blank\">Spell of Spill: Utopia of Ecology, Palette Art Gallery, Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.satellite.org.au/docs/encounters-powerPLAY_press_release.pdf \" target=\"_blank\">EN(counters): POWERplay, along Mumbai’s waterfronts, gardens and historic sites<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>JJ’s 90s - The Time of Change, Sir J.J. School of Art, Mumbai  </td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.arken.dk/content/us/art/exhibitions/india_art_now/the_intimate_sphere\" target=\"_blank\">India Today, ARKEN Museum of Modern Art, Copenhagen, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>The Indian Parallax or the Doubling of Happiness, Birla Academy of Art and Culture, Kolkata</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunsten.dk/Default.aspx?ID=4378\" target=\"_blank\">WONDERS – Masterpieces from Private Collections, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.bb.com.br/docs/pub/inst/dwn/CatalogoIndia.pdf\" target=\"_blank\">India side by side, Centro Cultural Banco do Brasil, Brasilia <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.eigen-art.com/lab/index.php?article_id=804&clang=1\" target=\"_blank\">Group show, Eigen + Art Lab, Berlin<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>India Side by Side,SESC Belenzino, Sao Paulo, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.punkto.no/voices-from-pandemonium.5006429-249860.html\" target=\"_blank\">Stemmer fra Pandemonium, Punkt-Galleri F 15, Moss, Norway <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>To Let the World In: Narrative and Beyond in Contemporary Indian Art, Lalit Kala Regional Centre, Chennai, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.exhibit320.com/exhibitionShow/EXH00014/\" target=\"_blank\">The Contemporary Sultanate, the Sunrydge, New Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Kalaghoda Art Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.theskodaprize.com/2012/longlist.php?id=1#.ULxBLWDrbJw\" target=\"_blank\">The Skoda Prize Exhibition, Lalit Kala Academy, New Delhi<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>India Side by Side, Centro Cultural Banco do Brasil, Rio De Janeiro</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Giant Elephant : Contemporary Art from India, H Cube Gallery, Seoul</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Roundabout, Tel Aviv Museum of Art, Israel<span style=\"color: red;\"> </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://goteborg.biennal.org/en/the-biennial-2011/artists/\" target=\"_blank\">Goteborg International Biennale for Contemporary Art, curated by Sarat Maharaj, Göteborgs Konsthall and Bohuslans Konsthall, Uddevalla, Sweden <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Right to Dissent, Clark House, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>RED, Palette Art Gallery, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kennedy-center.org/events/?event=ZLINB\" target=\"_blank\">Maximum India, The Kennedy Centre, Washington</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Of Gods and Goddesses, Cinema, Cricket - The New cultural Icons of India, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.hel.fi/hki/taimu/en/art+museum+tennis+palace/past+exhibitions/2011/concurrent+india\" target=\"_blank\">Samtidigt, Helsinki City Art Museum, Finland<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iconoclasts and Iconodules, curated by Ombretta Argo, Religare Art Gallery, New  Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://vancouverbiennale.com/sculptures_page.php?sculptureID=36\" target=\"_blank\">The Vancouver International Sculpture Biennale, Surrey Art Gallery, Canada<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>The Intuitive: Logic Revisted, from the Osians Collection at The World Economic Forum, Davos, Switzerland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/current/La_Route_De_La_Soie.htm\" target=\"_blank\">La Route de la Soie / The Silk Road, Lille 3000, France </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://kulturhuset.stockholm.se/\" target=\"_blank\">Samtidigt, Kulterhuset, Stockholm</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.campbelltown.nsw.gov.au/Exhibitions\" target=\"_blank\">The River Project, Campbelltown Art Centre, Sydney</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.tamuseum.com/about-the-exhibition/roundabout-face-to-face\" target=\"_blank\">Roundabout, City Gallery Wellington, New Zealand</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/water-ways/\" target=\"_blank\">Waterways, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.richmondartgallery.org/in-transition.php\" target=\"_blank\">In Transition: New Art from India, Richmond Art Gallery Vancouver Biennale, Vancouver</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www2.webster.edu/news/releases/bringmealion_0910113.shtml\" target=\"_blank\">Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt  Gallery, St. Louis, Missouri</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/www/pastExhibitions\" target=\"_blank\">Never Run Away, 2 person exhibition curated by Shaheen Merali, Stux Gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/artists/reena_kallat.htm?section_name=new_india\" target=\"_blank\">The Empire Strikes Back, Saatchi Gallery, London</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://art-for-the-world.blogspot.com/2010/01/some-installation-views-of-urban.html\" target=\"_blank\">Urban Manners 2, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.asianartbiennial.org/2009/en/index_en.html\" target=\"_blank\">View Points and Viewing points - 2009 Asian Art Biennale, National Taiwan Museum of Fine Arts </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Milan Galleria, curated by Georgio Verzotti, Triennale Museum, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.initialaccess.co.uk/exh/73/11/passage-to-india-part-ii/reena-saini-kallat\" target=\"_blank\">Passage to India Part II show at Initial Access, Frank Cohen Collection, Wolverhampton, UK</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Ventosul Biennale, Curitiba, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/english/contents/india/index.html\" target=\"_blank\"> Chalo! India: A New Era of Indian Art, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mocashanghai.org/index.php?_function=exhibition&amp;_subFunction=pastExhibition&amp;exhibition_id=40&amp;_view=detail\" target=\"_blank\">INDIA XIANZAI: Contemporary Indian Art, Museum of Contemporary Art, Shanghai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/42/622\" target=\"_blank\">Low Blow: And Other Species of Confusion, Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.casaasia.eu/actividad/detalle?id=13195\" target=\"_blank\"><em> </em>Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History,Casa  Asia, Madrid and Barcelona, Spain<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/body-chatter-an-exhibition-of-contemporary-indian-art-2008/\" target=\"_blank\">Body Chatter, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/contents/press/india_20081121_e.pdf\" target=\"_blank\">Chalo! India: A New Era of Indian Art, Mori Art   Museum, Japan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain </td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.aaa.org.hk/onlineprojects/bitri/en/gallery.aspx?eid=A080.03\" target=\"_blank\">3<sup>rd</sup> Nanjing Triennale, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\" target=\"_blank\">Fire Walkers, Stefan Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.galeriems.com/publications_2008.html\" target=\"_blank\">Three Points of view, Galerie Mirchandani + Steinrucke, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Excavation: Memory / Myth / Membrane, Museum Gallery, Mumbai</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>International Incheon Women Artists’ Biennale, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Soft Power: Asian Attitude, Shanghai Zendai Museum of Modern Art, Shanghai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunstaspekte.de/index.php?tid=39629&amp;action=termin\" target=\"_blank\">Urban Manners, curated by Adelina Von Furstenberg, at Hangar Bicocca, Milan </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.artsblog.it/post/933/larte-contemporanea-indiana-a-milano\" target=\"_blank\">INDIA NOW: Contemporary Indian Art, Between Continuity and transformation, curated by Daniela Palozzoli\r\nat Spazio Oberdan, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>New Narratives: Contemporary Art From India, curated by Betty Seid, Chicago Cultural Centre, Chicago</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Thermocline Of Art- New Asian Waves, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Modern Indian Works On Paper, Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Lille 3000 (Maximum City-Mumbai), Lille,  France</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Hungry God- Indian Contemporary Art, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>India Express – Art and Popular Culture, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Mom and Pop Art, Walsh Gallery, Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Span, Sakshi Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Indian Paintings of the New Millenium, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield  University, USA</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><em> </em>Contemporary Art from India, Thomas   Erben Gallery, New York</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td>Zoom! Art in Contemporary India. Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Crossing generations: diVERGE, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Hard Copy, two-person show with Jitish Kallat, Gallery 88, Calcutta</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Tiranga, curator: Peter Nagy, India Habitat Centre, New Delhi</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Elephant Walks, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>The Tree From The Seed, Contemporary Art from India, curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td>\r\n<td><em></em></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Crossing Borders, Gallery Windkracht 13, Den Helder, Holland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, CCA7 Gallery, Port Of Spain, Trinidad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>AOM- Art on the move, organized by Sahmat, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1999</td>\r\n<td><em> </em>Edge of the Century, curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td><em> </em>Essays in Time, Kinetic Sculptures, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>India in Harmony 1947-1997, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>A Page From My Diary, Sans Tache Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>Fresh Work, Birla Academy of Art and Culture, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td><em> </em>Monsoon Show, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td><em> </em>Varsha ’95, Y. B. Chavan Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://art1stindia.wordpress.com/2012/09/09/reena-kallat-visa-to-happiness/#comments\" target=\"_blank\">Partner a Master Workshop Artist/Mentor Programme, organized by Art 1st Foundation in collaboration with Mohile Parikh Centre, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Visas to Happiness, workshop with children as part of the exhibition \'To Let the World In\', Chennai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iaspis Residency, Gothenburg, Sweden.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Vanishing Point, children’s project at the Celebrate Bandra Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Collaborative workshop as part of the exhibition Aftershock, Sainsbury Centre for Visual Arts, University of East Anglia, Norwich,  UK</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Elephant Walks, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Khoj 2002 International Artists Workshop, Mysore, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Identity and Landscape, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>“Rendezvous with the Artist” series by Asia Society at the artists studio in Mumbai, sponsored by Christies.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Artists Talk at the World Economic Forum, Tianjin</td>\r\n</tr>\r\n<tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>\"Why I am not a woman artist” panel discussion with Anju Dodiya, moderated by Nancy Adajania at the Jehangir Nicholson Art Foundation, Prince of Wales Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at GIBCA Speak Easy (GSE), Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Informal talk at HDK – The School of Design and Crafts, Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Iaspis Residency Studio, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Short presentation as part of The River Project at The Campbelltown Arts Centre, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Krishnakriti Festival 2011, Kalakriti Gallery, Hyderabad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Panel discussion moderated by Maria Lantz, with participating artists during the exhibition Samtidigt at Kulturhuset, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation at the School of the Art Institute of Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Lecture at the University Boccini, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Slide presentation at the Lamar Dodd School of Art, University of Georgia, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Artists Talk at the Griffith Auditorium, Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Slide presentation at Oslo National Academy of the Arts, Norway</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Slide presentation at Mohile Parikh Centre for the Visual Arts, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">AWARDS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>ZegnArt Public Award in collaboration with Dr. Bhaudaji Lad Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>YFLO ZOYA Young Women Achievers Awards 2010-11, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Harmony Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Bombay Art Society Merit Certificate</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Second Prize Government Award, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td>Gladstone Solomon Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1991-1996</td>\r\n<td>Merit Scholarship, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n</tbody>\r\n</table>','Biography','','inherit','open','open','','105-revision-142','','','2014-01-15 20:02:29','2014-01-15 20:02:29','',105,'http://www.reenakallat.com/2945/uncat/105-revision-142',0,'revision','',0),(2930,1,'2013-08-11 11:46:01','2013-08-11 11:46:01','Reena Saini Kallat (b. 1973, Delhi, India) graduated from Sir J.J. School of Art, Mumbai in 1996 with a B.F.A. in painting. Her practice - spanning painting, photography, video, sculpture and installation, often incorporates multiple mediums into a single work. She frequently works with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics. One of the recurrent motifs in her work is the rubber stamp, used as an object and an imprint, signifying the bureaucratic apparatus, which both confirms and obscures identities.\r\n\r\nHer work has been widely exhibited across the world in venues such as Mori Art Museum, Tokyo; Kennedy Centre, Washington; Saatchi Gallery, London; SESC Pompeia and SESC Belenzino in Sao Paulo; Goteborgs Konsthall, Sweden; Helsinki City Art Museum, Finland; National Taiwan Museum of Fine Arts; Tel Aviv Museum of Art, Israel; National Museum of Contemporary Art, Seoul; Arken Museum in Denmark; Henie Onstad Kunstsenter, Oslo; Casa Asia, Madrid and Barcelona; ZKM Karlsruhe in Germany; Campbelltown Arts Centre, Sydney; Hangar Bicocca, Milan; Museum of Contemporary Art, Shanghai; IVAM Museum, Spain; Busan MOMA; Kulturhuset, Stockholm; Chicago Cultural Centre amongst many others while closer home she’s shown at the Dr. Bhaudaji Lad Museum and the NGMA, Mumbai. She lives and works in Mumbai.\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.zegnart.com/diary/public\" target=\"_blank\">ZegnArt Public project with Dr. Bhaudaji Lad Museum, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/exhibitions/2011-03-08_reena-saini-kallat/\" target=\"_blank\">Labyrinth of Absences, Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&amp;view=past\" target=\"_blank\">Drift, Primo Marella Gallery, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\" target=\"_blank\">Subject to Change without Notice, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Rainbow Of Refuse, Bodhi Art Gallery, Mumbai and Singapore</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/artists/reena-saini-kallat/selected-works/\" target=\"_blank\">Black Flute (And Other Stories), Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\" target=\"_blank\">Black Flute, Gallery Chemould, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>The Battlefield Is The Mind, Sakshi Gallery, Bangalore</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Seven Faces of Dust, Chicago Radio, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Skin, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td>Orchard of Home-grown Secrets, Gallery Chemould and Pundole  Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://mohileparikhcenter.org/site/?q=node/647\" target=\"_blank\">Partner a Master Exhibition, Artist/Mentor Programme, Premchand Roychand Gallery, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.paletteartgallery.com/exhibitionwork.asp?currentpage=1&sno=81\" target=\"_blank\">Spell of Spill: Utopia of Ecology, Palette Art Gallery, Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.satellite.org.au/docs/encounters-powerPLAY_press_release.pdf \" target=\"_blank\">EN(counters): POWERplay, along Mumbai’s waterfronts, gardens and historic sites<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>JJ’s 90s - The Time of Change, Sir J.J. School of Art, Mumbai  </td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.arken.dk/content/us/art/exhibitions/india_art_now/the_intimate_sphere\" target=\"_blank\">India Today, ARKEN Museum of Modern Art, Copenhagen, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>The Indian Parallax or the Doubling of Happiness, Birla Academy of Art and Culture, Kolkata</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunsten.dk/Default.aspx?ID=4378\" target=\"_blank\">WONDERS – Masterpieces from Private Collections, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.bb.com.br/docs/pub/inst/dwn/CatalogoIndia.pdf\" target=\"_blank\">India side by side, Centro Cultural Banco do Brasil, Brasilia <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.eigen-art.com/lab/index.php?article_id=804&clang=1\" target=\"_blank\">Group show, Eigen + Art Lab, Berlin<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>India Side by Side,SESC Belenzino, Sao Paulo, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.punkto.no/voices-from-pandemonium.5006429-249860.html\" target=\"_blank\">Stemmer fra Pandemonium, Punkt-Galleri F 15, Moss, Norway <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>To Let the World In: Narrative and Beyond in Contemporary Indian Art, Lalit Kala Regional Centre, Chennai, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.exhibit320.com/exhibitionShow/EXH00014/\" target=\"_blank\">The Contemporary Sultanate, the Sunrydge, New Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Kalaghoda Art Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.theskodaprize.com/2012/longlist.php?id=1#.ULxBLWDrbJw\" target=\"_blank\">The Skoda Prize Exhibition, Lalit Kala Academy, New Delhi<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>India Side by Side, Centro Cultural Banco do Brasil, Rio De Janeiro</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Giant Elephant : Contemporary Art from India, H Cube Gallery, Seoul</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Roundabout, Tel Aviv Museum of Art, Israel<span style=\"color: red;\"> </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://goteborg.biennal.org/en/the-biennial-2011/artists/\" target=\"_blank\">Goteborg International Biennale for Contemporary Art, curated by Sarat Maharaj, Göteborgs Konsthall and Bohuslans Konsthall, Uddevalla, Sweden <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Right to Dissent, Clark House, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>RED, Palette Art Gallery, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kennedy-center.org/events/?event=ZLINB\" target=\"_blank\">Maximum India, The Kennedy Centre, Washington</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Of Gods and Goddesses, Cinema, Cricket - The New cultural Icons of India, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.hel.fi/hki/taimu/en/art+museum+tennis+palace/past+exhibitions/2011/concurrent+india\" target=\"_blank\">Samtidigt, Helsinki City Art Museum, Finland<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iconoclasts and Iconodules, curated by Ombretta Argo, Religare Art Gallery, New  Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://vancouverbiennale.com/sculptures_page.php?sculptureID=36\" target=\"_blank\">The Vancouver International Sculpture Biennale, Surrey Art Gallery, Canada<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>The Intuitive: Logic Revisted, from the Osians Collection at The World Economic Forum, Davos, Switzerland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/current/La_Route_De_La_Soie.htm\" target=\"_blank\">La Route de la Soie / The Silk Road, Lille 3000, France </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://kulturhuset.stockholm.se/\" target=\"_blank\">Samtidigt, Kulterhuset, Stockholm</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.campbelltown.nsw.gov.au/Exhibitions\" target=\"_blank\">The River Project, Campbelltown Art Centre, Sydney</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.tamuseum.com/about-the-exhibition/roundabout-face-to-face\" target=\"_blank\">Roundabout, City Gallery Wellington, New Zealand</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/water-ways/\" target=\"_blank\">Waterways, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.richmondartgallery.org/in-transition.php\" target=\"_blank\">In Transition: New Art from India, Richmond Art Gallery Vancouver Biennale, Vancouver</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www2.webster.edu/news/releases/bringmealion_0910113.shtml\" target=\"_blank\">Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt  Gallery, St. Louis, Missouri</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/www/pastExhibitions\" target=\"_blank\">Never Run Away, 2 person exhibition curated by Shaheen Merali, Stux Gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/artists/reena_kallat.htm?section_name=new_india\" target=\"_blank\">The Empire Strikes Back, Saatchi Gallery, London</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://art-for-the-world.blogspot.com/2010/01/some-installation-views-of-urban.html\" target=\"_blank\">Urban Manners 2, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.asianartbiennial.org/2009/en/index_en.html\" target=\"_blank\">View Points and Viewing points - 2009 Asian Art Biennale, National Taiwan Museum of Fine Arts </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Milan Galleria, curated by Georgio Verzotti, Triennale Museum, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.initialaccess.co.uk/exh/73/11/passage-to-india-part-ii/reena-saini-kallat\" target=\"_blank\">Passage to India Part II show at Initial Access, Frank Cohen Collection, Wolverhampton, UK</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Ventosul Biennale, Curitiba, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/english/contents/india/index.html\" target=\"_blank\"> Chalo! India: A New Era of Indian Art, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mocashanghai.org/index.php?_function=exhibition&amp;_subFunction=pastExhibition&amp;exhibition_id=40&amp;_view=detail\" target=\"_blank\">INDIA XIANZAI: Contemporary Indian Art, Museum of Contemporary Art, Shanghai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/42/622\" target=\"_blank\">Low Blow: And Other Species of Confusion, Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.casaasia.eu/actividad/detalle?id=13195\" target=\"_blank\"><em> </em>Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History,Casa  Asia, Madrid and Barcelona, Spain<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/body-chatter-an-exhibition-of-contemporary-indian-art-2008/\" target=\"_blank\">Body Chatter, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/contents/press/india_20081121_e.pdf\" target=\"_blank\">Chalo! India: A New Era of Indian Art, Mori Art   Museum, Japan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain </td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.aaa.org.hk/onlineprojects/bitri/en/gallery.aspx?eid=A080.03\" target=\"_blank\">3<sup>rd</sup> Nanjing Triennale, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\" target=\"_blank\">Fire Walkers, Stefan Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.galeriems.com/publications_2008.html\" target=\"_blank\">Three Points of view, Galerie Mirchandani + Steinrucke, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Excavation: Memory / Myth / Membrane, Museum Gallery, Mumbai</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>International Incheon Women Artists’ Biennale, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Soft Power: Asian Attitude, Shanghai Zendai Museum of Modern Art, Shanghai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunstaspekte.de/index.php?tid=39629&amp;action=termin\" target=\"_blank\">Urban Manners, curated by Adelina Von Furstenberg, at Hangar Bicocca, Milan </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.artsblog.it/post/933/larte-contemporanea-indiana-a-milano\" target=\"_blank\">INDIA NOW: Contemporary Indian Art, Between Continuity and transformation, curated by Daniela Palozzoli\r\nat Spazio Oberdan, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>New Narratives: Contemporary Art From India, curated by Betty Seid, Chicago Cultural Centre, Chicago</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Thermocline Of Art- New Asian Waves, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Modern Indian Works On Paper, Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Lille 3000 (Maximum City-Mumbai), Lille,  France</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Hungry God- Indian Contemporary Art, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>India Express – Art and Popular Culture, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Mom and Pop Art, Walsh Gallery, Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Span, Sakshi Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Indian Paintings of the New Millenium, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield  University, USA</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><em> </em>Contemporary Art from India, Thomas   Erben Gallery, New York</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td>Zoom! Art in Contemporary India. Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Crossing generations: diVERGE, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Hard Copy, two-person show with Jitish Kallat, Gallery 88, Calcutta</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Tiranga, curator: Peter Nagy, India Habitat Centre, New Delhi</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Elephant Walks, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>The Tree From The Seed, Contemporary Art from India, curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td>\r\n<td><em></em></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Crossing Borders, Gallery Windkracht 13, Den Helder, Holland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, CCA7 Gallery, Port Of Spain, Trinidad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>AOM- Art on the move, organized by Sahmat, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1999</td>\r\n<td><em> </em>Edge of the Century, curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td><em> </em>Essays in Time, Kinetic Sculptures, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>India in Harmony 1947-1997, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>A Page From My Diary, Sans Tache Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>Fresh Work, Birla Academy of Art and Culture, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td><em> </em>Monsoon Show, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td><em> </em>Varsha ’95, Y. B. Chavan Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://art1stindia.wordpress.com/2012/09/09/reena-kallat-visa-to-happiness/#comments\" target=\"_blank\">Partner a Master Workshop Artist/Mentor Programme, organized by Art 1st Foundation in collaboration with Mohile Parikh Centre, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Visas to Happiness, workshop with children as part of the exhibition \'To Let the World In\', Chennai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iaspis Residency, Gothenburg, Sweden.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Vanishing Point, children’s project at the Celebrate Bandra Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Collaborative workshop as part of the exhibition Aftershock, Sainsbury Centre for Visual Arts, University of East Anglia, Norwich,  UK</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Elephant Walks, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Khoj 2002 International Artists Workshop, Mysore, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Identity and Landscape, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>“Rendezvous with the Artist” series by Asia Society at the artists studio in Mumbai, sponsored by Christies.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Artists Talk at the World Economic Forum, Tianjin</td>\r\n</tr>\r\n<tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>\"Why I am not a woman artist” panel discussion with Anju Dodiya, moderated by Nancy Adajania at the Jehangir Nicholson Art Foundation, Prince of Wales Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at GIBCA Speak Easy (GSE), Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Informal talk at HDK – The School of Design and Crafts, Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Iaspis Residency Studio, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Short presentation as part of The River Project at The Campbelltown Arts Centre, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Krishnakriti Festival 2011, Kalakriti Gallery, Hyderabad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Panel discussion moderated by Maria Lantz, with participating artists during the exhibition Samtidigt at Kulturhuset, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation at the School of the Art Institute of Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Lecture at the University Boccini, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Slide presentation at the Lamar Dodd School of Art, University of Georgia, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Artists Talk at the Griffith Auditorium, Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Slide presentation at Oslo National Academy of the Arts, Norway</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Slide presentation at Mohile Parikh Centre for the Visual Arts, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">AWARDS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>ZegnArt Public Award in collaboration with Dr. Bhaudaji Lad Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>YFLO ZOYA Young Women Achievers Awards 2010-11, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Harmony Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Bombay Art Society Merit Certificate</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Second Prize Government Award, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td>Gladstone Solomon Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1991-1996</td>\r\n<td>Merit Scholarship, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n</tbody>\r\n</table>','Biography','','inherit','open','open','','105-revision-140','','','2013-08-11 11:46:01','2013-08-11 11:46:01','',105,'http://www.reenakallat.com/2930/uncat/105-revision-140',0,'revision','',0),(2931,1,'2014-01-11 01:28:46','2014-01-11 01:28:46','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px	\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-2.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Measurement from evaporating oceans\r\n</span>2013\r\nFRP, steel, salt\r\n94(h.) x 70(l.) x 60 (b.) in.  I  236 x 178 x 152 cm\r\n</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-3-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nIn ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element. \r\nThrough an interlacing of material, form and scale, Reena Kallat’s work has often tangentially explored the psychological borders that exist between people, which she believes create detachment and divergence greater than those created by physical borders. Salt has been a vital part of ceremonial-offerings as a symbol of incorruptible purity and immortality and there are numerous Biblical and Buddhist references to salt. Since ancient times in many cultures salt has been used as a preservative invoking notions of time. Kallat recalls Gandhi’s usage of salt as a symbolic tool for resistance during the Indian Independence movement. The fluids in our bodies mimic the primeval seas in which life began and we’ve perhaps retained the salts in our bloodstreams. Salinity could be both material and metaphor to enlist the narratives of war and human fallibility in the form of a ceremonious floor drawing. \r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-1.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-7.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-5-6.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','measurement_from_evaporating','','publish','closed','closed','','measurement_from_evaporating','','','2014-01-15 20:28:25','2014-01-15 20:28:25','',0,'http://www.reenakallat.com/?p=2931',0,'post','',0),(2932,1,'2014-01-11 01:26:32','2014-01-11 01:26:32','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px	\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-1.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Measurement from evaporating oceans\r\n</span>2013\r\nFRP, steel, salt\r\n94(h.) x 70(l.) x 60 (b.) in.  I  236 x 178 x 152 cm\r\n</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-2.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.\r\nThrough an interlacing of material, form and scale, Reena Kallat’s work has often tangentially explored the psychological borders that exist between people, that create distance, detachment and divergence greater than those created by physical borders.Salt has been a vital part of ceremonial-offerings as a symbol of incorruptible purity and immortality and there are numerous Biblical and Buddhist references to salt. Since ancient times in many cultures salt has been used as a preservative invoking notions of time. Kallat recalls Gandhi’s usage of salt as a symbolic tool for resistance during the Indian Independence movement. The fluids in our bodies mimic the primeval seas in which life began and thesalts in our bloodstreams are similar to those that existed in the earliest seas. We retained those ancient seas within us and perhaps salinity could be both material and metaphor to enlist the narratives of war and human fallibility in the form of a ceremonious floor drawing.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-3-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-5-6.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-7.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2931-revision','','','2014-01-11 01:26:32','2014-01-11 01:26:32','',2931,'http://www.reenakallat.com/2932/uncat/2931-revision',0,'revision','',0),(2940,1,'2014-01-15 20:22:34','2014-01-15 20:22:34','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px	\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-2.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Measurement from evaporating oceans\r\n</span>2013\r\nFRP, steel, salt\r\n94(h.) x 70(l.) x 60 (b.) in.  I  236 x 178 x 152 cm\r\n</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-3-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nIn ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.\r\nThrough an interlacing of material, form and scale, Reena Kallat’s work has often tangentially explored the psychological borders that exist between people, which she believes create detachment and divergence greater than those created by physical borders. Salt has been a vital part of ceremonial-offerings as a symbol of incorruptible purity and immortality and there are numerous Biblical and Buddhist references to salt. Since ancient times in many cultures salt has been used as a preservative invoking notions of time. Kallat recalls Gandhi’s usage of salt as a symbolic tool for resistance during the Indian Independence movement. The fluids in our bodies mimic the primeval seas in which life began and we’ve perhaps retained the salts in our bloodstreams. Salinity could be both material and metaphor to enlist the narratives of war and human fallibility in the form of a ceremonious floor drawing. \r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-1.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-7.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-5-6.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','measurement_from_evaporating','','inherit','open','open','','2931-revision-7','','','2014-01-15 20:22:34','2014-01-15 20:22:34','',2931,'http://www.reenakallat.com/2940/uncat/2931-revision-7',0,'revision','',0),(2933,1,'2014-01-11 01:26:36','2014-01-11 01:26:36','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px	\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-1.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Measurement from evaporating oceans\r\n</span>2013\r\nFRP, steel, salt\r\n94(h.) x 70(l.) x 60 (b.) in.  I  236 x 178 x 152 cm\r\n</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-2.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.\r\nThrough an interlacing of material, form and scale, Reena Kallat’s work has often tangentially explored the psychological borders that exist between people, that create distance, detachment and divergence greater than those created by physical borders.Salt has been a vital part of ceremonial-offerings as a symbol of incorruptible purity and immortality and there are numerous Biblical and Buddhist references to salt. Since ancient times in many cultures salt has been used as a preservative invoking notions of time. Kallat recalls Gandhi’s usage of salt as a symbolic tool for resistance during the Indian Independence movement. The fluids in our bodies mimic the primeval seas in which life began and thesalts in our bloodstreams are similar to those that existed in the earliest seas. We retained those ancient seas within us and perhaps salinity could be both material and metaphor to enlist the narratives of war and human fallibility in the form of a ceremonious floor drawing.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-3-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-5-6.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-7.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2931-revision-2','','','2014-01-11 01:26:36','2014-01-11 01:26:36','',2931,'http://www.reenakallat.com/2933/uncat/2931-revision-2',0,'revision','',0),(2934,1,'2014-01-11 01:28:43','2014-01-11 01:28:43','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px	\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-1.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Measurement from evaporating oceans\r\n</span>2013\r\nFRP, steel, salt\r\n94(h.) x 70(l.) x 60 (b.) in.  I  236 x 178 x 152 cm\r\n</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-2.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.\r\nThrough an interlacing of material, form and scale, Reena Kallat’s work has often tangentially explored the psychological borders that exist between people, that create distance, detachment and divergence greater than those created by physical borders.Salt has been a vital part of ceremonial-offerings as a symbol of incorruptible purity and immortality and there are numerous Biblical and Buddhist references to salt. Since ancient times in many cultures salt has been used as a preservative invoking notions of time. Kallat recalls Gandhi’s usage of salt as a symbolic tool for resistance during the Indian Independence movement. The fluids in our bodies mimic the primeval seas in which life began and thesalts in our bloodstreams are similar to those that existed in the earliest seas. We retained those ancient seas within us and perhaps salinity could be both material and metaphor to enlist the narratives of war and human fallibility in the form of a ceremonious floor drawing.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-3-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-5-6.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-7.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','measurement_from_evaporating','','inherit','open','open','','2931-revision-3','','','2014-01-11 01:28:43','2014-01-11 01:28:43','',2931,'http://www.reenakallat.com/2934/uncat/2931-revision-3',0,'revision','',0),(2935,1,'2014-01-16 19:58:57','2014-01-16 19:58:57','<script type=\"text/javascript\">// <![CDATA[\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\n// ]]></script>\n<!--\nh3.canvas  {\ncolor:#333333;\nfont-size:11px	\nfont-weight:normal;\nmargin-bottom:5px;\nmargin-left:7px;\nmargin-top:0;\npadding:0;\ntext-transform:none;\n}\n\nh2.painting  {\ncolor:#FFFFFF;\nfont-family:verdana,arial,tahoma,sans-serif;\nfont-size:11px;\nfont-weight:normal;\nmargin:0 0 10px 7px;\npadding:0;\ntext-align:left;\ntext-transform:none;\n}\n-->\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-2.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Measurement from evaporating oceans\n</span>2013\nFRP, steel, salt\n94(h.) x 70(l.) x 60 (b.) in.  I  236 x 178 x 152 cm\n</td>\n</tr>\n<tr>\n<td></td>\n</tr>\n</tr>\n<tr>\n<td></td>\n</tr>\n</tbody>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody><tr>\n<td width=\"200\" align=\"left\" valign=\"top\">\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-3-4.jpg\" alt=\"measurement-from-evaporating\" title=\"measurement-from-evaporating\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\n</td>\n<td width=\"300\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\n<div id=\"uniquename1\" style=\"display:block\">\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. …<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">more</a>\n</div>\n<div id=\"uniquename\"  style=\"display:none;\">\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. \nThis work was made with wires that essentially transmit energy and information from one place to another; their linear formations often evoking barbed wires, barriers or different kinds of fencing. It is said that the electricity is the same in electrical equipment but the expression of electricity differs from one appliance to the next. By changing the instrument of this quasi-cartographic drawing from a pencil line to a wire, I’m interested in the notion of the map as dynamic, ever changing, streaming and transferring data with the global flows of energies and people, as the courses of these travelers intersect\nThe work also carried several sound elements such as high-voltage electric current, drowned within which were sounds of factory sirens, ship horns or communication tones such as dialing or engaged tones in a telephone.\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\n</div></td>\n</tr><tr><td>&nbsp;</td></tr>\n</tbody>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-1.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n</tr>\n<tr>\n<td></td>\n</tr>\n</tbody>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-7.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n</tbody>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-5-6.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\n</tr>\n<tr>\n<td></td>\n</tr>\n</tbody>\n</table>\n','measurement_from_evaporating','','inherit','open','open','','2931-autosave','','','2014-01-16 19:58:57','2014-01-16 19:58:57','',2931,'http://www.reenakallat.com/2935/uncat/2931-autosave',0,'revision','',0),(2936,1,'2014-01-11 01:28:46','2014-01-11 01:28:46','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px	\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-1.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Measurement from evaporating oceans\r\n</span>2013\r\nFRP, steel, salt\r\n94(h.) x 70(l.) x 60 (b.) in.  I  236 x 178 x 152 cm\r\n</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-2.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.\r\nThrough an interlacing of material, form and scale, Reena Kallat’s work has often tangentially explored the psychological borders that exist between people, that create distance, detachment and divergence greater than those created by physical borders.Salt has been a vital part of ceremonial-offerings as a symbol of incorruptible purity and immortality and there are numerous Biblical and Buddhist references to salt. Since ancient times in many cultures salt has been used as a preservative invoking notions of time. Kallat recalls Gandhi’s usage of salt as a symbolic tool for resistance during the Indian Independence movement. The fluids in our bodies mimic the primeval seas in which life began and thesalts in our bloodstreams are similar to those that existed in the earliest seas. We retained those ancient seas within us and perhaps salinity could be both material and metaphor to enlist the narratives of war and human fallibility in the form of a ceremonious floor drawing.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-3-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-5-6.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-7.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','measurement_from_evaporating','','inherit','open','open','','2931-revision-4','','','2014-01-11 01:28:46','2014-01-11 01:28:46','',2931,'http://www.reenakallat.com/2936/uncat/2931-revision-4',0,'revision','',0),(2937,1,'2014-01-11 01:42:38','2014-01-11 01:42:38','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px	\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-1.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Measurement from evaporating oceans\r\n</span>2013\r\nFRP, steel, salt\r\n94(h.) x 70(l.) x 60 (b.) in.  I  236 x 178 x 152 cm\r\n</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-2.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.\r\nThrough an interlacing of material, form and scale, Reena Kallat’s work has often tangentially explored the psychological borders that exist between people, that create distance, detachment and divergence greater than those created by physical borders.Salt has been a vital part of ceremonial-offerings as a symbol of incorruptible purity and immortality and there are numerous Biblical and Buddhist references to salt. Since ancient times in many cultures salt has been used as a preservative invoking notions of time. Kallat recalls Gandhi’s usage of salt as a symbolic tool for resistance during the Indian Independence movement. The fluids in our bodies mimic the primeval seas in which life began and thesalts in our bloodstreams are similar to those that existed in the earliest seas. We retained those ancient seas within us and perhaps salinity could be both material and metaphor to enlist the narratives of war and human fallibility in the form of a ceremonious floor drawing.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-3-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-5-6.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-7.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','measurement_from_evaporating','','inherit','open','open','','2931-revision-5','','','2014-01-11 01:42:38','2014-01-11 01:42:38','',2931,'http://www.reenakallat.com/2937/uncat/2931-revision-5',0,'revision','',0),(2938,1,'2014-01-11 00:32:53','2014-01-11 00:32:53','Reena Saini Kallat (b. 1973, Delhi, India) graduated from Sir J.J. School of Art, Mumbai in 1996 with a B.F.A. in painting. Her practice - spanning painting, photography, video, sculpture and installation, often incorporates multiple mediums into a single work. She frequently works with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics. One of the recurrent motifs in her work is the rubber stamp, used as an object and an imprint, signifying the bureaucratic apparatus, which both confirms and obscures identities.\r\n\r\nHer work has been widely exhibited across the world in venues such as Mori Art Museum, Tokyo; Kennedy Centre, Washington; Saatchi Gallery, London; SESC Pompeia and SESC Belenzino in Sao Paulo; Goteborgs Konsthall, Sweden; Helsinki City Art Museum, Finland; National Taiwan Museum of Fine Arts; Tel Aviv Museum of Art, Israel; National Museum of Contemporary Art, Seoul; Arken Museum in Denmark; Henie Onstad Kunstsenter, Oslo; Casa Asia, Madrid and Barcelona; ZKM Karlsruhe in Germany; Campbelltown Arts Centre, Sydney; Hangar Bicocca, Milan; Museum of Contemporary Art, Shanghai; IVAM Museum, Spain; Busan MOMA; Kulturhuset, Stockholm; Chicago Cultural Centre amongst many others while closer home she’s shown at the Dr. Bhaudaji Lad Museum and the NGMA, Mumbai. She lives and works in Mumbai.\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.zegnart.com/diary/public\" target=\"_blank\">ZegnArt Public project with Dr. Bhaudaji Lad Museum, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/exhibitions/2011-03-08_reena-saini-kallat/\" target=\"_blank\">Labyrinth of Absences, Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&amp;view=past\" target=\"_blank\">Drift, Primo Marella Gallery, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\" target=\"_blank\">Subject to Change without Notice, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Rainbow Of Refuse, Bodhi Art Gallery, Mumbai and Singapore</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/artists/reena-saini-kallat/selected-works/\" target=\"_blank\">Black Flute (And Other Stories), Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\" target=\"_blank\">Black Flute, Gallery Chemould, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>The Battlefield Is The Mind, Sakshi Gallery, Bangalore</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Seven Faces of Dust, Chicago Radio, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Skin, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td>Orchard of Home-grown Secrets, Gallery Chemould and Pundole  Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://art-agenda.com/shows/no-mad-ness-in-no-man%E2%80%99s-land-at-eslite-gallery-taipei/\" target=\"_blank\">No-Mad-Ness in No-Man\'s Land, Eslite Gallery, Taipei <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.artoxygen.org/?p=1858\" target=\"_blank\">Haein Art Project, Haeinsa Temple, Korea <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://english.visitkorea.or.kr/enu/SI/SI_EN_3_2_1.jsp?cid=1178463\" target=\"_blank\"> \"Something Old and Something New\", Cheongju International Craft Biennale, Korea<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n\r\n\r\n\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://mohileparikhcenter.org/site/?q=node/647\" target=\"_blank\">Partner a Master Exhibition, Artist/Mentor Programme, Premchand Roychand Gallery, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.paletteartgallery.com/exhibitionwork.asp?currentpage=1&sno=81\" target=\"_blank\">Spell of Spill: Utopia of Ecology, Palette Art Gallery, Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.satellite.org.au/docs/encounters-powerPLAY_press_release.pdf \" target=\"_blank\">EN(counters): POWERplay, along Mumbai’s waterfronts, gardens and historic sites<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>JJ’s 90s - The Time of Change, Sir J.J. School of Art, Mumbai  </td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.arken.dk/content/us/art/exhibitions/india_art_now/the_intimate_sphere\" target=\"_blank\">India Today, ARKEN Museum of Modern Art, Copenhagen, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>The Indian Parallax or the Doubling of Happiness, Birla Academy of Art and Culture, Kolkata</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunsten.dk/Default.aspx?ID=4378\" target=\"_blank\">WONDERS – Masterpieces from Private Collections, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.bb.com.br/docs/pub/inst/dwn/CatalogoIndia.pdf\" target=\"_blank\">India side by side, Centro Cultural Banco do Brasil, Brasilia <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.eigen-art.com/lab/index.php?article_id=804&clang=1\" target=\"_blank\">Group show, Eigen + Art Lab, Berlin<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>India Side by Side,SESC Belenzino, Sao Paulo, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.punkto.no/voices-from-pandemonium.5006429-249860.html\" target=\"_blank\">Stemmer fra Pandemonium, Punkt-Galleri F 15, Moss, Norway <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>To Let the World In: Narrative and Beyond in Contemporary Indian Art, Lalit Kala Regional Centre, Chennai, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.exhibit320.com/exhibitionShow/EXH00014/\" target=\"_blank\">The Contemporary Sultanate, the Sunrydge, New Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Kalaghoda Art Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.theskodaprize.com/2012/longlist.php?id=1#.ULxBLWDrbJw\" target=\"_blank\">The Skoda Prize Exhibition, Lalit Kala Academy, New Delhi<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>India Side by Side, Centro Cultural Banco do Brasil, Rio De Janeiro</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Giant Elephant : Contemporary Art from India, H Cube Gallery, Seoul</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Roundabout, Tel Aviv Museum of Art, Israel<span style=\"color: red;\"> </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://goteborg.biennal.org/en/the-biennial-2011/artists/\" target=\"_blank\">Goteborg International Biennale for Contemporary Art, curated by Sarat Maharaj, Göteborgs Konsthall and Bohuslans Konsthall, Uddevalla, Sweden <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Right to Dissent, Clark House, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>RED, Palette Art Gallery, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kennedy-center.org/events/?event=ZLINB\" target=\"_blank\">Maximum India, The Kennedy Centre, Washington</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Of Gods and Goddesses, Cinema, Cricket - The New cultural Icons of India, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.hel.fi/hki/taimu/en/art+museum+tennis+palace/past+exhibitions/2011/concurrent+india\" target=\"_blank\">Samtidigt, Helsinki City Art Museum, Finland<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iconoclasts and Iconodules, curated by Ombretta Argo, Religare Art Gallery, New  Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://vancouverbiennale.com/sculptures_page.php?sculptureID=36\" target=\"_blank\">The Vancouver International Sculpture Biennale, Surrey Art Gallery, Canada<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>The Intuitive: Logic Revisted, from the Osians Collection at The World Economic Forum, Davos, Switzerland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/current/La_Route_De_La_Soie.htm\" target=\"_blank\">La Route de la Soie / The Silk Road, Lille 3000, France </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://kulturhuset.stockholm.se/\" target=\"_blank\">Samtidigt, Kulterhuset, Stockholm</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.campbelltown.nsw.gov.au/Exhibitions\" target=\"_blank\">The River Project, Campbelltown Art Centre, Sydney</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.tamuseum.com/about-the-exhibition/roundabout-face-to-face\" target=\"_blank\">Roundabout, City Gallery Wellington, New Zealand</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/water-ways/\" target=\"_blank\">Waterways, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.richmondartgallery.org/in-transition.php\" target=\"_blank\">In Transition: New Art from India, Richmond Art Gallery Vancouver Biennale, Vancouver</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www2.webster.edu/news/releases/bringmealion_0910113.shtml\" target=\"_blank\">Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt  Gallery, St. Louis, Missouri</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/www/pastExhibitions\" target=\"_blank\">Never Run Away, 2 person exhibition curated by Shaheen Merali, Stux Gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/artists/reena_kallat.htm?section_name=new_india\" target=\"_blank\">The Empire Strikes Back, Saatchi Gallery, London</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://art-for-the-world.blogspot.com/2010/01/some-installation-views-of-urban.html\" target=\"_blank\">Urban Manners 2, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.asianartbiennial.org/2009/en/index_en.html\" target=\"_blank\">View Points and Viewing points - 2009 Asian Art Biennale, National Taiwan Museum of Fine Arts </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Milan Galleria, curated by Georgio Verzotti, Triennale Museum, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.initialaccess.co.uk/exh/73/11/passage-to-india-part-ii/reena-saini-kallat\" target=\"_blank\">Passage to India Part II show at Initial Access, Frank Cohen Collection, Wolverhampton, UK</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Ventosul Biennale, Curitiba, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/english/contents/india/index.html\" target=\"_blank\"> Chalo! India: A New Era of Indian Art, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mocashanghai.org/index.php?_function=exhibition&amp;_subFunction=pastExhibition&amp;exhibition_id=40&amp;_view=detail\" target=\"_blank\">INDIA XIANZAI: Contemporary Indian Art, Museum of Contemporary Art, Shanghai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/42/622\" target=\"_blank\">Low Blow: And Other Species of Confusion, Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.casaasia.eu/actividad/detalle?id=13195\" target=\"_blank\"><em> </em>Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History,Casa  Asia, Madrid and Barcelona, Spain<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/body-chatter-an-exhibition-of-contemporary-indian-art-2008/\" target=\"_blank\">Body Chatter, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/contents/press/india_20081121_e.pdf\" target=\"_blank\">Chalo! India: A New Era of Indian Art, Mori Art   Museum, Japan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain </td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.aaa.org.hk/onlineprojects/bitri/en/gallery.aspx?eid=A080.03\" target=\"_blank\">3<sup>rd</sup> Nanjing Triennale, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\" target=\"_blank\">Fire Walkers, Stefan Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.galeriems.com/publications_2008.html\" target=\"_blank\">Three Points of view, Galerie Mirchandani + Steinrucke, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Excavation: Memory / Myth / Membrane, Museum Gallery, Mumbai</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>International Incheon Women Artists’ Biennale, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Soft Power: Asian Attitude, Shanghai Zendai Museum of Modern Art, Shanghai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunstaspekte.de/index.php?tid=39629&amp;action=termin\" target=\"_blank\">Urban Manners, curated by Adelina Von Furstenberg, at Hangar Bicocca, Milan </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.artsblog.it/post/933/larte-contemporanea-indiana-a-milano\" target=\"_blank\">INDIA NOW: Contemporary Indian Art, Between Continuity and transformation, curated by Daniela Palozzoli\r\nat Spazio Oberdan, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>New Narratives: Contemporary Art From India, curated by Betty Seid, Chicago Cultural Centre, Chicago</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Thermocline Of Art- New Asian Waves, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Modern Indian Works On Paper, Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Lille 3000 (Maximum City-Mumbai), Lille,  France</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Hungry God- Indian Contemporary Art, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>India Express – Art and Popular Culture, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Mom and Pop Art, Walsh Gallery, Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Span, Sakshi Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Indian Paintings of the New Millenium, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield  University, USA</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><em> </em>Contemporary Art from India, Thomas   Erben Gallery, New York</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td>Zoom! Art in Contemporary India. Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Crossing generations: diVERGE, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Hard Copy, two-person show with Jitish Kallat, Gallery 88, Calcutta</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Tiranga, curator: Peter Nagy, India Habitat Centre, New Delhi</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Elephant Walks, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>The Tree From The Seed, Contemporary Art from India, curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td>\r\n<td><em></em></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Crossing Borders, Gallery Windkracht 13, Den Helder, Holland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, CCA7 Gallery, Port Of Spain, Trinidad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>AOM- Art on the move, organized by Sahmat, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1999</td>\r\n<td><em> </em>Edge of the Century, curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td><em> </em>Essays in Time, Kinetic Sculptures, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>India in Harmony 1947-1997, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>A Page From My Diary, Sans Tache Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>Fresh Work, Birla Academy of Art and Culture, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td><em> </em>Monsoon Show, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td><em> </em>Varsha ’95, Y. B. Chavan Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://art1stindia.wordpress.com/2012/09/09/reena-kallat-visa-to-happiness/#comments\" target=\"_blank\">Partner a Master Workshop Artist/Mentor Programme, organized by Art 1st Foundation in collaboration with Mohile Parikh Centre, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Visas to Happiness, workshop with children as part of the exhibition \'To Let the World In\', Chennai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iaspis Residency, Gothenburg, Sweden.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Vanishing Point, children’s project at the Celebrate Bandra Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Collaborative workshop as part of the exhibition Aftershock, Sainsbury Centre for Visual Arts, University of East Anglia, Norwich,  UK</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Elephant Walks, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Khoj 2002 International Artists Workshop, Mysore, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Identity and Landscape, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>“Rendezvous with the Artist” series by Asia Society at the artists studio in Mumbai, sponsored by Christies.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Artists Talk at the World Economic Forum, Tianjin</td>\r\n</tr>\r\n<tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>\"Why I am not a woman artist” panel discussion with Anju Dodiya, moderated by Nancy Adajania at the Jehangir Nicholson Art Foundation, Prince of Wales Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at GIBCA Speak Easy (GSE), Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Informal talk at HDK – The School of Design and Crafts, Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Iaspis Residency Studio, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Short presentation as part of The River Project at The Campbelltown Arts Centre, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Krishnakriti Festival 2011, Kalakriti Gallery, Hyderabad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Panel discussion moderated by Maria Lantz, with participating artists during the exhibition Samtidigt at Kulturhuset, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation at the School of the Art Institute of Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Lecture at the University Boccini, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Slide presentation at the Lamar Dodd School of Art, University of Georgia, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Artists Talk at the Griffith Auditorium, Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Slide presentation at Oslo National Academy of the Arts, Norway</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Slide presentation at Mohile Parikh Centre for the Visual Arts, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">AWARDS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>ZegnArt Public Award in collaboration with Dr. Bhaudaji Lad Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>YFLO ZOYA Young Women Achievers Awards 2010-11, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Harmony Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Bombay Art Society Merit Certificate</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Second Prize Government Award, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td>Gladstone Solomon Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1991-1996</td>\r\n<td>Merit Scholarship, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n</tbody>\r\n</table>','Biography','','inherit','open','open','','105-revision-141','','','2014-01-11 00:32:53','2014-01-11 00:32:53','',105,'http://www.reenakallat.com/2938/uncat/105-revision-141',0,'revision','',0),(2966,1,'2014-01-16 19:17:42','2014-01-16 19:17:42','Reena Saini Kallat (b. 1973, Delhi, India) graduated from Sir J.J. School of Art, Mumbai in 1996 with a B.F.A. in painting. Her practice - spanning painting, photography, video, sculpture and installation, often incorporates multiple mediums into a single work. She frequently works with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics. One of the recurrent motifs in her work is the rubber stamp, used as an object and an imprint, signifying the bureaucratic apparatus, which both confirms and obscures identities.\r\n\r\nHer work has been widely exhibited across the world in venues such as Mori Art Museum, Tokyo; Kennedy Centre, Washington; Saatchi Gallery, London; SESC Pompeia and SESC Belenzino in Sao Paulo; Goteborgs Konsthall, Sweden; Helsinki City Art Museum, Finland; National Taiwan Museum of Fine Arts; Tel Aviv Museum of Art, Israel; National Museum of Contemporary Art, Seoul; Henie OnstadKunstsenter, Oslo; Casa Asia, Madrid and Barcelona; ZKM Karlsruhe in Germany; Campbelltown Arts Centre, Sydney; Hangar Bicocca, Milan; Museum of Contemporary Art, Shanghai; IVAM Museum, Spain; Busan MOMA; Kulturhuset, Stockholm; Chicago Cultural Centre amongst many others and she has participated in a number of workshops and residencies. She lives and works in Mumbai.\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SOLO EXHIBITIONS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.zegnart.com/diary/public\" target=\"_blank\">ZegnArt Public project with Dr. Bhaudaji Lad Museum, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/exhibitions/2011-03-08_reena-saini-kallat/\" target=\"_blank\">Labyrinth of Absences, Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.primomarellagallery.com/it/catalogue/scheda.asp?id=568&amp;view=past\" target=\"_blank\">Drift, Primo Marella Gallery, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2008/reena_bio.html\" target=\"_blank\"> Silt of Seasons, Chemould   Prescott Road, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/reena-kallat-exhibition-2008/\" target=\"_blank\">Subject to Change without Notice, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Rainbow Of Refuse, Bodhi Art Gallery, Mumbai and Singapore</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td><a class=\"linkbio\" href=\"http://www.naturemorte.com/artists/reena-saini-kallat/selected-works/\" target=\"_blank\">Black Flute (And Other Stories), Nature Morte, New Delhi</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><a class=\"linkbio\" href=\"http://www.gallerychemould.com/exhibitions/2004/reena_saini_kallat_note.html\" target=\"_blank\">Black Flute, Gallery Chemould, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>The Battlefield Is The Mind, Sakshi Gallery, Bangalore</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Seven Faces of Dust, Chicago Radio, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Skin, Gallery Chemould, Mumbai and Art Inc. Gallery, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td>Orchard of Home-grown Secrets, Gallery Chemould and Pundole  Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><span style=\"color: #888888;\"><strong>SELECTED GROUP EXHIBITIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://eslitegallery.tumblr.com/post/65981256422/reena-saini-kallat\" target=\"_blank\">No-Mad-Ness in No-Man\'s Land, Eslite Gallery, Taipei <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.artoxygen.org/?p=1858\" target=\"_blank\">Haein Art Project, Haeinsa Temple, Korea <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td><td><a class=\"linkbio\" href=\"http://www.collabo-x.com/cheongju-international-craft-biennale-2013-청주첨단문화산업단지/\" target=\"_blank\"> \"Something Old and Something New\", Cheongju International Craft Biennale, Korea<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://mohileparikhcenter.org/site/?q=node/647\" target=\"_blank\">Partner a Master Exhibition, Artist/Mentor Programme, Premchand Roychand Gallery, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.paletteartgallery.com/exhibition/past/works/details/5120\" target=\"_blank\">Spell of Spill: Utopia of Ecology, Palette Art Gallery, Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://www.satellite.org.au/docs/encounters-powerPLAY_press_release.pdf \" target=\"_blank\">EN(counters): POWERplay, along Mumbai’s waterfronts, gardens and historic sites<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>JJ’s 90s - The Time of Change, Sir J.J. School of Art, Mumbai  </td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.arken.dk/content/us/art/exhibitions/india_art_now/the_intimate_sphere\" target=\"_blank\">India Today, ARKEN Museum of Modern Art, Copenhagen, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>The Indian Parallax or the Doubling of Happiness, Birla Academy of Art and Culture, Kolkata</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunsten.dk/Default.aspx?ID=4378\" target=\"_blank\">WONDERS – Masterpieces from Private Collections, Denmark <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.bb.com.br/docs/pub/inst/dwn/CatalogoIndia.pdf\" target=\"_blank\">India side by side, Centro Cultural Banco do Brasil, Brasilia <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.eigen-art.com/lab/index.php?article_id=804&clang=1\" target=\"_blank\">Group show, Eigen + Art Lab, Berlin<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>India Side by Side,SESC Belenzino, Sao Paulo, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.punkto.no/voices-from-pandemonium.5006429-249860.html\" target=\"_blank\">Stemmer fra Pandemonium, Punkt-Galleri F 15, Moss, Norway <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>To Let the World In: Narrative and Beyond in Contemporary Indian Art, Lalit Kala Regional Centre, Chennai, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.exhibit320.com/exhibitionShow/EXH00014/\" target=\"_blank\">The Contemporary Sultanate, the Sunrydge, New Delhi <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Kalaghoda Art Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td><a class=\"linkbio\" href=\"http://www.theskodaprize.com/2012/longlist.php?id=1#.ULxBLWDrbJw\" target=\"_blank\">The Skoda Prize Exhibition, Lalit Kala Academy, New Delhi<span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>India Side by Side, Centro Cultural Banco do Brasil, Rio De Janeiro</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Giant Elephant : Contemporary Art from India, H Cube Gallery, Seoul</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Roundabout, Tel Aviv Museum of Art, Israel<span style=\"color: red;\"> </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://goteborg.biennal.org/en/the-biennial-2011/artists/\" target=\"_blank\">Goteborg International Biennale for Contemporary Art, curated by Sarat Maharaj, Göteborgs Konsthall and Bohuslans Konsthall, Uddevalla, Sweden <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Right to Dissent, Clark House, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>RED, Palette Art Gallery, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kennedy-center.org/events/?event=ZLINB\" target=\"_blank\">Maximum India, The Kennedy Centre, Washington</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Of Gods and Goddesses, Cinema, Cricket - The New cultural Icons of India, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://www.hel.fi/hki/taimu/en/art+museum+tennis+palace/past+exhibitions/2011/concurrent+india\" target=\"_blank\">Samtidigt, Helsinki City Art Museum, Finland<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iconoclasts and Iconodules, curated by Ombretta Argo, Religare Art Gallery, New  Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td><a class=\"linkbio\" href=\"http://vancouverbiennale.com/sculptures_page.php?sculptureID=36\" target=\"_blank\">The Vancouver International Sculpture Biennale, Surrey Art Gallery, Canada<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>The Intuitive: Logic Revisted, from the Osians Collection at The World Economic Forum, Davos, Switzerland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/current/La_Route_De_La_Soie.htm\" target=\"_blank\">La Route de la Soie / The Silk Road, Lille 3000, France </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://kulturhuset.stockholm.se/\" target=\"_blank\">Samtidigt, Kulterhuset, Stockholm</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.campbelltown.nsw.gov.au/Exhibitions\" target=\"_blank\">The River Project, Campbelltown Art Centre, Sydney</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.tamuseum.com/about-the-exhibition/roundabout-face-to-face\" target=\"_blank\">Roundabout, City Gallery Wellington, New Zealand</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/water-ways/\" target=\"_blank\">Waterways, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.richmondartgallery.org/in-transition.php\" target=\"_blank\">In Transition: New Art from India, Richmond Art Gallery Vancouver Biennale, Vancouver</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www2.webster.edu/news/releases/bringmealion_0910113.shtml\" target=\"_blank\">Bring Me a Lion: An Exhibition of Contemporary Indian Art at Webster University, curated by Jeffrey Hughes and Dana Turkovic, Cecile R. Hunt  Gallery, St. Louis, Missouri</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/www/pastExhibitions\" target=\"_blank\">Never Run Away, 2 person exhibition curated by Shaheen Merali, Stux Gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://www.saatchi-gallery.co.uk/artists/reena_kallat.htm?section_name=new_india\" target=\"_blank\">The Empire Strikes Back, Saatchi Gallery, London</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td><a class=\"linkbio\" href=\"http://art-for-the-world.blogspot.com/2010/01/some-installation-views-of-urban.html\" target=\"_blank\">Urban Manners 2, Contemporary Artists from India, curated by Adelina Von Furstenberg in collaboration with Peter Nagy, at SESC Pompeia, Sao Paulo, Brazil</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.asianartbiennial.org/2009/en/index_en.html\" target=\"_blank\">View Points and Viewing points - 2009 Asian Art Biennale, National Taiwan Museum of Fine Arts </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Spectrum: Indian Art at Abu   Dhabi, United   Arab Emirates</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Milan Galleria, curated by Georgio Verzotti, Triennale Museum, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.initialaccess.co.uk/exh/73/11/passage-to-india-part-ii/reena-saini-kallat\" target=\"_blank\">Passage to India Part II show at Initial Access, Frank Cohen Collection, Wolverhampton, UK</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Ventosul Biennale, Curitiba, Brazil</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/english/contents/india/index.html\" target=\"_blank\"> Chalo! India: A New Era of Indian Art, National  Museum of Contemporary Art, Korea and Essl Museum, Vienna</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mocashanghai.org/index.php?_function=exhibition&amp;_subFunction=pastExhibition&amp;exhibition_id=40&amp;_view=detail\" target=\"_blank\">INDIA XIANZAI: Contemporary Indian Art, Museum of Contemporary Art, Shanghai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/42/622\" target=\"_blank\">Low Blow: And Other Species of Confusion, Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.casaasia.eu/actividad/detalle?id=13195\" target=\"_blank\"><em> </em>Indian Narratives in the 21<sup>st</sup> Century: Between Memory and History,Casa  Asia, Madrid and Barcelona, Spain<span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td><a class=\"linkbio\" href=\"http://www.walshgallery.com/body-chatter-an-exhibition-of-contemporary-indian-art-2008/\" target=\"_blank\">Body Chatter, Walsh Gallery, Chicago</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.mori.art.museum/contents/press/india_20081121_e.pdf\" target=\"_blank\">Chalo! India: A New Era of Indian Art, Mori Art   Museum, Japan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>India Moderna, curator: Juan Guardiola, organized by Casa Asia, IVAM Museum, Valencia, Spain </td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.aaa.org.hk/onlineprojects/bitri/en/gallery.aspx?eid=A080.03\" target=\"_blank\">3<sup>rd</sup> Nanjing Triennale, curators: Fumihiko Sumitomo, Jaeyoung Kang,  China</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>TEAF (Taehwagang Eco Art Festival) - Dream River, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Everywhere is War (And Rumours of it), Bodhi Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.stuxgallery.com/site/www/artist_gallery/33\" target=\"_blank\">Fire Walkers, Stefan Stux gallery, New York</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td><a class=\"linkbio\" href=\"http://www.galeriems.com/publications_2008.html\" target=\"_blank\">Three Points of view, Galerie Mirchandani + Steinrucke, Mumbai</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Excavation: Memory / Myth / Membrane, Museum Gallery, Mumbai</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>International Incheon Women Artists’ Biennale, Korea</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Soft Power: Asian Attitude, Shanghai Zendai Museum of Modern Art, Shanghai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.kunstaspekte.de/index.php?tid=39629&amp;action=termin\" target=\"_blank\">Urban Manners, curated by Adelina Von Furstenberg, at Hangar Bicocca, Milan </a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td><a class=\"linkbio\" href=\"http://www.artsblog.it/post/933/larte-contemporanea-indiana-a-milano\" target=\"_blank\">INDIA NOW: Contemporary Indian Art, Between Continuity and transformation, curated by Daniela Palozzoli\r\nat Spazio Oberdan, Milan</a> <span style=\"color: red;\"> &gt;&gt; </span></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>New Narratives: Contemporary Art From India, curated by Betty Seid, Chicago Cultural Centre, Chicago</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Thermocline Of Art- New Asian Waves, curated by Wonil Rhee and Peter Weibel at ZKM in Karlsruhe, Germany</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Modern Indian Works On Paper, Arthur Ross Gallery, Philadelphia and the Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Lille 3000 (Maximum City-Mumbai), Lille,  France</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Hungry God- Indian Contemporary Art, curated by Yun Chaegab and June Gwak, Arario Gallery, Beijing and Busan MoMA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>India Express – Art and Popular Culture, Art Museum Tennispalace, curators: Tuija Kuutti and Erja Pusa, organized by the Helsinki City  Art Museum, Finland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Mom and Pop Art, Walsh Gallery, Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Span, Sakshi Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Indian Paintings of the New Millenium, curated by Helen Asquine Fazio at Thomas J. Walsh Art Gallery at Fairfield  University, USA</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td><em> </em>Contemporary Art from India, Thomas   Erben Gallery, New York</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2004</td>\r\n<td>Zoom! Art in Contemporary India. Curators: Nancy Adajania and Luis Serpa, The Culturgest Museum, Lisbon, Portugal</td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Crossing generations: diVERGE, Gallery Chemould’s 40th anniversary, Curators: Geeta Kapoor and Chaitanya Sambrani, National Gallery of Modern Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Hard Copy, two-person show with Jitish Kallat, Gallery 88, Calcutta</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Tiranga, curator: Peter Nagy, India Habitat Centre, New Delhi</td>\r\n<td><em> </em></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td><em> </em>Elephant Walks, Youth Arts Project in collaboration with Jitish Kallat as part of Indians + Cowboys exhibition, Curators: Aaron Seetu and Ruth Watson Gallery 4A, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>The Tree From The Seed, Contemporary Art from India, curator: Gavin Jantjes Henie Onstad Kunstsenter (Oslo), Norway</td>\r\n<td><em></em></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Crosscurrents</em>, organized by Artworks for the fiftieth anniversary celebrations of Jehangir Art  Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td><em>Reclaim Our Freedom</em>, organized by Open Circle, Pundole Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Crossing Borders, Gallery Windkracht 13, Den Helder, Holland</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, CCA7 Gallery, Port Of Spain, Trinidad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>AOM- Art on the move, organized by Sahmat, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1999</td>\r\n<td><em> </em>Edge of the Century, curated by Amit Mukhopadhyay, Academy  of Fine Arts and Literature, New Delhi</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1998</td>\r\n<td><em> </em>Essays in Time, Kinetic Sculptures, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>India in Harmony 1947-1997, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>A Page From My Diary, Sans Tache Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1997</td>\r\n<td><em> </em>Fresh Work, Birla Academy of Art and Culture, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td><em> </em>Monsoon Show, Jehangir Art Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td><em> </em>Varsha ’95, Y. B. Chavan Gallery, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">SELECTED WORKSHOPS AND RESIDENCIES</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td><a class=\"linkbio\" href=\"http://art1stindia.wordpress.com/2012/09/09/reena-kallat-visa-to-happiness/#comments\" target=\"_blank\">Partner a Master Workshop Artist/Mentor Programme, organized by Art 1st Foundation in collaboration with Mohile Parikh Centre, Mumbai <span style=\"color: red;\"> &gt;&gt; </span></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Visas to Happiness, workshop with children as part of the exhibition \'To Let the World In\', Chennai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Iaspis Residency, Gothenburg, Sweden.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Vanishing Point, children’s project at the Celebrate Bandra Festival, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Collaborative workshop as part of the exhibition Aftershock, Sainsbury Centre for Visual Arts, University of East Anglia, Norwich,  UK</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Collaborated on a Billboard project with Jitish Kallat, Kala Ghoda Art District, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Elephant Walks, Youth Arts Project at the Casula Power House Arts Centre, Liverpool, Australia</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Khoj 2002 International Artists Workshop, Mysore, India</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2002</td>\r\n<td>Identity and Landscape, residency in the Laurentian mountains of Quebec at the Boreal Art/Nature Centre, Canada</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2001</td>\r\n<td>Big River 2, International Artists Workshop organized by CCA7 and the Triangle Arts Trust at Grand Riviere, Trinidad, West Indies</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"color: #888888;\"><strong>TALKS/PRESENTATIONS</strong></span></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>“Who is the Audience?” IAF 2013  I  Conversations, panel discussion with Kamini Sawhney, Matthieu Foss moderated by Ranjit Hoskote, Nehru Centre, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2013</td>\r\n<td>“Rendezvous with the Artist” series by Asia Society at the artists studio in Mumbai, sponsored by Christies.</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>Artists Talk at the World Economic Forum, Tianjin</td>\r\n</tr>\r\n<tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>\"Why I am not a woman artist” panel discussion with Anju Dodiya, moderated by Nancy Adajania at the Jehangir Nicholson Art Foundation, Prince of Wales Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at GIBCA Speak Easy (GSE), Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Informal talk at HDK – The School of Design and Crafts, Goteborg</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Iaspis Residency Studio, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Short presentation as part of The River Project at The Campbelltown Arts Centre, Sydney</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>Artists Talk at the Krishnakriti Festival 2011, Kalakriti Gallery, Hyderabad</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2010</td>\r\n<td>Panel discussion moderated by Maria Lantz, with participating artists during the exhibition Samtidigt at Kulturhuset, Stockholm</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2009</td>\r\n<td>Panel discussion with artist Gulam Sheikh, co-chair: Sabine B. Vogel, art critic at the Sammlung Essl Museum, Vienna</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation followed by a panel discussion with Nalini Malani and Jayshree Chakravarty, moderated by Nancy Adajania at Jnanapravaha, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2008</td>\r\n<td>Slide presentation at the School of the Art Institute of Chicago</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Panel discussion with Nalini Malani, Sheba Chhachhi, moderated by Betty Seid at the Chicago Cultural Centre</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2007</td>\r\n<td>Lecture at the University Boccini, Milan</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Slide presentation at the Lamar Dodd School of Art, University of Georgia, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2006</td>\r\n<td>Artists Talk at the Griffith Auditorium, Georgia Museum of Art, USA</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2003</td>\r\n<td>Slide presentation at Oslo National Academy of the Arts, Norway</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2000</td>\r\n<td>Slide presentation at Mohile Parikh Centre for the Visual Arts, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"2\"><strong><span style=\"color: #888888;\">AWARDS</span></strong></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2012</td>\r\n<td>ZegnArt Public Award in collaboration with Dr. Bhaudaji Lad Museum, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2011</td>\r\n<td>YFLO ZOYA Young Women Achievers Awards 2010-11, Delhi</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">2005</td>\r\n<td>Harmony Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Bombay Art Society Merit Certificate</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1996</td>\r\n<td>Second Prize Government Award, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1995</td>\r\n<td>Gladstone Solomon Award</td>\r\n</tr>\r\n<tr>\r\n<td valign=\"top\">1991-1996</td>\r\n<td>Merit Scholarship, Sir J. J. School of Art, Mumbai</td>\r\n</tr>\r\n</tbody>\r\n</table>','Biography','','inherit','open','open','','105-revision-145','','','2014-01-16 19:17:42','2014-01-16 19:17:42','',105,'http://www.reenakallat.com/2966/uncat/105-revision-145',0,'revision','',0),(2939,1,'2014-01-11 01:42:52','2014-01-11 01:42:52','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px	\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-1.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Measurement from evaporating oceans\r\n</span>2013\r\nFRP, steel, salt\r\n94(h.) x 70(l.) x 60 (b.) in.  I  236 x 178 x 152 cm\r\n</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-2.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nIn several works by Reena Kallat an officially recorded statistic or a fragment of information registered as history becomes the starting point. This could be in the form of officially recorded names of people, objects and monuments that are lost or have disappeared, only to get listed as unspecified statistics; at other times it can be dates or units of measurement that are pointers to historical events.  In ‘Measurement from evaporating oceans’ a tool used for measurement in the physical world attempts to calculate the intangible. An over-sized hand estimates the evidence spiralling out of a static centre with seemingly random dates that in actuality mark the commencement and closure of what are ironically called “independence wars”. The desire to render these dates in salt as units of time in history can be seen as meditations on fragility where a broken line of trust or prejudiced perceptions introduce a disruptive element.\r\nThrough an interlacing of material, form and scale, Reena Kallat’s work has often tangentially explored the psychological borders that exist between people, that create distance, detachment and divergence greater than those created by physical borders.Salt has been a vital part of ceremonial-offerings as a symbol of incorruptible purity and immortality and there are numerous Biblical and Buddhist references to salt. Since ancient times in many cultures salt has been used as a preservative invoking notions of time. Kallat recalls Gandhi’s usage of salt as a symbolic tool for resistance during the Indian Independence movement. The fluids in our bodies mimic the primeval seas in which life began and thesalts in our bloodstreams are similar to those that existed in the earliest seas. We retained those ancient seas within us and perhaps salinity could be both material and metaphor to enlist the narratives of war and human fallibility in the form of a ceremonious floor drawing.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-3-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-4.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-5-6.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"measurement-from-evaporating\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/measurement-from-evaporating-7.jpg\" alt=\"measurement-from-evaporating\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','measurement_from_evaporating','','inherit','open','open','','2931-revision-6','','','2014-01-11 01:42:52','2014-01-11 01:42:52','',2931,'http://www.reenakallat.com/2939/uncat/2931-revision-6',0,'revision','',0),(2941,1,'2014-01-10 23:01:47','2014-01-10 23:01:47','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-1.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Untitled (Cobweb/Crossings)\r\n</span>2013\r\npainted sculptural installation in FRP, metal\r\napprox. 45 ft. x 55 ft. I 540 in. x 660 in.</td>\r\n</tr>\r\n<tr><td><span style=\"font-size:11px;\"><i>Installation view</i> , Dr. Bhau Daji Lad City Museum, Mumbai  \r\nCourtesy: ZegnArt /Public India\r\n</span></td>\r\n<td>&nbsp;</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-2.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nSince the Bhau Daji Lad Museum stands situated at Jijamata Udyaan (once called the Victoria Gardens) in the natural environment of the zoo, I wanted the sculpture to have an organic form, one that has some sort of a relationship to its surroundings. While thinking of the museum’s history and it\'s mutating relationship to the city of Mumbai, one of things that came to my mind about the transforming city is the changing street names; in what manner streets define a city\'s imagination and how their names speak to us about the people who occupy them. The Museum itself had undergone a change of name from the Victoria and Albert Museum to Dr. Bhau Daji Lad Museum, a century after its inception. Conceived at the time of the British rule, the museum and its collection narrate some of the earliest moments in the city’s history through its industrial and artisanal past, through the changing life patterns of its people across maps and historical photographs.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nSince the Bhau Daji Lad Museum stands situated at Jijamata Udyaan (once called the Victoria Gardens) in the natural environment of the zoo, I wanted the sculpture to have an organic form, one that has some sort of a relationship to its surroundings. While thinking of the museum’s history and it\'s mutating relationship to the city of Mumbai, one of things that came to my mind about the transforming city is the changing street names; in what manner streets define a city\'s imagination and how their names speak to us about the people who occupy them. The Museum itself had undergone a change of name from the Victoria and Albert Museum to Dr. Bhau Daji Lad Museum, a century after its inception. Conceived at the time of the British rule, the museum and its collection narrate some of the earliest moments in the city’s history through its industrial and artisanal past, through the changing life patterns of its people across maps and historical photographs.\r\n As we know, the early 90’s as part of the decolonization spree, saw the change of street names in Mumbai from colonial names to indigenous ones. While renaming is either geographic, commemorative, often linked to language, in case of Mumbai it has been more political than cultural and never without controversy. It’s been a real struggle between the cosmopolitan identities over local or regional claims. ‘Untitled (Cobweb/Crossings)’, is an oversized web formed with hundreds of rubber-stamps that weaves the history of the city onto the façade of the museum. Each one bears the colonial name of a city street that has now been replaced by an indigenous one. Part of the bureaucratic apparatus, rubber-stamps metaphorically either seem to endorse or stamp histories out of existence. While unknowingly, unconsciously, histories are constantly being interpreted and altered, what’s interesting is the comfort and ease with which people shift between the old and new names, often referring to a place with numerous appellations at the same time. The web is a home, linear, fragile, protecting the physical self; at the same time it can also be a restricting trap. Structurally the crisscrossed markings of streets and roads on a map somewhat resemble a maze-like/cobweb-like drawing, symbolizing fragments of history yearning to come together. A cobweb is evocative of time and appears to hold dust from the past. \r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-3.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-4.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-5-6.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-7.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2846-revision-12','','','2014-01-10 23:01:47','2014-01-10 23:01:47','',2846,'http://www.reenakallat.com/2941/uncat/2846-revision-12',0,'revision','',0),(2942,1,'2014-01-15 20:40:20','2014-01-15 20:40:20','<script type=\"text/javascript\">// <![CDATA[\r\nfunction ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}\r\n// ]]></script>\r\n<!--\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n-->\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"60%\" align=\"left\" valign=\"top\"><img class=\"alignnone size-large wp-image-349\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-1.jpg\" alt=\"Rubber Stamp\" width=\"600\" /></td>\r\n<td style=\"font-size: 11px;\" width=\"200\" align=\"left\" valign=\"bottom\"><span style=\"color: #888888;\">Untitled (Cobweb/Crossings)\r\n</span>2013\r\npainted sculptural installation in FRP, metal\r\napprox. 45 ft. x 55 ft. I 540 in. x 660 in.</td>\r\n</tr>\r\n<tr><td><span style=\"font-size:11px;\"><i>Installation view</i> , Dr. Bhau Daji Lad City Museum, Mumbai     &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   Courtesy: ZegnArt /Public India\r\n</span></td>\r\n<td>&nbsp;</td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-2.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a>\r\n</td>\r\n<td width=\"400\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nSince the Bhau Daji Lad Museum stands situated at Jijamata Udyaan (once called the Victoria Gardens) in the natural environment of the zoo, I wanted the sculpture to have an organic form, one that has some sort of a relationship to its surroundings. While thinking of the museum’s history and it\'s mutating relationship to the city of Mumbai, one of things that came to my mind about the transforming city is the changing street names; in what manner streets define a city\'s imagination and how their names speak to us about the people who occupy them. The Museum itself had undergone a change of name from the Victoria and Albert Museum to Dr. Bhau Daji Lad Museum, a century after its inception. Conceived at the time of the British rule, the museum and its collection narrate some of the earliest moments in the city’s history through its industrial and artisanal past, through the changing life patterns of its people across maps and historical photographs.<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nSince the Bhau Daji Lad Museum stands situated at Jijamata Udyaan (once called the Victoria Gardens) in the natural environment of the zoo, I wanted the sculpture to have an organic form, one that has some sort of a relationship to its surroundings. While thinking of the museum’s history and it\'s mutating relationship to the city of Mumbai, one of things that came to my mind about the transforming city is the changing street names; in what manner streets define a city\'s imagination and how their names speak to us about the people who occupy them. The Museum itself had undergone a change of name from the Victoria and Albert Museum to Dr. Bhau Daji Lad Museum, a century after its inception. Conceived at the time of the British rule, the museum and its collection narrate some of the earliest moments in the city’s history through its industrial and artisanal past, through the changing life patterns of its people across maps and historical photographs.\r\n As we know, the early 90’s as part of the decolonization spree, saw the change of street names in Mumbai from colonial names to indigenous ones. While renaming is either geographic, commemorative, often linked to language, in case of Mumbai it has been more political than cultural and never without controversy. It’s been a real struggle between the cosmopolitan identities over local or regional claims. ‘Untitled (Cobweb/Crossings)’, is an oversized web formed with hundreds of rubber-stamps that weaves the history of the city onto the façade of the museum. Each one bears the colonial name of a city street that has now been replaced by an indigenous one. Part of the bureaucratic apparatus, rubber-stamps metaphorically either seem to endorse or stamp histories out of existence. While unknowingly, unconsciously, histories are constantly being interpreted and altered, what’s interesting is the comfort and ease with which people shift between the old and new names, often referring to a place with numerous appellations at the same time. The web is a home, linear, fragile, protecting the physical self; at the same time it can also be a restricting trap. Structurally the crisscrossed markings of streets and roads on a map somewhat resemble a maze-like/cobweb-like drawing, symbolizing fragments of history yearning to come together. A cobweb is evocative of time and appears to hold dust from the past. \r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-3.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-4.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-5-6.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\"><a href=\"#\"><img class=\"alignnone size-full wp-image-350\" title=\"Untitled-(Cobweb)\" src=\"http://www.reenakallat.com/wp-content/uploads/2012/11/Untitled-(Cobweb)-7.jpg\" alt=\"Untitled-(Cobweb)\" width=\"600\" /></a></td>\r\n</tr>\r\n<tr>\r\n<td></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2846-revision-13','','','2014-01-15 20:40:20','2014-01-15 20:40:20','',2846,'http://www.reenakallat.com/2942/uncat/2846-revision-13',0,'revision','',0),(2943,1,'2014-01-10 22:14:32','2014-01-10 22:14:32','<link rel=\"canonical\" href=\"http://www.reenakallat.com\" />\r\n<script type=\"text/javascript\" src=\"http://www.reenakallat.com/wp-includes/js/jquery/jquery-1.2.6.min.js\"></script>\r\n<script type=\"text/javascript\">\r\nfunction slideSwitch() {\r\n    var $active = $(\'#slideshow DIV.active\');\r\n    if ( $active.length == 0 ) $active = $(\'#slideshow DIV:last\');\r\n    // use this to pull the divs in the order they appear in the markup\r\n    var $next =  $active.next().length ? $active.next()\r\n        : $(\'#slideshow DIV:first\');\r\n    // uncomment below to pull the divs randomly\r\n    // var $sibs  = $active.siblings();\r\n    // var rndNum = Math.floor(Math.random() * $sibs.length );\r\n    // var $next  = $( $sibs[ rndNum ] );\r\n    $active.addClass(\'last-active\');\r\n    $next.css({opacity: 0.0})\r\n        .addClass(\'active\')\r\n        .animate({opacity: 1.0}, 1000, function() {\r\n            $active.removeClass(\'active last-active\');\r\n        });\r\n}\r\n$(function() {\r\n    setInterval( \"slideSwitch()\", 3000);\r\n});\r\n</script>\r\n<style type=\"text/css\">\r\n#slideshow {\r\n    position:relative;\r\n    height:500px;\r\n    width:660px;\r\n    margin: 0 auto;\r\n}\r\n#slideshow DIV {\r\n    position:absolute;\r\n    top:0;\r\n    left:300;\r\n    z-index:8;\r\n    opacity:0.0;\r\n    height: 500px;\r\n    background-color: #FFF;\r\n}\r\n#slideshow DIV.active {\r\n    z-index:10;\r\n    opacity:1.0;\r\n}\r\n#slideshow DIV.last-active {\r\n    z-index:9;\r\n}\r\n#slideshow DIV IMG {\r\n    height: 450px;\r\n    display: block;\r\n    border: 0;\r\n    margin-bottom: 10px;\r\n}\r\n</style>\r\n</head>\r\n<body style=\"font-family: Arial, Sans-serif, sans;\">\r\n<div style=\"float:right;width:221px;padding-top:7px;\">\r\n<strong><span class=\"pubstrong\" >Current and upcoming shows</span></span></strong><span style=\"font-size: small;\"></span>\r\n<br>\r\n<br>\r\n\r\n<em>IAF (India Art Fair)</em>, represented by Nature Morte gallery\r\n30th January - 2nd February 2014, Delhi\r\n<br>\r\n<br>\r\n<em>IAF (India Art Fair)</em>, Project presented by Art Oxygen and Palette Art gallery\r\n30th January - 2nd February 2014, Delhi  \r\n<br>\r\n<br>\r\n<em>Visas to happiness - 3 (kids project)</em>\r\n9th February 2014, Dhaka Art Summit, Bangladesh Shilpakala Academy\r\n<br>\r\n<br>\r\n<em>Anatomy of forking paths (solo exhibition)</em>\r\n12th February - 26th February at Art Houz, during Art Chennai 2014\r\n<br>\r\n<br>\r\n<em>Encounters 2014 - Is there love in the air? </em>\r\n7th February - 3rd March, Public project with Art Oxygen in Mumbai\r\n<br>\r\n<br>\r\n<em>Aesthetic Bind: Floating World</em>\r\n15th March - 12th April 2014, Chemould Prescott Road, Mumbai\r\n\r\n\r\n\r\n\r\n</div>\r\n<div id=\"slideshow\" style=\"float:left;\"  >\r\n   \r\n    <div class=\"active\">\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_1m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-894\" /></a>\r\n       <!-- Caption for image 1-->\r\n    </div>\r\n    <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_2m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-896\" /></a>\r\n        <!--This will work with any markup-->\r\n    </div>\r\n    <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_3m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-897\" /></a>\r\n        <!--Swap this out for anything, links, paragraphs, whatever-->\r\n    </div>\r\n    <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_4m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-898\" /></a>\r\n        <!--Just make sure to set a background color if you use text-->\r\n    </div>\r\n <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_6m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-898\" /></a>\r\n        <!--Just make sure to set a background color if you use text-->\r\n    </div>\r\n    <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_5m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-899\" /></a>\r\n        <!--Just make sure to set a background color if you use text-->\r\n    </div>\r\n</div>','Home','','inherit','open','open','','93-revision-67','','','2014-01-10 22:14:32','2014-01-10 22:14:32','',93,'http://www.reenakallat.com/2943/uncat/93-revision-67',0,'revision','',0),(2944,1,'2014-01-15 21:02:02','2014-01-15 21:02:02','<link rel=\"canonical\" href=\"http://www.reenakallat.com\" />\r\n<script type=\"text/javascript\" src=\"http://www.reenakallat.com/wp-includes/js/jquery/jquery-1.2.6.min.js\"></script>\r\n<script type=\"text/javascript\">\r\nfunction slideSwitch() {\r\n    var $active = $(\'#slideshow DIV.active\');\r\n    if ( $active.length == 0 ) $active = $(\'#slideshow DIV:last\');\r\n    // use this to pull the divs in the order they appear in the markup\r\n    var $next =  $active.next().length ? $active.next()\r\n        : $(\'#slideshow DIV:first\');\r\n    // uncomment below to pull the divs randomly\r\n    // var $sibs  = $active.siblings();\r\n    // var rndNum = Math.floor(Math.random() * $sibs.length );\r\n    // var $next  = $( $sibs[ rndNum ] );\r\n    $active.addClass(\'last-active\');\r\n    $next.css({opacity: 0.0})\r\n        .addClass(\'active\')\r\n        .animate({opacity: 1.0}, 1000, function() {\r\n            $active.removeClass(\'active last-active\');\r\n        });\r\n}\r\n$(function() {\r\n    setInterval( \"slideSwitch()\", 3000);\r\n});\r\n</script>\r\n<style type=\"text/css\">\r\n#slideshow {\r\n    position:relative;\r\n    height:500px;\r\n    width:660px;\r\n    margin: 0 auto;\r\n}\r\n#slideshow DIV {\r\n    position:absolute;\r\n    top:0;\r\n    left:300;\r\n    z-index:8;\r\n    opacity:0.0;\r\n    height: 500px;\r\n    background-color: #FFF;\r\n}\r\n#slideshow DIV.active {\r\n    z-index:10;\r\n    opacity:1.0;\r\n}\r\n#slideshow DIV.last-active {\r\n    z-index:9;\r\n}\r\n#slideshow DIV IMG {\r\n    height: 450px;\r\n    display: block;\r\n    border: 0;\r\n    margin-bottom: 10px;\r\n}\r\n</style>\r\n</head>\r\n<body style=\"font-family: Arial, Sans-serif, sans;\">\r\n<div style=\"float:right;width:221px;padding-top:7px;\">\r\n<strong><span class=\"pubstrong\" >Current and upcoming shows</span></span></strong><span style=\"font-size: small;\"></span>\r\n<br>\r\n<br>\r\n\r\n<em>IAF (India Art Fair)</em>, represented by Nature Morte gallery\r\n30th January - 2nd February 2014, Delhi\r\n<br>\r\n<br>\r\n<em>IAF (India Art Fair)</em>, Project presented by Art Oxygen and Palette Art gallery\r\n30th January - 2nd February 2014, Delhi  \r\n<br>\r\n<br>\r\n<em>Visas to happiness - 3 (kids project)</em>\r\n9th February 2014, Dhaka Art Summit, Bangladesh Shilpakala Academy\r\n<br>\r\n<br>\r\n<em>Anatomy of forking paths (solo exhibition)</em>\r\n12th February - 26th February at Art Houz, during Art Chennai 2014\r\n<br>\r\n<br>\r\n<em>Encounters 2014 - Is there love in the air? </em>\r\n7th February - 3rd March, Public project with Art Oxygen in Mumbai\r\n<br>\r\n<br>\r\n<em>Aesthetic Bind: Floating World</em>\r\n15th March - 12th April 2014, Chemould Prescott Road, Mumbai\r\n\r\n\r\n\r\n\r\n</div>\r\n<div id=\"slideshow\" style=\"float:left;\"  >\r\n   <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_99m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-899\" /></a>\r\n        <!--Just make sure to set a background color if you use text-->\r\n    </div>\r\n <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_6m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-898\" /></a>\r\n        <!--Just make sure to set a background color if you use text-->\r\n    </div> \r\n    <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_88m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-899\" /></a>\r\n        <!--Just make sure to set a background color if you use text-->\r\n    </div>\r\n    \r\n    <div class=\"active\">\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_1m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-894\" /></a>\r\n       <!-- Caption for image 1-->\r\n    </div>\r\n    <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_2m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-896\" /></a>\r\n        <!--This will work with any markup-->\r\n    </div>\r\n    <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_3m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-897\" /></a>\r\n        <!--Swap this out for anything, links, paragraphs, whatever-->\r\n    </div>\r\n    <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_4m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-898\" /></a>\r\n        <!--Just make sure to set a background color if you use text-->\r\n    </div>\r\n \r\n    <div>\r\n        <a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2010/03/slideshow_5m.jpg\" alt=\"slideshow\" title=\"slideshow\" width=\"650\" height=\"600\" class=\"aligncenter size-full wp-image-899\" /></a>\r\n        <!--Just make sure to set a background color if you use text-->\r\n    </div>\r\n\r\n    \r\n</div>','Home','','inherit','open','open','','93-revision-68','','','2014-01-15 21:02:02','2014-01-15 21:02:02','',93,'http://www.reenakallat.com/2944/uncat/93-revision-68',0,'revision','',0),(2946,1,'2014-01-15 22:16:20','2014-01-15 22:16:20','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">\"Anatomy of distance\"</span>\r\n2013\r\nacrylic paint, archival inks on handmade paper, wire, measuring tape\r\n37 x 54 in. I 94 x 137 cm each\r\n\r\n</td></tr></tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\">Installation view, <i> Eslite Gallery, Taipei </i></span></td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody></table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>(detail)</i></span></td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>   Installation view, </i>Eslite Gallery, Taipei</span></td>\r\n</tr>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>(detail)</i></span></td>\r\n</tr>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>   Installation view, </i>Eslite Gallery, Taipei</span></td>\r\n</tr>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>(detail)</i></span></td>\r\n</tr>\r\n<tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','anatomy_of_distance','','publish','open','open','','anatomy_of_distance','','','2014-02-08 09:15:31','2014-02-08 09:15:31','',0,'http://www.reenakallat.com/?page_id=2946',0,'page','',0),(2947,1,'2014-01-15 22:01:30','2014-01-15 22:01:30','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\n<style type=\"text/css\">\nh3.canvas  {\ncolor:#333333;\nfont-size:11px\nfont-weight:normal;\nmargin-bottom:5px;\nmargin-left:7px;\nmargin-top:0;\npadding:0;\ntext-transform:none;\n}\n\nh2.painting  {\ncolor:#FFFFFF;\nfont-family:verdana,arial,tahoma,sans-serif;\nfont-size:11px;\nfont-weight:normal;\nmargin:0 0 10px 7px;\npadding:0;\ntext-align:left;\ntext-transform:none;\n}\n</style>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Untitled (Map/Drawing)</span>\n2011\nelectric wires and fittings, 10 min audio loop\n11 ft x 38 ft I 132 in x 456 in\n<a href=\"http://youtu.be/vkShp-vQeFc\" target=\"_blank\"><span style=\"color: #888888;\">view video >></span></a>\n</td></tr></tr>\n<tr><td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>installation view,</i> Goteborgs Konsthall, Sweden</span></td></tr>\n<tr><td>&nbsp;</td></tr>\n</tbody></table>\n\n\n\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody><tr>\n<td width=\"200\" align=\"left\" valign=\"top\">\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\n</td>\n<td width=\"300\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\n<div id=\"uniquename1\" style=\"display:block\">\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. …<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">more</a>\n</div>\n<div id=\"uniquename\"  style=\"display:none;\">\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. \nThis work was made with wires that essentially transmit energy and information from one place to another; their linear formations often evoking barbed wires, barriers or different kinds of fencing. It is said that the electricity is the same in electrical equipment but the expression of electricity differs from one appliance to the next. By changing the instrument of this quasi-cartographic drawing from a pencil line to a wire, I’m interested in the notion of the map as dynamic, ever changing, streaming and transferring data with the global flows of energies and people, as the courses of these travelers intersect\nThe work also carried several sound elements such as high-voltage electric current, drowned within which were sounds of factory sirens, ship horns or communication tones such as dialing or engaged tones in a telephone.\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\n</div></td>\n\n</tr><tr><td>&nbsp;</td></tr>\n</tbody>\n</table>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"200\" align=\"left\" valign=\"top\">\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\n</td>\n</tr><tr><td>&nbsp;</td></tr>\n</tbody>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"200\" align=\"left\" valign=\"top\">\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\n</td>\n</tr><tr><td>&nbsp;</td></tr>\n</tbody>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"200\" align=\"left\" valign=\"top\">\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\n</td>\n</tr><tr><td>&nbsp;</td></tr>\n</tbody>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"200\" align=\"left\" valign=\"top\">\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\n</td>\n</tr><tr><td>&nbsp;</td></tr>\n</tbody>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"200\" align=\"left\" valign=\"top\">\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\n</td>\n</tr><tr><td style=\"height: 10px;\"></td></tr>\n</tbody>\n</table>\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"200\" align=\"left\" valign=\"top\">\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\n</td>\n</tr><tr><td style=\"height: 15px;\"></td></tr>\n</tbody>\n</table>\n','','','inherit','open','open','','2946-revision','','','2014-01-15 22:01:30','2014-01-15 22:01:30','',2946,'http://www.reenakallat.com/2947/uncat/2946-revision',0,'revision','',0),(2948,1,'2014-01-15 22:01:31','2014-01-15 22:01:31','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">Untitled (Map/Drawing)</span>\r\n2011\r\nelectric wires and fittings, 10 min audio loop\r\n11 ft x 38 ft I 132 in x 456 in\r\n<a href=\"http://youtu.be/vkShp-vQeFc\" target=\"_blank\"><span style=\"color: #888888;\">view video >></span></a>\r\n</td></tr></tr>\r\n<tr><td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>installation view,</i> Goteborgs Konsthall, Sweden</span></td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody></table>\r\n\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<td width=\"300\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. …<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. \r\nThis work was made with wires that essentially transmit energy and information from one place to another; their linear formations often evoking barbed wires, barriers or different kinds of fencing. It is said that the electricity is the same in electrical equipment but the expression of electricity differs from one appliance to the next. By changing the instrument of this quasi-cartographic drawing from a pencil line to a wire, I’m interested in the notion of the map as dynamic, ever changing, streaming and transferring data with the global flows of energies and people, as the courses of these travelers intersect\r\nThe work also carried several sound elements such as high-voltage electric current, drowned within which were sounds of factory sirens, ship horns or communication tones such as dialing or engaged tones in a telephone.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div></td>\r\n\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2946-revision-2','','','2014-01-15 22:01:31','2014-01-15 22:01:31','',2946,'http://www.reenakallat.com/2948/uncat/2946-revision-2',0,'revision','',0),(2950,1,'2014-01-15 22:06:09','2014-01-15 22:06:09','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">\"Anatomy of distance\"</span>\r\n2013\r\nacrylic paint, archival inks on handmade paper, wire, measuring tape\r\n37 x 54 in. I 94 x 137 cm each\r\n<a href=\"http://youtu.be/vkShp-vQeFc\" target=\"_blank\"><span style=\"color: #888888;\">view video >></span></a>\r\n</td></tr></tr>\r\n</tbody></table>\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n<tr><td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>installation view,</i> Goteborgs Konsthall, Sweden</span></td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2946-revision-4','','','2014-01-15 22:06:09','2014-01-15 22:06:09','',2946,'http://www.reenakallat.com/2950/uncat/2946-revision-4',0,'revision','',0),(2949,1,'2014-01-15 22:03:56','2014-01-15 22:03:56','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">\"Anatomy of distance\"</span>\r\n2013\r\nacrylic paint, archival inks on handmade paper, wire, measuring tape\r\n37 x 54 in. I 94 x 137 cm each\r\n<a href=\"http://youtu.be/vkShp-vQeFc\" target=\"_blank\"><span style=\"color: #888888;\">view video >></span></a>\r\n</td></tr></tr>\r\n<tr><td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>installation view,</i> Goteborgs Konsthall, Sweden</span></td></tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody></table>\r\n\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<td width=\"300\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. …<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. \r\nThis work was made with wires that essentially transmit energy and information from one place to another; their linear formations often evoking barbed wires, barriers or different kinds of fencing. It is said that the electricity is the same in electrical equipment but the expression of electricity differs from one appliance to the next. By changing the instrument of this quasi-cartographic drawing from a pencil line to a wire, I’m interested in the notion of the map as dynamic, ever changing, streaming and transferring data with the global flows of energies and people, as the courses of these travelers intersect\r\nThe work also carried several sound elements such as high-voltage electric current, drowned within which were sounds of factory sirens, ship horns or communication tones such as dialing or engaged tones in a telephone.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div></td>\r\n\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2946-revision-3','','','2014-01-15 22:03:56','2014-01-15 22:03:56','',2946,'http://www.reenakallat.com/2949/uncat/2946-revision-3',0,'revision','',0),(2951,1,'2014-01-15 22:06:39','2014-01-15 22:06:39','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">\"Anatomy of distance\"</span>\r\n2013\r\nacrylic paint, archival inks on handmade paper, wire, measuring tape\r\n37 x 54 in. I 94 x 137 cm each\r\n<a href=\"http://youtu.be/vkShp-vQeFc\" target=\"_blank\"><span style=\"color: #888888;\">view video >></span></a>\r\n</td></tr></tr>\r\n</tbody></table>\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<td width=\"300\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. …<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. \r\nThis work was made with wires that essentially transmit energy and information from one place to another; their linear formations often evoking barbed wires, barriers or different kinds of fencing. It is said that the electricity is the same in electrical equipment but the expression of electricity differs from one appliance to the next. By changing the instrument of this quasi-cartographic drawing from a pencil line to a wire, I’m interested in the notion of the map as dynamic, ever changing, streaming and transferring data with the global flows of energies and people, as the courses of these travelers intersect\r\nThe work also carried several sound elements such as high-voltage electric current, drowned within which were sounds of factory sirens, ship horns or communication tones such as dialing or engaged tones in a telephone.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div></td>\r\n\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2946-revision-5','','','2014-01-15 22:06:39','2014-01-15 22:06:39','',2946,'http://www.reenakallat.com/2951/uncat/2946-revision-5',0,'revision','',0),(2953,1,'2014-01-15 22:07:45','2014-01-15 22:07:45','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">\"Anatomy of distance\"</span>\r\n2013\r\nacrylic paint, archival inks on handmade paper, wire, measuring tape\r\n37 x 54 in. I 94 x 137 cm each\r\n<a href=\"http://youtu.be/vkShp-vQeFc\" target=\"_blank\"><span style=\"color: #888888;\">view video >></span></a>\r\n</td></tr></tr>\r\n\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody></table>\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2946-revision-7','','','2014-01-15 22:07:45','2014-01-15 22:07:45','',2946,'http://www.reenakallat.com/2953/uncat/2946-revision-7',0,'revision','',0),(2952,1,'2014-01-15 22:07:07','2014-01-15 22:07:07','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">\"Anatomy of distance\"</span>\r\n2013\r\nacrylic paint, archival inks on handmade paper, wire, measuring tape\r\n37 x 54 in. I 94 x 137 cm each\r\n<a href=\"http://youtu.be/vkShp-vQeFc\" target=\"_blank\"><span style=\"color: #888888;\">view video >></span></a>\r\n</td></tr></tr>\r\n\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody></table>\r\n\r\n\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<td width=\"300\" align=\"justify\" valign=\"top\" style=\"font-size:11px;\">\r\n<div id=\"uniquename1\" style=\"display:block\">\r\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. …<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">more</a>\r\n</div>\r\n<div id=\"uniquename\"  style=\"display:none;\">\r\nThe flows and movements of labour migrants across the world have resulted in cultural exchanges not to mention the social and economic implications. It has not only allowed us to free cultural identities from a physical place but see us all as entwined in a symbolic web as it were. For the Konsthall Goteborg, as part of the Goteborg International Biennale of Contemporary Art 2011, I decided to work with electric wires to form a drawing that will trace migration patterns globally, where multitude of actors interact without knowledge of the overall situation. \r\nThis work was made with wires that essentially transmit energy and information from one place to another; their linear formations often evoking barbed wires, barriers or different kinds of fencing. It is said that the electricity is the same in electrical equipment but the expression of electricity differs from one appliance to the next. By changing the instrument of this quasi-cartographic drawing from a pencil line to a wire, I’m interested in the notion of the map as dynamic, ever changing, streaming and transferring data with the global flows of energies and people, as the courses of these travelers intersect\r\nThe work also carried several sound elements such as high-voltage electric current, drowned within which were sounds of factory sirens, ship horns or communication tones such as dialing or engaged tones in a telephone.\r\n<a onclick=\"javascript:ReverseContentDisplay(\'uniquename\'); return false;\" href=\"#\" style=\"color:#888888;\">...hide</a>\r\n</div></td>\r\n\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2946-revision-6','','','2014-01-15 22:07:07','2014-01-15 22:07:07','',2946,'http://www.reenakallat.com/2952/uncat/2946-revision-6',0,'revision','',0),(2954,1,'2014-01-15 22:10:17','2014-01-15 22:10:17','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">\"Anatomy of distance\"</span>\r\n2013\r\nacrylic paint, archival inks on handmade paper, wire, measuring tape\r\n37 x 54 in. I 94 x 137 cm each\r\n\r\n</td></tr></tr>\r\n\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody></table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>installation view,</i> Goteborgs Konsthall, Sweden</span></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2946-revision-8','','','2014-01-15 22:10:17','2014-01-15 22:10:17','',2946,'http://www.reenakallat.com/2954/uncat/2946-revision-8',0,'revision','',0),(2955,1,'2014-01-15 22:13:47','2014-01-15 22:13:47','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">\"Anatomy of distance\"</span>\r\n2013\r\nacrylic paint, archival inks on handmade paper, wire, measuring tape\r\n37 x 54 in. I 94 x 137 cm each\r\n\r\n</td></tr></tr>\r\n\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody></table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>(detail)</i></span></td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>(detail)</i></span></td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>(detail)</i></span></td>\r\n</tr>\r\n<tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2946-revision-9','','','2014-01-15 22:13:47','2014-01-15 22:13:47','',2946,'http://www.reenakallat.com/2955/uncat/2946-revision-9',0,'revision','',0),(2956,1,'2014-01-15 22:15:25','2014-01-15 22:15:25','<script language=\'javascript\' type=\'text/javascript\'>function ReverseContentDisplay(d) {if(d.length < 1) { return; }if(document.getElementById(d).style.display == \'none\') {  document.getElementById(d).style.display = \'block\';   document.getElementById(\"uniquename1\").style.display = \'none\'; }  else {   document.getElementById(d).style.display = \'none\';   document.getElementById(\"uniquename1\").style.display = \'block\';}}</script>\r\n<style type=\"text/css\">\r\nh3.canvas  {\r\ncolor:#333333;\r\nfont-size:11px\r\nfont-weight:normal;\r\nmargin-bottom:5px;\r\nmargin-left:7px;\r\nmargin-top:0;\r\npadding:0;\r\ntext-transform:none;\r\n}\r\n\r\nh2.painting  {\r\ncolor:#FFFFFF;\r\nfont-family:verdana,arial,tahoma,sans-serif;\r\nfont-size:11px;\r\nfont-weight:normal;\r\nmargin:0 0 10px 7px;\r\npadding:0;\r\ntext-align:left;\r\ntext-transform:none;\r\n}\r\n</style>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody><tr><td width=\"60%\" align=\"left\" valign=\"top\">\r\n<a href=\"\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-1.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\" class=\"alignnone size-large wp-image-349\" /></a></td><td width=\"200\" align=\"left\" valign=\"bottom\" style=\"font-size:11px;\"><span style=\"color: #888888;\">\"Anatomy of distance\"</span>\r\n2013\r\nacrylic paint, archival inks on handmade paper, wire, measuring tape\r\n37 x 54 in. I 94 x 137 cm each\r\n\r\n</td></tr></tr>\r\n\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody></table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-2.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>(detail)</i></span></td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-3.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-5.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-4.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>(detail)</i></span></td>\r\n</tr>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-6.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td>&nbsp;</td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-7.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr><tr><td style=\"height: 10px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n<table border=\"0\" cellspacing=\"0\" cellpadding=\"5\" width=\"100%\">\r\n<tbody>\r\n<tr>\r\n<td width=\"200\" align=\"left\" valign=\"top\">\r\n<a href=\"#\"><img src=\"http://www.reenakallat.com/wp-content/uploads/2011/09/anatomy_of_distance-8.jpg\" alt=\"Anatomy of distance\" title=\"Anatomy of distance\" width=\"600\"  class=\"alignnone size-full wp-image-350\" /></a>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td><span style=\"font-size:11px;font-weight:normal;line-height:3px;\"><i>(detail)</i></span></td>\r\n</tr>\r\n<tr><td style=\"height: 15px;\"></td></tr>\r\n</tbody>\r\n</table>\r\n','','','inherit','open','open','','2946-revision-10','','','2014-01-15 22:15:25','2014-01-15 22:15:25','',2946,'http://www.reenakallat.com/2956/uncat/2946-revision-10',0,'revision','',0),